& other perquisites belonging to ye sd Office And do further Order that ye Salary & Allowance for Diet wch his Father enjoy'd be paid to ye sd Thos. Love for the time He hath officiated since his father's death.

besides arranging the tunes and composing overtures for The Beggar's Opera' (1727). Pepusch married a rich singer, who brought him a fortune of 10,000. As above stated, he became organist of the Charterhouse in 1737, the remainder of his life. He made his mark where he resided in his official apartments for

Dr.

Dr.

In the year 1737 Mr. Thomas Love (who is casually mentioned by Hawkins) apparently departed this life; but it is impossible to give exact dates of death or burial of either of the as a teacher, his pupils including John Travers, and Boyce, wo Loves, as between the years 1710 and 1739 Dr. Pepusch gave much attention to theoretical Benjamin Cooke. several leaves of the burial register are missing. The next organist was a man of mark. The matters; for a paper on the ancient Genera, read by him before the Royal Society, he was elected Order appointing him is recorded in these terms: F. R.S. He died at the Charterhouse on July 20, 1752, and is buried in the Chapel in which he had for fifteen years officiated. Thirteen years after the death of Dr. Pepusch an

2. Dec: 1737. Whereas Mr. Love late Organist to this Hospital is dead We do nominate & elect John Christopher Pepush Dr. in Musick to be Organist in ye room & place of ye sd Mr. Love deceas'd.

Dr. Pepusch was one of the most remarkable musicians of his time. Born at Berlin in 1667, he came to England about 1700 and fiddled in the orchestra at Drury Lane. In 1710 he took an active part in the establishment of the Academy of Ancient Music, and continued to show great interest in its operations until the day of his death. He became organist to the Duke of Chandos, at Cannons, an appointment in which he was succeeded by Handel. On July 9, 1713, he took the degree of Doctor of Music at Oxford. He soon afterwards became director of music at Lincoln's Inn Fields Theatre; this post he held for many years. He composed music for various theatrical pieces,

22 Nov: 1765. Upon the humble petition of Benjamin Cooke Organist of the Cathedral Church of Saint Peter's Westminster praying that he may have leave to erect at his own charge a small Monument in the Chapel of this Hospital to the memory of the late John Christopher Pepusch Doctor in Musick sometime Organist of the Hospital & who lies buried in the said Chapel We Order that the Petitioner be at Liberty to erect a decent Monument in the Chapel with a proper inscription thereon in memory of the said Dr. Pepusch as is. prayed by the said Petition.

No. 24.

It is very interesting to find from the above The chant in D above referred to appears in Order that Pepusch's former pupil, who had in Jones's collection in the following form:the meantime become organist of Westminster Abbey, wished thus to honour his old master. But the proposed memorial ultimately became a more public matter in that the Academy of Ancient Music defrayed the expense of its erection. The tablet, still to be seen in the Chapel, bears the following inscription :

To return to the Charterhouse. At the time of Jones's appointment a new organ was needed. judging from his Order of the Governors :

2. July 1753. A Scheme for erecting a new Organ in the Chapel being now presented to us by the Master We approve thereof and of the estimate given in with the same amounting to the sum of £190 besides the old organ except with regard to an article of £12 charged for gilding the pipes of such new Organ which we will not shou'd be gilded but handsomely painted in Oil of a proper colour and the said sum of 12 is to be deducted in the price aforesaid.

The successor to Dr. Pepusch was an out-andout pluralist—a triplist, so to speak-in the person of Mr. John Jones, organist of the Temple Church (in 1749), the Charterhouse (in 1753), and of St. Paul's Cathedral (in 1755)! He died, Upon the death of John Jones another Temple in the full possession of all three appointments, organist succeeded to the Charterhouse appointat his official quarters in the Charterhouse, ment in the election of Richard John Samuel February 17, 1796, and was buried in the Chapel Stevens, afterwards Gresham Professor of Music. Cloister. To the biographer the career of and composer of the glee Ye spotted snakes. Mr. Jones is a barren field. The Charterhouse Professor Stevens was also a pluralist, but in a Registers mention his marriage at Sudbury, lesser degree than Jones, as he only held two Derbyshire, to Sarah Chaloner, or Chawner, appointments concurrently. His emoluments at before the year 1758, and baptisms of three of the Charterhouse amounted to the yearly sum their children. His tombstone states that he of £68 7s. 4d. (besides Apartments), an amount resided in the Hospital for forty-three years. made up thus:John Jones was formerly well known by his double chant in D. This composition so took the fancy of Haydn when he heard it sung by the Charity Children in St. Paul's Cathedral in 1792, that he noted it down, though not correctly, in his diary. It appeared in a collection, entitled :

SIXTY CHANTS single and double composed by JOHN JONES, organist of St. Paul's Cathedral, and by him respectfully inscribed to the Dean & Chapter. 1785.

