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THK niPT OF 



Digitized by LaOOQlC 



.1 



Digitized by LaOOQlC 



Digitized by LaOOQlC 



JOURNAL OF MUSIC, 



JOHN S. DWIGHT, EDITOR. 



VOLS. VII. AND VIII. 



CHICAGO 

HISTORICAL 

SOCIETY 



BOSTON : 

PRINTED BT EDWARD L. BALCH, No. 21 SCHOOL STREET. 
1856. 



t 



Adm, Adolph, bi< epan ttFoUti^. ■■■Tiii. 167 

American StodcnU ind DebaUntei Abn»d, Tii. 13, IT, 

36, 83, 119, as, 14S, 199. 

-^merictn noiicel (alsDt, Harf/bri Caloidar, ni. SI 

Americw) Nitionul Sonfij qneatinn niied, viii. It 

Anilogin iMlweeu Mnalc ind PtintiDg,..'(t>lun, tM. S6 

Arditi, hii opera La Spia.tct., *ii<. t03 

Auber: hii MaianitSo, yii. 15,13 ; leanj Ball, Tii. 106 1 

li<t or bi> worka, Tii. 13S 

ADlomatDaCliHnelpliJer, Tiii. «» 

Bach, J. B. : hii lilk and warka hj Forkcl, Tiii. S6, 33, 41, 

49. 68, 66, T4, St, 90, 10G, lU, III. 
BeelhoTBD: hia Chor^ FantMia. played bj CUra Schn- 



ITVZ>E3: 



" Friend 



(i/D^BUnn.) 43,50,117; hia Sympboniei 
of Art,") 73.81.89,37-, hia Choral SymphonT,' 
Tiii. 171. ITS, 179, IBS j SaTenUi Symphonj, Ti.i.mr; 
Paatoral do., 101; C minor do., 133; LeoTuira Ortr- 
turs, Tiii. 86 ; Sonata, U$ AdUia. li-i!., Tiii. 1 18 ; Sep- 
tDor.133; Trio in E flat. op. 70, 1T4 ; Trio in G,o|i. 
1, ITSj Adagioin SooaU, Dp.106, 190] B.ind Ooethe, 
LetDO, I3S. 

, StatOB of, b* Crawford j ita eomplelion cele- 
brated in Manicb,Tii. fil, (il,9l. 93; deacribed,93i 
ia inaooaralion in Beaton. Tiii. 164, 167, 173, 181. 

— -.^utoette of, bj W. W. StoiTr Tiii, 38 

Bellini, V. N. Y. Mia. OaxtUt.iii. 68.91 

Berliot, Hector: hie Tt Dtmn, Til. 8fi: Harold. 140. 

Birminiham Town Hall Tii. 199 

Biabop. Sir Heniy, hia death, Tii. TO 

Blind. Mnaic among the ni. Ill, lU 

Bobolink, The irrtif , tIi. 58 

Boot), Fnncta, A TtDttan bj rii. 199 

BoatOB Tbeatre, Tii. 107; Huaic Hall. Tiii, 108. 

Bnihan, John, hia death, Londan Tlimci, *iii. 1S7 

ibna, Jnhinnea. Trio in B Hal, tiii. lOt. 109, 110 

■ a,F,, hia "Rip Van WinUe," Tiii. 6j hia 



Field, John, Me moirt of, Tii. 139 1 and llnmrnel 148 

Fine Arta , Tii. SS; new muaeam in Berlin, 43, jil ; 
Gothio architecture, 140; Chandler and Clapp'a new 
rooma, 143 ; " Miater Brown'a " Tiewa, 179 ; T. Ball, 



Ma,M>inoel, the eUer, Sketch or Tii. 304 

rge IV„ hia band riii. 16 

nan mDaieal AeliTal in New York,, .lii. 99, 100. 117 

■ •German Theatre. Sbiliatica of, Tit. 174 

Gleea. F.niliah, fibfarfA.Tii.3S;iroeaiTof.....Tiii. 43 

Glack.Lib oT, reTiewed, .JUesMni,. Vii. 178,186 

" God aare the King," Ori^n of, Yii. tOS 

GoMachmidt, Mne. Jenaj Lind, her adTice to one 
learning to aing. Tiii. S, IIT. 143; her raippear«nca in 
London, 108, IZS. 3U. 148, anecdote of, 111. 
GoOTj, Thee., hii Trio ia E, Tiii. 94; ihort notice of 

him, 110; hi* Sjmphonr in F. 117. 
"Hari 



''itali 



';«ra)lien , , 

Britton, Tbomia, " the mniical . . 

Brown^Misler, IVom the private pepen of. 



ii.7B. 



