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1857.] It is proposed to give at least four Sunday-evening performances, consisting of "The Messiah," of course, at Christmas; Costa's "Eli," or "Elijah"; the "Requiem" of Mozart, and the "Lobgesang" by Mendelssohn; and for the last, and we trust many last, "Israel in Egypt." All this will be but so much rehearsal for the grander Festival to follow. We have no organized orchestral or symphony society, as we should have; but we have with us always the elements of a good orchestra, who always work well together, and never better than last year under the enterprise and drill of Mr. Zerrahn. Then we had glorious symphonies and overtures, both old and new; and we shall have as good, and still more brilliant concerts soon, if hard times do not daunt the leader's very sanguine purpose. As a pendant, too, to the orchestral evenings, will come cheap afternoon concerts in the Music Hall, where good symphonies and overtures, with sparkling varieties for younger tastes, will hold out weekly invitation.

For the select few, who hold communion in the love of classical quartet and trio music by the great masters,—in the piano poems of Chopin, Mendelssohn, and Beethoven, there will be abundant opportunities. The Mendelssohn Quintette Club, the German Trio, Mr. Satter, the pianist, and would we might add Otto Dresel, will give series of concerts in the pleasant Chickering Saloon, that holds two hundred. Alas! we may be disappointed there. The Masonic Temple has been sold to the government for a United States Court-house. Think of the musical associations that haunt and consecrate the place, and think of the uses to which it may soon be put! What profanation! Hitherto the only chains that have surrounded that Temple have been chains of harmony, which one may wear and not be a slave! It has been a Temple of Concord;—may we hope that it will be in truth a Temple of Justice!—For virtuoso concerts, we shall have what the managers at New York send us. We shall of course have Vieuxtemps and Thalberg, if no more.

In New York the campaign has been opened for this month past, and we do not yet hear that the troubles down in Wall Street have discouraged the lessees of the Academy of Music. Great is the array of singers and of players that revolve around the little knot of musical speculators in New York. Strange to say, Italian opera has German managers. They catch the birds, having beforehand caught and prepared the public. But it is as well to state, that there are two great operatic enterprises, as there are two rival musical broker managers: to wit, Maretzek and Ullman; the former backed by Marshall of the Philadelphia Academy, and proceeding forth with hope to conquer from that centre; the latter backed by Thalberg, and strengthened by the Strakosch and Vestvali tributaries that roll proudly in from scenes of conquest in the Western States and Mexico. The Ullman party hold the New York Academy; the other party hold the theatres of Philadelphia and Boston; either must make itself felt at the three points, to avoid a losing game. Hence these harmonious and deadly rivals have perforce entered into a league of amity and commerce, whereby they exchange singers, so that all shall in turn be heard at every theatre. At New York the company includes, for leading soprani, Madame Lagrange, the wonder of the last two years, greatest of vocal gymnasts, and fine actress always, with voice well worn, and Madame Frezzolini, as the last imported celebrity from Europe; her voice, too, is past its prime, but her art is pronounced immaculate, and she is quite a charmer, if we may trust the critics. For contralto there is Vestvali, the dashing tall one, who delights in man's clothes, and sings Charles the Fifth, the baritone (!) rôle in "Ernani." There is a delicate new tenor, Labocetta, and another named Maccaferri, and a fresh, universally admired baritone, Gassier; and there is our old buffo friend, Rocco, and many more. Besides whom are two famous announcements, yet to come from Europe: the French tenor, Roger, and the German basso, Formes. The orchestra and chorus are, we suppose, as usual; the conductor better; he is Herr Anschütz, who has had experience in London, and who subdues his orchestra to sympathetic support of the singers. With Max it is the other way; he loves to ride full swing upon the top of his forces, brass and all, fortissimo, conquering and to conquer. Is "Il Trovatore" wanted, everlasting "Trovatore,"—music