Printed, for the author, by Longman and Broderip No. 26 Cheapside and 13 Hay-Market. Price 5s.

Original salary of organist

£13 6 8

Allowance first granted in 1664 2 O 0

for Beavors*

"

3

for Commons

"

50

£68 7 4

No Charterhouse organist since Love appears to have received Diet or Commons in Kind.'" Stevens, who died September 23, 1837, and is buried in the Chapel Cloister, was the last organist to reside within the precincts of the Hospital. No instruction in music was ever

There is something in the nature of a Preface to given to the scholars by Stevens, or, indeed, this book that may be quoted:

The Psalms of David being either Rejoycing Penitential, or Historical, Those Chants which best suit such sentiments are mark'd wth an R, P, or H; but where the Psalms Change from Rejoycing to Penitential, in the same Morning or Evening Service Numbers XXX, of both Single and Double Chants are particulary adapted.

within seventy years previously by any of his predecessors. The duties of organist consisted of playing at the Sunday services, on Saturday evenings, and on Saints' Days and their Vigils.

Beavor, or bever-A small repast between meals; a "snack." muncheon, or lunch; especially one in the afternoon betwee mid-day dinner and supper.' (Dr. Murray's 'A New English Dictionary.)

17. Feb: 1838. The salary of the future Organists of the Hospital be £70 a year & that no apartments or further emoluments be allowed except a room set apart and a fire provided when necessary for his use on those days upon which his duty requires his attendance in the Hospital.

We elect and appoint Mr. William Horsley Bachelor of Music to be Organist of this Hospital in the room of Mr. Richard John Samuel Stevens deceased.

BERLIOZIANA.

A BIRTHDAY IN LONDON.

Hector Berlioz was born on December 11, 1803. Did he spend a birthday in England? Yes, that on which he completed his forty-fourth year, Saturday, December 11, 1847. How did he spend it?' Ah! that is a question not quite so easy to answer. On the Monday, Wednesday, and Friday of that week he conducted performances of The Bride of Lammermoor' (an English version of Donizetti's To William Horsley, the glee writer, Lucia') at Drury Lane Theatre, under Jullien's succeeded, in 1858, John Hullah, and on the management. Šims Reeves appeared in this death of the latter, in 1884, Miss Taylor, the (as Edgar) and created a furore. As no opera present organist, was elected. Space will not performance seems to have been given on admit of detailed references to Horsley and the Saturday, Berlioz was free to celebrate his Hullah, both worthy musicians, but they, as well birthday as pleased him best. What could he as some of their distinguished predecessors, may have done in the way of amusement?' Well, he form the subjects of future Biographical Sketches might have visited the Cattle Show-the last in THE MUSICAL TIMES. Suffice it at present to day-then held at the Horse Bazaar, King say that a tablet to William Horsley's memory Street, Portman Square. A grand morning is in the Chapel; and a similar memorial to concert given by Singers of the Pyrenees' at John Hullah, erected at the instigation of his the Royal Adelaide Gallery, Strand, would friend and colleague in the Chapel services, the scarcely interest him, although Miss Sara Flower Rev. H. V. Le Bas, the present Preacher, was one of the attractions of the concert. bears the following inscription, written by the the evening the Round, Catch and Canon Club late Rev. Henry Wright Phillott, Canon of fraternized in vocal harmony at the Freemasons' Tavern; but Berlioz would doubtless find more entertainment in witnessing a French play at St. James's Theatre, or in attending a performance of The Taming of the Shrew' at the Haymarket Theatre. But all this is mere speculation, and the reader may be inclined to remark: Probably Berlioz passed a quiet evening with his friend Mr. J. W. Davison.' This, too, is a little doubtful, as Davison, except for a brief visit to England for the Gloucester Musical Festival, sojourned in Paris from September 4 to December 8 of that year (1847). On the latter date he wrote from Paris to his friend Desmond Ryan (in London), three days before Berlioz's birthday :

Hereford :