C an ta U al abort nt , 

Chappell, W., hia Ancient Bonga and Ballada of En( 



land Tiii. 163 

Char^lT Children'i AnniTenatr at St. Pani'a, lii. 146 

Chopin, F.. " an Opna II.." Tii. 113; hi* pntlhamoua 

woriia, 183; Oenrge Sand'* iceonnt of, Tii. 194, !01 

CbiToh Mane, ■' Coanterpoinl'a " hinla Til., 166. 174 

Claadcal Hoale, Tdale Ibr, bj W. Xt^^ tii. G9 

CowcKBT* iw BoiroR : 

SoataT Setter, TB.£,]4,n{ TtU KB 

Hoaleal Bdiuatlon •oeh^, .tU. 0, tIU. Tl, ST 

1. P. GraTca, benllt, tH. IS 

Hendelaaekn Choral BooMt, .tO. », tU. ES. SS 

Maateti roMSiKien tU. SD 

Mr. Bandalari and hll topUa, tU. 88 



A*L 



LajcraueTroD 






ipe, TH. Et. tW. U 

»iLB6,fl6 

thTico 

Tlll£7,I86 

1 DDBHTtL . . . . TlU. ^ S8, BE, 101, IIT, 138. 14ft. !M 

MM AOalaMa PhUllpr*, t111.14,M 

Hlla. Paiedl, irlH.B 

ATtiau%llaRaatlT« Union, T«I,fi4,«t 

Hudol and Hardn SoaMj,. . . . .t«I. (B. 71, 78, 101, IW, 166 

Handabeohs Qalntatta Ctab, tUL e& 78, l«,310. 117, 143. 

1«S, 17M90 

Hr andMra-lMdi tIU. 71, 78 

Winien Mavin, tU. 101 

Tba Onrnn Mo,. iia. lOB, ia«, 148, IWI 

OttoPtMH, tUL 118, 174, IN 

Basthoren MitaJ; laaagmtlea of Sttdw, dU. ISI 

Hn-Seltltw, Tffl. 198 

Aoataiir OrahaatikK- tULIIM 

ConoectlGnt Fairr-land Tii. 181 

CoBBKiroltiiiiiCE ; 
New Tnrk : tII. 11. SO. 37, K. 39, 87. 44. SO. 88. 87, 91, lOD, 
186, «6 ; *iU. a. 18. M, 88, BK. 60, 88, 76, 88, fli, 100, 108, 
ITT, 14t. 148. lU, ITSTlSO, 206. Philadelphia : tIU. 88, 4£, 
ra,81, 78. 84, 119.160 OannuiT, tH. 11, 118,117; Till. 77, 
B6,ekl4B. InlT.Tli. S. Paitn.Til. 10, Bcthlaliem, Pa. 
Tli. 108, WaohioctoB, S. C, tU. 8, 20, 100. Mllnnkle, 
Wli., tU. 27, 46. Taantou, Uaaa., tU. 87. Cblaaco, HL, 
tU. 101. 

Co*U, hia ontorio of EK, Tii, 198,103 

Coontrr Singer Teacher, Letter*,iiii. 18, 37, 34, 4S. S0.139 

Country Singing School, The Tiii. 101 

CoTent Garden Thaitre, Burning oT, iriii, 903 

CniTelli in Pan*r Til. 19 

Darlej, F.T. S., hii" Citie* of the Plain,". Tiii. 84 

Diinr AsROAC: 
BaMnrteln'i 8701 phBDj, ill, 1 : Don Aon; Mnibi In Paili, 

60; opera In Berlin ; fllnnk, Mejwbna-, Hoaarl, BMlhoTen, 
WaiBir; Scbnelder'a Latt JiiltmHil, 116; Rtulnli- 
mcH ; Tonna Heierbaer, UO ; Uebli'i Oonmti, lie,, 
IfiB; Prof. Mn; RmbIdI; hlarc^wel for Geimana, fte.. 
Till. 4 1 Berllo, the Dom Choir ; Hoarfa ment moik, 18 ; 
nntHeo Don An; Beealnl'a Iiucrtrff,30; Da Adlrr't 



ofwotkabjWeberand Hudal, 



ijWeber ai 

^-w«, _,.~ TVifciBK, 69; Lvnaa 

(be apldar alorT. 83,01: Charlaj'a "Mop! 
r:" Hardn'a 'rparewtU SyophonT;" Ut 



n uannao^i' 
■rtltllhar.iai. 
Didiie. Nanliei-. Tui. 76 [ in opera,. 



ETerTthinBin a gnat name F. Lint, Tii. 140 

FeetlTala at Hereford ud Bimungfaaai, n. 190, 196 



ilomon" deioi 



___ 53, 61; hia 

!d in Boilmi nii.86, 93, 101,109, 
iio ; ijia own puDiiaher, Tiii. 147. 

flamrd College, Huaic at Til. 136 

Hauler, Miika, in the Sandwich laland*, &c,Tii. S3, IBS 

Henael,FannT, her Trio in D minor Tiii. 174 

Heniler. Eliie.. .vii. XT, 66, 79, 91, 9S, lOt 1 riii. 142. ISl 

Hiller, Ferdinand riii. 78 

How ahill the Orchealra be placed I A. W. T.. Tiii. 67 

ilnBtmmentaUon, Modern, from A. B. Marc^ Tii. 66 

Opera, ita atruelnre Brotm'i l.e{(Fra, Tiii. 162 

Song and Germen muaic; lettera ofJenn}' Lind 



ii. IBS 



J muaic; lettera of Ji 

ind Clan Wieek 

Jaell. Alfred, Tii, 13 

Joachim, the Tioliniat, Tiii. 77, 83 

Krentter, Conradin, fhun the Genntn of Riehl, Tii, 161 

Labliche, Louii, > *iii. 195 

Lagmnge, Hme, De,.Tii. 47, (aee Opera.) 

