for the use of members; to hold conversazioni, at which papers on musical subjects might be read, and subjects of musical interest discussed; to give orchestral, choral, and chamber concerts, and occasionally lectures; to afford the opportunity of trying new compositions; to publish occasional papers, calculated to extend the theoretical and historical knowledge of music. The members consisted of fellows, associates, and lady-associates, whose subscription was fixed at one guinea. The following were honorary fellows:—Auber, Berlioz, Ernst, Joachim, Meyerbeer, Moscheles, Rossini, and Spohr. The Conductor of the society during the whole period of its existence was Mr. Alfred Mellon. The first concert took place on Jan. 26, 1859, when the C minor Symphony of Beethoven, the 'Melusina' Overture of Mendelssohn, and a cantata by Dr. Macfarrren, 'May-Day,' etc., were given. Gade's Highland Overture was performed at the second concert. Among the most interesting items of the programme may be mentioned, Schumann's Symphony (No. 1), May 1861; Joachim's Concerto in the Hungarian style, played by the composer, March 12, 1862; the Choral Symphony of Beethoven, April 30, 1862, on which occasion Stephen Heller played Mozart's Concerto for two pianos with Charles Halle; Sullivan's Tempest Music, May 21, 1862; Schumann's Symphony in E♭, June 13, 1866. Besides the regular concerts, conversazioni were occasionally given, at which the programmes were frequently remarkable, and objects of antiquarian and artistic interest were exhibited. At the first conversazione, for example, Mr. Charles Salaman played two pieces by Orlando Gibbons on a virginal. At the last concert, March 20, 1867, the most interesting feature of the programme was Beethoven's Choral Fantasia, the pianoforte part of which was played by Mme. Schumann. On April 15 following the operations of the society were suspended, in consequence of the inadequacy of the funds for carrying out the proposed schemes, and the proceedings were never resumed.
MUSICAL UNION, THE. An association, managed by a President, Vice-President, Committee of 15 noblemen and gentlemen, and a Director (John Ella, Esq.), which gives eight matinées of classical chamber music every season in London. The Musical Union took its origin in social gatherings held at Mr. Ella's residence, but in 1844 the society assumed its present shape, since when its annual concerts have never failed to sustain the high standard of excellence for which they were remarkable from the first. Space forbids our inserting a list of all the artists who have appeared at the Musical Union; such a list would include the names of all the most celebrated executants of the last 30 years, many of whom were first introduced into England by Mr. Ella. We can only mention that since the foundation of the society 204 artists have performed at its concerts, of whom 75 were pianists, 112 stringed, and 27 wind instrumentalists. It is impossible to estimate too highly the important influence this society has had in disseminating a taste for good music amongst the upper classes in London. The system of placing the performers in the centre of a circle, which is adopted at these concerts, gives them a social charm to which a considerable share of their success is no doubt owing; but the greatest boon which musicians owe to the Musical Union is the introduction of analytical programmes, which were first adopted by Professor Ella at these concerts. The programmes are delivered to the members a day or two before the performances take place—a plan which is highly to be commended. [App. p.727 "the association ceased to exist in 1880, and its founder, Mr. John Ella, died Oct. 2, 1888."]
MUSICIANS' COMPANY OF THE CITY OF LONDON, THE, was established by letters patent under the great seal of England on April 24 in the ninth year of the reign of Edward IV (1472–3). The charter is printed in Rymer's Fœdera (xi. 642). The company was instituted as a perpetual Guild, or Fraternity and Sisterhood of Minstrels,—a minstrel being a musician qualified to sing or play in public. It had to control all 'pretenders to minstrelsy,' and to fine and silence the unqualified until they had studied so as to fit themselves to take part in public performances. Until then their music was to be kept at home. The first court of the company was formed of experienced musicians then in the service of the king, and previously in that of his predecessor Henry VI. Walter Haliday was Master, or Marshal of the Guild, and John Cliff, Robert Marshall, Thomas Grene, Thomas Calthorn, William Christian, and William Eynesham, formed the court. The appointment to the office of marshal was for life, whereas the two wardens (Custodes ad fraternitatem) were elected annually from the Court of Assistants. The guild was attached to the Chapel of the Virgin under St. Paul's Cathedral, and to the free Chapel Royal of St. Anthony, both in the City of London. The power of the guild extended over all parts of the kingdom except the County Palatine of Chester, and all minstrels were to join it, and to pay three shillings and fourpence upon being admitted as members of the guild. A further source of income was derived from fees and from fines. Out of the latter the guild was to keep wax tapers burning in each of the two chapels above-named, and to pray for the health and for the souls of the King, the Queen, the late Duke of York, the king's father, and for other progenitors of the royal family. At this time good minstrels were highly paid, and Edward IV was not only very liberal to his own musicians, but also anxious to sustain the musical reputation of the country. In 1466 the Bohemian baron, Leo von Rozmital, brother-in-law of the reigning king of Bohemia, visited England, among other countries, during a pilgrimage undertaken 'for the sake of piety and religion.' Edward IV received him with honour, and entertained him at a banquet and state ball, after which a state concert commenced. The baron's secretary, Schassek, wrote an account of his visit; and of this entertainment he says—'We heard in no country more agreeable and sweeter musicians than there; their chorus