M. S.

JOHANNIS HULLAH, LL.D.
Qui In Edibus Carthusianis
Primum Cantandi Magister Deinde Organista
Annos XLII Felicissime Explevit
Bonis Artibus Bonisque Literis Imbutus
Hanc Laudem Præ Cæteris Adeptus Est
Ut Musicam Artem Si Quis Alius
Publici Juris Faceret

Natus Anno MDCCCXI Decessit MDCCCLXXXIV
Amici Carthusiani

H. M. P. C.

For valued assistance rendered in the preparation of this article the best thanks of the writer are due to the Master of the Charterhouse, the Rev. Canon Haig-Brown, especially for his kind. permission in allowing the extracts to be made from the Governors' Orders; to the Preacher, the Rev. H. V. Le Bas, for practical help in various ways and in reading the proof; to Mr. H. S. Wright, the assistant Receiver, for copying out the extracts from the Governors' Orders; and to Messrs. E. T. Bottom and Co., of Farringdon Road, for the free use of their views of the Charterhouse.

The special supplement portrait of William Horsley is reproduced from an oil-painting by William Owen, R.A., in the possession of Mrs. John Callcott Horsley, and by her kind permission. This fine portrait of the distinguished glee-composer has not hitherto been published.

DOTTED CRotchet.

When you receive this I shall be far hence, in quite another part of the musical world [the latter appeared in the Musical World]; at what time, if ever, you hear from me again, and where, if anywhere, I am now unable to say. Perhaps it may be from the North ... Good-bye, until our next epistolary shake-hand, which I trust may not be on the other side of eternity-till then, notwithstanding, I am yours

D.

In

Je vous remercie bien de cœur de votre bonne lettre et de ce que vous ayiez encore conservé le souvenir de notre amitié Romaine ! Moi je ne l'oublierai de ma vie et je me réjouis de pouvoir vous le dire sous peu de temps de vive voix et dans ma patrie. Tout ce que je puis faire pour y rendre votre séjour heureux et agréable, je le ferai comme un plaisir et comme un devoir.

D'abord en tout cas je vous engage de venir à Leipzig, parceque je crois pouvoir vous répondre de ce que vous serez content de la ville, c'est à dire des musiciens et du public. Je n'ais pas voulu vous écrire sans avoir consulté plusieurs personnes qui connaissent la ville mieux que moi, et tous m'ont confirmé dans mon opinion, que vous ferez un excellent concert ici. Vous ne me dites pas, quelles sont vos intentions; vous me parlez seulement de faire entendre votre musique; mais je présume que cela doit être dans un Concert que vous donneriez vous même. Les meilleurs jours pour cela seraient les lundis ou bien les samedis. Les frais de l'orchestre, de la salle, des Annonces, &c., sont ordinairement de 100 à 110 écus; la recette d'une bonne salle est de 6 à 800 écus, nous en avons eu jusqu'à 1000 & 1100; et comme j'ai dit je ne doute nullement que vous ferez un excellent concert. Mais vous devriez être ici et arrêter le programme et tout ce qui est nécessaire au moins 8 à 10 jours avant le concert; il est impossible de l'arranger sous moins de temps, et votre présence personelle serait indispensable pour un succès complet. Mais j'espere que cela ne fera pas de difficultés, parceque la chose est la même à Dresden, où vous viez aussi. Or vous pourrez tout arranger ici pour 8 ou 10 jours d'avance, puis partir pour Dresden, y faire la même chose (le voyage ne prend que 3 heures), et revenir le jour après, si vous êtes pressé.

Mais comme vous ne me dites pas les détails de vos intentions j'ai communiqué votre projet de venir aux directeurs de la Société des Concerts d'Abonnement, qui m'ont chargé de vous demander si vous voulez faire exécuter un de vos ouvrages dans leur Concert pour les pauvres de la ville, qui sera donné le 22 février, et que dans ce cas ils arrangeraient leur programme suivant vos intentions. Je dois vous communiquer cela parcequ'ils m'en ont chargés, mais si vous ne manquez pas tout à fait d'envie de donner le Concert vous même je le vous conseillerai fortement parceque je suis certain que vous vous en trouverez bien. Peut-être pourrez vous accepter la proposition des Directeurs après le Concert, ou les Concerts que vous aurez donné vous même, si toute fois elle vous convient.