Leagne for Truth, propoaed U> muaical critica,...Tiii. 38 

Lehmann, Caroline, in Araalerdam Tiii. 103 

Loniing, Albeit, from ihe German of Riehl, ....tii. 169 
Lfrieat Dramatic performidce, Weber'a remarka, Tiii.lSf 

Halibran and Mendetaaohn NmtOo'i T^tnaa, Tii. 90 

Mannera in the Concert Room, Cburter, Tiii. 101 

Maretiek. Hai. Sketch of, Tii. 91 ; hia bocA,Tiii. TO. UT 

Hamillaiae, The, Yii. 135; Rachel in, liii, II 

Man, A, B,, Tranalaliona from, Tii, 111, 1!9, 137, 14S, 153 
Hendel»ahn: ConTrrrotlDna with, br Prof. Lnbe.Tii. 

161, 171, 177; hia SjropbonT in A minor, Tiii. 85; hi* 

Binta-dar obaerTed, 141, 149; hia CArMM.bjHac- 

farren, 193 ; hia Four-part Songa, 197. 

Hetranome, the Electric Tii. 36 

Meyerbeer, ealimaled by Wagner, Tii, 147, 154, hi* 

TOath, 151 ; hii Prophittin Botton, Tiii. 156, 166 

Mllitarr Band*, Onr, Tii, 103, 119, 115, 131: ' " 

Minor Uaaic B.. 

Moiart, A. W., Wagncr'a - 

diaeomred, Tiii. 93; hi* a 

handredth birth-daj, Tiii 

hia Uiaaion (bj Otmriduu.) -m, 1.11, ■-u, ><u. lui, 

170, 178, 186, 193, 101; Ilia Noixt di Figaro, 141; 

Dot Ginmai played in Boalon, 150 : hia manner of 

compoiing, 154, 1T6; hia MSS. remaina, 187, 

MoibR. Leopold, Tiii. 133 

Hoaical Apologiat, The, from PuncA Tii, 113 

HuaiciL ChilCrat : Tii. 4. 11, 36. 61, 61, 68, 76, 93, 

101,109, 117, 115, 133, 141, 166.173.181,197,106: 

Tiii. 6, 14, St, 38, 38. 4T. B5, T9, 94, 103, 111, llB, 121, 

134, 159, 16T, 1T5. 183, 191, 199,506. 

Mnaical CInbi and Partiaa,. Tii 53,68 

Haaical CoDTentiona, Tb TiLlW,157 

Mdiicii. IsTFtLiomci : 

Loral [Boaton and Ne<r England); Til. 7, mis, 3ft, 66, 176, 
ISO, 1B7 i •111.66,88,71, 96, 118, in. Haw loi*; tU. 7, 
28. 81, 88, 149 : Tilt, 16, 4T, 118, Pblladelehia ; tII. IS, 
307. Pvli: Ti[.ia,»,aB.86.140,Ue,188,197;1U,16, 
47, 61, 96, 108, 124, 186, 14ft, 161. London : tII 17, 62. 84, 
108,- 140,140, 190,196; TtH, 13, 108, 118,114.148. 0*1^ 
Diuj : Til, BG, 98. 108. 1S6, 191, 197 1 tUI, 15. 46, 108, 126, 
14s. ItalT : tIL 108, 149, 181. St. PMenbnit : tU. 197 ; 



-Mniical Taate; ha* it improTed among oat. 



135, 1 



, l«ri67, '187'' 



™ -Englan.'-' 
le Life 



n the olden time,. .anwD, Tiii. 155 

>r, \>j Mane, TiL 111. 119. 137. 146, 

io;i, ine eiponent of emotion, J. H- TiL 133, 133, 

163, 1T3; itanaBa,Tii. 186; bj aleam, Tii. 195. 

IWew York Philhumonic Societj, Tiii. 37 

Nef.Jennj, Th.IOT 

Onalow.G., Hilavj'i Eulogy on liii. 61 

Opera bv a Spirit. BptrOual TtUgraph, Tiii. 139 

Opera, E:ngliah, Sir H. IL Biahop, Tii. 35 

Opera Hnuie* in Parte,. Tiii. 100 



Enitltih Opera, Pjne at 
Lagnntce Tim 



e, tIi, 83, W, 77, 87. 



rT PaJne'i Trnape ; LacmB(e, Beiaakr, IHdJte, fca,, tOI. 

IS*, 143, 160, 166,168. 

Opera in New York. Iiee Hon, Intetligenee.) Tii, 19, 37. 

46,68.149. IT3,10a| riii, 6. 19, 83, 116, 133. 131 

Opera, Wagner'a riewi of, Tii. 108, 113,130, 138, 147, IM 

Open, the queatloo oT pncea„ riii. 19, 116, 133, 131 

Or^n-piaving of Mr. Hoi^n rii, 157 

Oi^ni; Seidel'i book, tLi. Zl; new nrgan bTSimmoi 
dc Co,, 38; Drgana at Dnblio, Londaa. Frajbont 
Btnlcgut, Lndwigibnrg, dec, Til, 17, 33, '* 



0, FreTborgh, 
49, 106, Tiii. 9 



li.|0^ 



in. 

piano Forte, The, Firaide Jovnal, rii. 34; imprnTf. 
menta in, 135. 169, 199, ; letter iboul, br " Well- 
known," rii. 186 i ita niee, 189, 198. 

