enterprising Scotsman, that if he can only succeed in producing the
notes of the bagpipe out of the trombone, he will make a fortune in
five seasons or less.

Such is musical London, then--rushing from concert to concert, and
opera to opera--from severe classicism to the most miscellaneous
_omnium gatherum_--from solemn ecclesiastical harmonic assemblages to
the chanting of merry glees, and the warbling of sentimental ballads.
Let us, then, contemplate a little closer the different kinds of
concerts--their features and their character--their performers and
their auditories. Our sketch must be very hurried and very vague, but
it will give an idea of some of the principal characteristics of the
London musical season.

First, then, among the performances of mingled vocal and instrumental
music, stand the two Sacred Harmonic Societies, which execute
oratorios and similar works in Exeter Hall. The original Sacred
Harmonic Society has within the last couple of years split into two
bodies. It had long contained within itself the elements of division.
There were the Go-ahead party and the Conservative party--the first,
eager to try new ground, and aim at new effects; the second, lovers of
the beaten way. At length, the split took place. The progressistas
flung themselves into the arms of M. Costa, the famous conductor of
the Royal Italian Opera orchestra, and the highest and most Napoleonic
of musical commanders. The Tories of the society went peaceably on in
the jog-trot ways of Mr Sarman, the original conductor. Each society
can now bring into the field about 800 vocal performers, the immense
majority of them amateurs, and their concerts take place
alternately--Exeter Hall being invariably crammed upon either
occasion. The Costaites, no doubt, have the _pas_. The discipline of