Je vous engage donc de venir ici aussitôt que vous pourrez quitter Weimar. Je me réjouis de pouvoir

vous serrer la main & vous dire " Wilkommen en Allemagne." Si vous ne pouvez pas venir sitôt et s'il y a quelque chose, que je puis faire pour vous en attendant écrivez moi.

Et ne vous moquez pas de mon méchant Français comme vous fesiez à Rome, mais continuez être mon bon ami comme vous étiez alors et comme je serai toujours.

Votre dévoué

FELIX MENDELSSOHN BARTHOLDY.

Francs Juges' Overtures. Mendelssohn's sister. Fanny Hensel, records the event in her diary in these words :

Berlioz was at Leipzig at the same time with us, and his odd manners gave so much offence that Felix was continually being called upon to smoothe somebody's ruffled feathers. When the parting came, Berlioz offered to exchange batons, as ancient warriors exchanged their armour,' and in return for Felix's pretty light stick of whalebone covered with white leather, Berlioz sent an enormous cudgel of lime-tree covered with bark, with an accompanying letter.

6

Fanny Hensel is not quite correct in referring to the baton exchange as a parting event. It took place at Leipzig, on the arrival of Berlioz, who found Mendelssohn rehearsing The Walpurgis Night.' The letter of Berlioz which accorpanied his cudgel-baton was addressed to Mendelssohn in these characteristic terms (translated) :

TO THE GREAT CHIEF, MENDELSSOHN ! Great Chief! We have promised to exchange tomahawks. Mine is a rough one-yours is plain Only squaws and pale-faces are fond of ornate weapons.

Be my brother! And when the Great Spirit shall have sent us to hunt in the land of souls, may cur warriors hang up our tomahawks together at the door of the Council-chamber.

A REMINISCENCE BY HEINE.

'From Berlioz we shall soon have an opera,' wrote Heinrich Heine in 1837. The subject is an episode from the life of Benvenuto Cellini, the casting of the Perseus. Something extraordinary is expected, since this composer has already achieved the extraordinary His tendency is to the fantastical, not united with soul, but with sentimentality; he has great resemblance with Callot, Gozzi and Hoffmann. outward appearance indicates as much. It is a pity that he has had cut off his immense, antediluvian fris his bushy hair, which bristled over his brow like a wood over a steep precipice; so I first saw him six years since, and so will he ever stand in memory. It was in the Conservatoire de Musique, and they gave a grand Symphony by him [the Symphone Fantastique, on Dec. 5, 1830], a bizarre sort of nigh: piece, now and then illumined by the sentimental whiteness of a woman's robe, that fluttered to and fro, or by a sulphur-yellow gleam of irony. The bes thing in it is a witches' sabbath, where the devil reads mass and the Catholic church music is parodied with the fearfullest and most sanguinary farcicality. It is a farce, in which all the secret snakes we carry in our hearts rear their hissing heads with joy.

66

'My companion in the box, a frank young man. pointed out to me the composer, who was in a corner of the orchestra, at the extreme end of the hall, beating the kettle-drum, that evidently being his instrument. "Do you see that stout English lady in front of the stage?" said my companion. "That is Miss Smithson: We believe that this generous letter-now in Berlioz has been desperately in love with this lady the British Museum-has not hitherto been for three years, and to this passion we owe the wild published in full. The concert duly took place the stage box, sat the famous actress of Coventsymphony you hear to-day." And there, in fact, in at the Gewandhaus on February 4, 1843, garden. Berlioz gazed at her continually, and every the programme including the Symphonie time his eye met hers he would beat away upon his Fantastique, and the King Lear and kettle-drum like mad.

Miss Smithson has since become Madame Berlioz. at the back of the orchestra. The stout EnglishSince then her husband has had his hair cut off. woman again occupied the stage-box; their eyes When I heard his symphony again in the met but Berlioz no longer beat so vigorously Conservatoire this winter, he again sat as a drummer on the drum!'

FIRST PERFORMANCES IN ENGLAND.

It may be interesting as well as useful for in England. The following information applies reference to give the dates and places of the to those given in their complete form for the first performances of the chief works of Berlioz first time in this country:

Philharmonic Society, Hanover
Square Rooms

Hallé Concerts, Free Trade Hall,
Manchester
Crystal Palace

(Berlioz's own Concert, Drury Lane |
Theatre

Philharmonic Society, St. James's March 10, 1881 Sir William Cusins

Covent Garden Theatre

VINCENT NOVELLO.

1781-1861.

(Concluded from page 653.)