Piccolomini, Signora Maria riii. 91 

Playing peaple oat Pimd, rii. 166 

Pleyel, Canille, death of, 

POETRT : 

ThaBdIaefTenlte, 



FbiberinH^B fliea,. . . 



he^tai,,. 



..1. J., Tli. II 
C. Mu'iat, 19 

, -.---.- -,,,. ^, Lov^L 67 

The OoiuKntloa of the Inbnt, ftom A. OrVn, C. T, B 76 

iBTltaMh™, J. kj>«vU,S8 

Robert otLhKoln, w, C, Aynu, 116 

SonneUoNlriil, From Ihe Uma, TTT. .VH 

The Tlirai FlabenHO ; Boni,. . . . aorl'i Kir^Ay, IXI, 133 

"i>«|H0 
.™,148 
i>o. 168 

ih'lSS 
....196 
., Till 10 

27 

18 

rmm- JtuOttin, 84 

«,■ Bn.K.L FrQlkimiAam,t!, 

B.P.SkSiiarT.K 

Brboad Sllenre, a t<onnet, £>k/v».6S 

The Pmler and hk Sitter, C P. (>iincil.124 

Jdaate^ngnaa of ItanMloIha,. ■> ■ — ■" 



Ta the ftada. From Ihg On^. . . 



Wbhlnga nan 
OrtentaUiugM 

ThaBfM 
KlelT.I! 
AaOldl 





nW™ 
























ranalat.! from VUanJ... 






















iKn 


PopnlB'. 




t«, 




Til 117,106 










rii, 107 
















Priw long* 






,...rir 


304 


«aikea 

Racbein 








.76 


BoBton,. 






',; 


Semi>c 




a Sommer Tuat: rii. I 


, M, 33. 41, 



ii. 1,9. 
Rktiw, Hdsical : 
WWa PnMlonlloin ; Bnnii of Honrt ; Harp of KiIt, tII. 
64184, riU. 198 ; Thlbrrt'- L'An du Ckau, tU, 6^'tIU: 
87IB0; Onrtuie to VtmtOiurt ; Zennir> Cburcli Hn- 
ahrii. 181 ; OllTW^ FcKBliai'i Ct^i^nin.ia-.Jiulii*; 
Smlholj Oabome, 168; Uian I'a Snp<, 189; Onu 
I^e, tUI. 91 ; HwidalBlotan'a Fanr-pait Bonn, 197 ' 
SiRB, ks. of Hoaart; aatUT*! mmpodOona ; fieBril'a 
laHi; CeneoBa'a BienlH*, 199. 
" — ■-, do; eooga of Bobobert, FmoB, 4i " "" 



•' CODIU* 



II. 199, 
llo>a do,; Oriu DKlDdiaa, 1 



ly, TlU 94 ; 



.., .- 68; Rtnet 

tH»1, Til. 181 ; Caroli •»- Cbrkilnua Tide, 

iTello'i Hoiicel Library ; gtldil on the ornn, tu a. 

Bd ft Oo.'i pnblkatlona: Ttntieri; CaMny; Setter; 

labert; tII. 186; Stephen Heller; Onmy; Bpladler 

runner, 141; Uperatle BmngemeDle Itai plana, ill, 160; 

ggrinl'a SMr&i Kmitat'i, tUI 91, 189 { Sana and Trioa 

nm Italian Opera*; Bnnclea of Moavt and Beettaoren ; 

aBTTT: mlKW jdecei, 198. 

Bmee Hauia'a pablteatlooi ; Bonei, Mikai. ke., ill 141. 

S(ibartbkCa,^do,:TUl, ua. ' 

RieFerdinand H. F. CHorby, rii. 19 

Riari, the actreaa, JViftuM, rii. 133 

Rniul, hi* WUtiam rtU. rii, 19, 61; hi* Contt On, 
n, !„._ .ii 93_ 99_ 107^ igg, Riehnrd Wag. 



ricwof.rii. 131: 



it for Gen 



■, ..,. ._„™, iOiFerd,'"Hmef'aciiaiwiui.Tiii, 

( 65, 73, 81, 89, 97, 105, 113, 131, 138. 

BButein, A. rii. 6, 143; Tiii. 141, 143 

Sarr. OnrtBT yij,a 

Sn-Coburg, Ihe Duke of, hia opera, Btmta Chtara, rii. 

