ho directs them.

Let us pass from Exeter Hall to Hanover Square. Here, in the Queen's
Concert Room--a _salle_ which once was smart, and the decorations of
which were fashionable seventy years ago--we have unnumbered concerts,
and chief among them the twelve annual performances of the
Philharmonic Society. The 'Philharmonic,' as it is conversationally
called, holds almost the rank of a national institution. The sovereign
patronises it in an especial manner. It is connected with the Royal
Academy of Music, and Her Majesty's private band is recruited from the
ranks of its orchestra. The Philharmonic band may be indeed taken as
the representative of the nation's musical executive powers; and, as
such, comparisons are often instituted between it and the French,
Austrian, and Prussian Philharmonics. The foreigners who hold places
in the orchestra are resident, and in some sort naturalised, but the
bulk of the executants are English. To be a member of the Philharmonic
orchestra is, indeed, to take a sort of degree in executive music, and
at once stamps the individual as a performer of distinguished merit.
The music performed is entirely classic, and principally instrumental.
New compositions are seldom given; and, in fact, it was the practice
of adhering so exclusively to the standard works of great composers
which started the new Philharmonic Society, which has just come into
existence. The elder body stick stanchly to the safe courses of Bach,
Gluck, Beethoven, Mozart, and Mendelssohn. The newly-created
association proclaim that their mission is to look after aspirants, as
well as to honour the veterans of the art; and accordingly they bring
forward many compositions experimentally--a meritorious policy, but
one not without its dangers. Few unprofessional people are aware of
the cost of producing elaborate compositions. When _William Tell_ was
played some years ago at Drury Lane--to mention one single item--the
price of copying the parts from the full score, at 3d. a page, came to
L.350. All the old music is of course to be had printed; and to these
standard scores the steady-going Philharmonic principally devotes
itself. Each performance consists in general of two symphonies, or a
symphony and an elaborate concerto, each occupying at least
three-quarters of an hour, with two overtures, and solos, vocal and
instrumental--the former generally sung by performers from either
Opera, but usually from Covent Garden. M. Costa wiel