• remarks on the Ancient Concerts, we must endeavour, if

possible, for his sake, to dissipate. It seems absolutely necessary that, to him, we should explain the difference between hostility to an in- stitution intended for a useful purpose, and censure on the igno- - -ranee, stupidity, and meanness with which its concerns are managed. To ancient music, we have not only no hostility, but a reverential attachment; to the Ancient Concerts, were they 'inder judicious, informed, and competent managers, the same feeling would of necessity exist. It is because they are not—it is because we desire their permanence and prosperity, that we have

• from time to time noticed the causes which have brought on an opposite result. Possibly Mr. BUNN may feel very angry at being told that he is not so accomplished a manager as GARRICK or KEMBLE ; yet would such an opinion of necessity imply a determined hostility to the interests of the Drama, or even of Drury Lane? And this sensitiveness, this soreness on the part of our correspondent, rather indicates the possession of a similar

• situation at the Ancient Concerts, than the humble occupancy of a stand in the Orchestra. The performers may all say—whether -fiddlers, drummers, or singers- " Let the galled jade wince—our withers are unwrung."

Had we entertained any feeling of hostility to this establish- ment, our course would have been widely different. We should no have counselled that timely reform which might have saved it from decay and dissolution : we should not have pointed out, one by one, the errors and defects which rendered such a re- - suit inevitable: we should not have advised the remedies which might have saved it, but have left it to its fate, and rejoiced in its downfal. It is rather too bad, now that our anticipations have thus far been realized (our advice having been scornfully re- jected), that the Directors, when contemplating the wreck which stares them in the face, should accuse us of being accessories, if not principals, in the work of demolition. No, gentlemen, the achievement is wholly your own—yours the undivided glory or disgrace.

. Are you weak enough to imagine that the list of queries which appeared in last week's Spectator, even supposing that every one of them should convict us of inaccuracy, will divert the attention

slam

of even the small number of persons who are interested in this discussion, from the Act of your incompetency to discharge the duties you have assumed? - Account in any other way for ydar present condition ; account for your deserted rooms and empty benches ; account for the yearly decline of your subscribers, and the begging appeals to your Band. You Say you have one hun- dred and twenty performers ; you have also a richly-stocked library, you have possession of an establishment once high in fame, you move in the highest circles of fashion; you have every thing at command to insure success; and yet you fail,—fail, according to your own confession, in the manifesto, which expresses a doubt whether even a reduced number of concerts can be supported. Now, how is all this ? If you are too blind to see the cause, the world is not; although you may be surrounded by men who have- not the courage to tell you the truth.

But to the queries.

1. " Was not the reduction in salaries proposed by some, and gladly acceded to by all the Orchestra (two excepted), that the

concerts might go on ?" Our answer is plainly and unequivo- cally—No.

2. 3. Not being ourselves in the direction, of course we were ig- norant of the clause in MORI'S engagement. We willingly cor- rect the error ; and our statement,: so amended, will stand thus— we desire the noble Directors to receive the full benefit of' it. " F. CRAMER, in consequence of serious indisposition, was absent from six concerts, his place being supplied by MORI. At the end of the season, the noble Directors fined CRAMER for non-atten- dance ; while they refrained from offering MORI any compensation for having officiated half the season as his substitute.* Thus their Leader's illness was a little godsend to each of the Peers, of

about seven pounds each," instead of four pounds, as we originally, in our ignorance, had stated.

4. 6. We are not disposed to fall into the trap so cunningly laid for us in these questions (the motive of which is rather too ap- parent for the writer's purpose), and to subject such perfbrmers as have thus expressed their opinions on the treatment they have re- ceived, and on the management of the Concerts in general, to the pitiful resentment of the Directors, so plainly threatened in the very terms in which the questions are put.

5. Has even "a Drumstick" yet to learn, that a band may be numerically strong and yet physically weak ; or that, if well ap- pointed in all parts, its powers may be wasted or rendered useless by the incompetency of those who assume to direct them ?—as that armour which is an ormanent and a defence to the strong, is an in- cumbrance and a deformity to the weak ?

7. The best reply to this query is a reprint of part of the noble Directors' address and our comment thereon.

" The Directors of the Ancient Concerts inform the subscribers and the pub- lic, that, for the ensuing season, the series of Concerts is proposed to be carried on under the following regulations," &c. &c.

On this very novel announcement, we remarked, that the An- cient Concerts. had always been much, and of late years solely, dependent for existence on their exclusive character. It was known to be ' of grace' that a name was placed on the subscrip- tion-list, and that the solicitation was always from and not to the public. But here is no restriction of East or West; the support of the public is solicited," &c. &c.

Now, is it so or not? We never said that the admission was in- tended to be "indiscriminate ;" but that an appeal to the public for support was a perfectly novel step, and not very consistent with the heretofore exclusive character of the Concerts. These have been a sort of Musical Almacks; and if a similar advertisement from the patronesses of Almack's were to be issued (forgive us, fair and noble ladies, for the supposition), it would not be very dif- ficult to fix the period of their extinction.

It is not worth while to answer, scarcely to notice, the imputa- tion with which DRUMSTICK follows up his queries. Our readers will judge between us, how much of "a dishonest self-seeking" there is in our musical criticisms. There are certain purposes and ends for which (let us inform him) we do not write,—not to pay court to titled imbecility, or defend aristocratic ignorance ; not to advocate a narrow and selfish monopoly; not to prop up the interests of a little faction, and traduce all who will not pronounce its shibboleth ; not to defend meanness and injustice; and not to inculcate servility and baseness as a badge of the musical pro- fession.

The postscript of his letter, as a postscript is often said to do, lets in a little further light upon the writer's object. He suspects there is a traitor in his camp, whom he desires to discover, that the fulness of his wrath may be poured out upon him. If any un- fortunate scraper of catgut should be detected in having, by look or word, questioned the absolute perfection of all and every act of his masters,—if he is not ready to proffer the most abject and ser vile approbation of their conduct,—if he is not willing to testify that their words are wisdom and their creed truth,- " If such there be—go mark him well; For him no Ancient sounds shall swell; This threat never could have proceeded from any member of the profession. Trained, as they too often are, to passive obedience, we bopewe believe—that no such " traitor" to manhood, to honesty, to independence, could be found among them. It is the language of lordly pride and aristocratic insolence—language which will only provoke the contempt and derision of those to whom it refers.

• "Let him have nought but justice, and his bond." —Sintocz.