3, riii. 61, fit 
Sabert, Frani, hi*E flat Trio, rii. 6; Quartet, riii. 94; 

compared with Robert Fnni, tiii. |G9 

" n, Clara, by Fran* Uail, rii. 1, 9[ and Robert, 



i.lT; her ._. 

imann, Robert : hia CarniTal, 

>bo1ew*ki, IS; S. and Rnbinatein, 143; Robert 



of by 

Sior Ma^oni, (a iFanl»ay>iece,fViiVi'o6' Yl4,'iii' 119 

Sie thing for CnoruaSingen, a, riii. 110 

Sithard, L. H., rii. 61 ; hia muiic performed, 166, 173 

aCecilia riii. 197 

adiy ETening Concerta, acir in PtoTidenca, Tiii. 90 

Si phony a I Borne BtrHox, mi. 3C> 

Siphony Programmea, Tiii, 136 

'fach,aB to iaatmmentand Bi^er,....Siihimtm, rii. 155 
Ith before Effect, or "Lind tterma Italy,".. ..riiL 117 
>dl, hia TVoeotore, Tii, 46, 70, 83, riii. 134, 14G ; Rig- 
tUtla. Tii. 74, 87; 5idliini Vtipm, tII. 116. 113. 

Vy Clieaical Mm. GoitHe, rii.l 

-Tluoioe and Virtuoaity, from the German of" Well- 
..rii. 193 



hi* French Horn, 187 

n Li)ndon, rii. 14, 67, 115; letter 



n Italy,,. 



rlin, Tiii. 149, 159 : eitracta from hi* 
■Opeiaand Drama," rii. 108, 113, 130, 138, 147, 154; 
Diariat'i impreiaioni of, TiL 117; letlan about, by 

Prof. Lobe Til, 170 

rebrr, C, M., Ton, hli Dentfere Pente^, riii. 4 

'bilatintide Huaii: on the Rhine, H. F. Ctmrttt, rii 98 



HISTORICAL 
SOCIETY - 






■'•I 



'% fapr of %xi a.nli ITiltratiirf. 



Whole No. 167. 



BOSTON, SATURDAY, APEIL 7, 1855. 



Vol. VII. No. 1. 



PUBLISHED EVERT SATURDAY. 



J. S. DWIGHT, EDITOE AMD PEOPEIETOR. 

EDWARD L. BALCH, PBINTEE. 

ID" OVnOB, ITo. SI Sohool Street, Boston. 



SUBSCRIPTIONS RECEIVED 



I ANDKX ft CO.. ..19 Sooth Kl 



COLBDEN It riBLD, 



OIiABA BCHVMAITir. 

[Probnbl; no othu wom&n «T«r reached to high t 
place Aa an artlat, in Che ephcre of rure, or instrnmeDlal 
music, {If ire except, perhapt, the (itter of Uendei^ 
SOHH, wboee death wu (he preconor of hii oitd, and 
wboee »rt wM only Bienjiied in priyats,) ■> the wife of 
the compoaer, Rubxrt Schdhahs, fbnnerly cetabraled 
ai a pianbt by her maiden name of Cuha Wibce. 
Since the melancholy illneHof her huBbuid [from which 
recent accounts encourage m Co hope that he hiu recov- 
ered) sba baa again beea making a concert tour through 
Uennany. Our " Dieritt " hea already reported of her 
in Berlin, in company with JoAcBiH. She alio played 
a feiF montha since in Weimar, ichcre Liirr was la- 
spired to write ebout her a very long and glowing article 
in the Leipzig Ntat Ztiltckri/i JUr J/ui't, for Deo. 1, 
1864. We propoee In two instHlntents lo tnnalate the 
latter half of it, the first balf being altogether general 
and speculative. — Ed. 

I. 
There can be no more bsppy, more harmoni- 
mm union in the world of An conceivable, tban 
that of the inventing busfaand nith the executing 
wife ; of tbe composer, representing the idea, 
with the fair virtuoso, roalizinf; it ; both standing 
on the highest steps of the Art, altar in re- 
gions to which the mists of commonness can never 
rise. Foetn, both, by feeling ; zealous cherishers 
of their faith, severe guardians of its purity, sub- 
tile expounders of its mystic rites ; with loAily 
aspiring hearts ; their souls glowing with the divine 
afflatus ; irith spotiesa nobility and a pride proper 
to tiieir rank, and armed irith personal character 
corresponding to this nobility and pride, they 
bod], in the moat shining uMnncnt of their youth- 
ful development, in the first bloom of endeavor, 
full of ecstatic ardor and enthusiastic dreams, 
felt themselves drawn to one another, and each 
saw in the other the most sympathetic, most be- 
loved, most exalted image of the god of Art, 



before whom both bowed down in the same fer- 
vent adoration. In the traditJotts of ArtROBERT 
and Clara Schumann will remain a shining 
example of one of the finest bounties of nature, 
that did not separate fay time and space these l;wo 
artists and lovers, who only in and through each 
other could be happy upon earth, but gave them 
their being at a iavorable moment in a CMnmon 
country, so that they might meet, tmite their des- 
tinies in one stream, and merge their hearts in 
one sea of deep intuitions. In no relation will 
the annals of Art separate the memory of both, 
posterity cannot najne them nngly, the future 
will surround both heads with one golden halo, 
and over both brows cause one star to shine, as 
already in our day the pr<£les of the immortal 
pair have been tmiled in one medallion by a cele- 
brated sculptor, (Rietschel.) But alas) only 
the oicellenciea of the one will aller-times enjoy j 
those of the other they will only be able to esti- 
mate from ^e testimony of contemporaries. The 
works of Robert will renuun, while Clara Schu- 
mann's talent only blooms for us 1 TTave we not 
then all the more urgent occasion to pay tiie 
tribute of our homage, our admiration and our 
sympathy to the great artist, to the noble lady, 
who is consecrated by the fire-baptism of the 
holiest glow ? the glow of Art and Poesy, whose 
flames played around her from her early youth, 
of love, whoee noblest feelings lived in her, of 
quickening, efficacious virtue, and lastly of mis- 
fortune, sorrow ? To characterize this Angularly 
high individuality, it would be hard to find better 
wonlB, than those with which ber futnra husband, 
as editor of this very paper, noticed her first 
appearance in Leipzig : " Others make poetry — 
she is a poem." If one were to undertake to add 
anything to these words now, be might say : " If 
many make more noise,. few ^ve so much music." 
We see too often jn our day, unfortunately, 
parents, who, relying upon certain brilliant ex- 
amples, and actuated by motives, which have 
actually nothing b common with the love of the 
Beautiful, wear out and exhaust their children, 
when they show a spark of talent, by merely 
mechanical studies, if the slightest prospect of 
their acquiring some fecility affords them the least 
hope of gain. They waste all upon the att^n- 
ment of a fruidess virtuo^ty, a lor the most part 
soul-less, often senseless delivery of masterworka, 
which for sheer thtmiping uid thrashing cannot 
be comprehended, or else of mediocre produc- 
tions, which do not g^n value by a momentary 

other intellectual development, and are in danger, 
if they be not pr<wiinently gitled, of running 
wild into a purely material deight of hand. Clara 
Wieck is one of those who have ccne out un- 



scathed from a training almost wholly absorbed 
in the practical learning of an instrument. She 
practised from her eviiest childhood as long and 
often longer than her physcal strength held out; 
but unce she was one chosen among the many 
called, her sensibili^ did not become blunted in 
dry toiling after die necessary manual dexterity, 
or extinguished by too long dwelling in the rare 
atmosphere of Art, as flowers wilt in the beams 
of a too Southern stm before their opening ; in 
spite of all this danger it acquired an early 
strength, and unfolded harm<Hiiotisly, which in a 
feminine organization is to be deemed doubly for~ 
tunate. In the facginning It cost her painful 
eflbrts to compel herself to a peinstent tinl, r»- 
pugnant to ber as to all artist natures, which are 
afflicted with a roving imagination, an indolent 
and dreamy spirit, slow to digest its lessons. For 
a long time she had to battle courageously to 
avoid harsh reproaches, to which such tender, 
ex(3table, proud and introverted natures, which 
bear within them the mysterious birth-throes of 
a fair future, are doubly scrfflitivn. Wt have 
been tiild that the young artiil, to nl' im vTi^y left 
SO little leisure in those years for the pleasant 
round of games and sports, which are the fore- 
most charm of childhood's life, felt a partiality 
for kittens, and know no greater joy than to pos- 
sess several of these at a time, and devoto every 
free moment to them ; in short, «o infatuated was 
she with these pets, that obliging friends fre- 
quently found tiiemselves moved to help her to 
elude the watchfulness of the school tyrant, so 
that she gained a few tree moments, wlien his 
back was turned, to take the little purring favor- 
ites into her lap and stroke them. When she 
came back, she would resume her scales with 
fresh indifference, without wasting a complaint 
over her fingers often Ueeding from the caresses 
of her little plaj'-fcllows. 

Through much playing, or rather in spite of 
much playing, there grew in her at last, instead 
of ennui and satiety, as one might well believe, 
an inward understanding of what she pbyed. 
Without doubt she understood music very differ- 
entiy from the way in which they sought to teach 
it to her, and that saved her! Thencefortl\ her 
spirit strove to mount up ever higher into the 
mystic realm of poesy. Soon it required no more 
the presence of a master to keep her to her study ; 
she hod found the golden gate of everlasting 
dreams and plunged with ever growing rapture 
into the element, whose high attrrction she had 
felt and known. She pressed more and more to- 
ward the equator, to breathe amid the flames rf 
Art, at an age, which otherwise is little fitted to 
approach these flames without danger of being 
consumed by them. The rii^ular energy of ber 

zp I h. viv^v rv 



I^O/A-vJ't 



DWIGHT'S JOURNAL OF MUSIC. 



constitution, which has held out ance, in q>ite of 
sQch manifbld triaJs, exertkms and sacrifice!, in 
spile of uninterrupted cares, allowed her even 
then, widiout injury to her health, to live con- 
tinuallT and ever longer in the glowing tropics of 
the soul. Thus she grew up in the land of the 
Ideal, to which youthful spirits undertake dreamy 
excursions, iinBuspccted by the world around her, 
which is uiiacqu»nted with those spheres and 
does not know the imperceptible but sure signs, 
with which the travellers in that wonder-land ore 
quite fiimiliar. There in the nlence of her 
earnest meditation was that highest wisdom hers, 
which suddenly discloses to the artist, what it 
is sought in vain to teach lum after the prescrip- 
tions of the BchocJa. 

When we heard Clara Wieck in Vienna fifteen 
years ago, she drew her hearers after her into 
her poetic world, to which she floated upward in 
a magical car drawn b7 electric sparks and 
Ufted by delicately prismatic but nervously throb- 
Inng winglets. The poeta in this graceful appa- 
rition recoguited a datighter of their Fatherland, 
educated on the same shores, and nourished on 
the same flower pollen ; they strewed pearls and 
■ongs before her and tSted this Benjamin of their 
tribe, who gazing round with wandering and 
inspired look, sbangely smiling, seemed like a 
silent Naiad, ill at home here in the land of 
prose. At her performance of the F minor So- 
nata of Brbthotem all the listenerB believed 
what Grillparzer related : . 
A wrird magiciBD, wcuy of lb( world, 
In sullen hnmoi locked his chuin* all up 
Within ■ dismond CMket, Snnl]' clsaped. 
And threw ths key into the sem, and died. 
The mannikin* hen tried with all their might ; 
In Tain I no tool can pick the flintf lock, 
Hi> ^agfc art* (till slumber, like Iheir maater. 
A shepheKd's child, along the aefc-ahorc playing. 
Watches the waves, in hurrying, idle chaie. 
Srnmitig and thoughtleaa, aa young maldma are. 
She dippelh ber white fingers in (he flood. 
And graapi and lifts and holda it I 'Tis the key. 
Up springs ahe, up, hn heart still beating higher, 
The caaket glancea aa with eyes before her. 
The key fits well, up flies the lid. The apiriu 
AU mount aloft, then bow themselTcs subnuMiTa 
To Ibis their gradons, lonoeent sweet mistress, 
"Who with white flngsn guides them in her pisy. 
What other panion bendea love could bring 
Iwck to tlua eartb a genius so naturalised and 
made at home upon the heights of musical thought 
and feeling ? And for whom could she feel a love 
worthy of borself, her dreams apd longings, 
except for an artist tike herself who ulent, intro- 
verted, munng as she mnsed, was wont to wander 
through the balMm groves of the Ideal, to relate 
in the language of tones the wonders there re- 
vealed 7 Two souls in their essence so entirely 
kindred must have kneeled before each otber on 
first meeting, as the chronicle relates of the first 
interriew c€ Uaria of Burgundy with Maximilian 
of Austria, which adds : (ant tmtrveUlii furent 
iU de latr nouU grand* heauti ti gtntiUttte 
MultKllt. DH not our artists also, like that 
royal pair of lovers, inwardly exclaim aflier the 
first shock of wonder and amazement: "Oh, 
bow beautifid I " Ai^ must they not, merging 
themselves in the concord of their two natures, 
have mntually dedicated and yielded themselves 

3> to one another? Their destinies were ful- 
led in this mutual love blossoming under the 
benign beams of Art, and thenceforth " his IHe 
was all for poetry, Itor poetry was in her life." 



Kadune Ehmtsg, 

[The rollowing teller, addressed by the Conat de 
Boast, haaband of tbe late celebrated vocalist, to a 
friend <a Pari*. <• tranalated, by tha London Mnieai 
Wmiiftnta Lt VrWitreL) 

It is now nearly five months since .1 left her 
tomb, and I am stiJI as broken-hearted and mise- 
rable as on the day of her death. The generous 
but useless endeavors of my relations to alleviate 
my loss, and even ihe presence of my beloved 
children, sadden rather than console me, particu- 
larly when I think of the happiness their dear 
mother wonld have felt in witnessing the great 
success of her favorite daughter, whom all find so 
charming in those qualities of educalion. heart, 
and musical feeling, which my lamented Henrielte 
made such elforts to dovelope under her own 
direction. All now is lost forever, to me, to my 
children, and to the world, which i\t knew how 
to charm as much as she did her own domestic 
circle, by a talent which was never more perfect 
than when the decree of Providence arrested it 
in ils career. It is impossible for me to tell you 
what myself and my poor children suffer from a 
wound that time will scarcely heal ; more espe- 
cially my little Marie, who is only beginning to 
recover somewhat from the terrible blow given to 
her dearest and best affections. Pious as she is, 
(and permit me to add as I am myself,) we have 
appreciated in the hishest degree the proof of 
afiection shown by Mile. Alphonsine Lemit (in 
the services at La Madeleine) in favor of one 
who had vowed to bestow npon her a mother's 
interest, and would have kept the vow if the 
Almighty had permitted her to realtxe Ihe project 
of fixing her residence in Paris, as we had de- 
cided. Alas I it only remains for us now to honor 
ber memory in our prayers, and to endeavor to 
stifle the bitter feelings which all of as experience 
in thinking of the fate of that unhappy mother 
who, aa the price of her noble and indefatigable 
devotion, died, and died even at tbe moment 
when she was counting tbe days and Ihe hours 
that would bring her back to her beloved chil- 
dren, and recompense ber for all her troubles and 
anxieties. Lh us hope, my dear and good friend, 
that Heaven, in ils just mercy, has reserved for 
her tbe reward of her good works, in the enjoy- 
ment of a happiness of which we cannot measura 
Ihe extent; and in tmlh it is not she, but our- 
selves, who are Ihe most to be pitied. 

I am waiting for the arrival at Hamburg of 
her dear mortal remains, in order to go there and 
meet them ; I shall then accompany them to their 
last resling place, in tbe Convent of Maria Jfaal, 
near Dresden, where her sister is a nun, and 
where, in consequence, the holy prayers of those 
who loved her most will not be wanting. I am 
having a small chapel built there, with two tombs, 
and, after satis^ing this wish of my heart, I re- 
turn to my faqity. 

I shall meet you, no doubt, in the spring, hut 
will not promise you that tbe pleasure of seeing 
j>ou will be exempt from all sadness. It will be 
impowible (or me to separate your presence from 
tbe remembrance of my dear Henriette ; tbe idea 
of being able to talk of the angel whom I have 
lost with those who feel as you do, has, however, 
its consolation. Besides, it will be delightful to 
renew the friendship of Mile. Alphonsine and my 
dear Marie, by bringing them together again for 
a short time. 



IKuy Abroad.— Ho. 14. 

BlBLlK, FA. S — RoBiNarxui again I tiast evening ti 
the coDcert liail of tbe theatre be (ave hi* second eoi> 
cert with the follow 

vlUi ONbaatn, liy 
TranUn Tularins. 




6. Bimnd fljnphDay In B Su, b; RablBMitB. 

What to record of my Impresska I do not know. It 
seemed to me doling tbe whole evenleg that I wa* ear- 
tied back sixty yaaia to ooa of Bxrhovui'b aonnal 



eoneerts in TIanna. The "pianlsm," to use a word of 
Msw "^aft. coinage, I believe, was of tbat imnMnsaly 
pirwvfnl, paaaknaie ohataeler, wbtch da^i^g all ihe 
mete flmnsues ind niceties of the schools and sahMU, 
exerts Its perfect command of the Instrament, only (br 
Ihe purpoae of expreialng (Mllngs and oinslcsl Mas*. 
Aa wllh JoACHiH and bit violin, so RnbloBteln lias no 
□lore difficnltlei to conquer. One of onr musicians of 
tome note hen (band this, that and the other faolt with 
Rubimtain's playing. It csme to the Ban of one at* tha 
ddett and most dlttinguithed pmfesaors. "Tell him," 
said he, " he may think himself happy when he begin* 
to play like him I" 

A* lo the flnt part of the ooneert all agree. The 
grealDsss of BobiDslein'* playing, tha origiDalily and 
depth of hi* mmleat thonghts, and tbe extreme akill 
with which npon lbs piano, he aiprMaai them, admit 
of nodiipate. For theflnt time In my life have I heard 
■ ptanlal plaj his own compoeiUons, withonl wishing ha 
would teara this finger trash and give something from 
CnopiK, Uehdelbsohk, or dder oompoean. BecauM 
I speak of the immenae power of his playing, do not 
imagine that he cannot be delicsle — tbe sofleat sephyi* 
breatheafter the terriflc tbundsntom— I am generally 
more impresaed with the little beaaUes than wiih the 
ginnt sublimity of Niagara. 

As to the Symphony, It is hard to speak of it, s<W 
once hearing. Then are those, and Indeed of the flnt 
class, which an a* well nndentood on the first beariDg 
a* op the hundredth ; then an those which an beneath 
all rank, which ara never nndentood. It la etgmlly Im- 
pcesible to see the tiottom of Lake Superior and of Ijike 
Erie — the former is deep, tha latter mnddy. Kj com- 
panion was exceedingly pieased-^e felt ii lo be entirely 
original — and indeed it* power and orlgluality seemed to 
be its grsnd eharaoteristics. I agna with him in a 
gnat measure; ha was perlisps moat pleased with the 
Andante; I Ihooghl the TDoatilriking and original move- 
ment lo be the Scherro. Reu.stab's article upon the 
flnt concert contains much with which I enulsynipa' 
thize. It does aeem as tT Joachim woa ponuing 
the wiser coarse in devoting himself to a most thomugh 
alndy of the Orchuira, and gaining a wide experisnca 
in tbe art of eipreaaing his ideas twfora coming befon 
1h< public as oaiDposar on so grand a •oale. At 
timet I thongfat It not difficult la see, that Rubinstein 
bad not ftally cueceeded iu making his idea clear, while 
the grandeur t>X the thought wa* evidenL Beelhoren at 
hi> Age waa again going through a tborough coarse of 
harmony and oounlerpcHnt with ALBBKCBTaHEROBR, 
and waa (hne yean older tnTore he |Ki>dBCed an oTGhes- 
tral work in pnblio. 

1 have heard this winter many oiehettral works of 
young, or at least not much known, compoMra; bat 
nothing bas approached in bnportanca what waa last 
night produced in the theatre hall. If be sboold not 
spilt upon tbe rook on which so many have been kiet — a 
want of thorongh, seven atudy Id tbe grammar and 
rhetoric, so to speak, of music— in the technlaailtle* of 
Ihe Art, why may we not expect great thlngsof him? 
I never think of him but aa a young Beethoven— can 
there be a higher compliment? 

FA. 11 —One thing occnn to ma, worthy of a placa 

in my jotlingt, in ooanectioo with Ruljinaleln'a concert. 
And that ia tbe conduct of the audience. A large pro- 
portion of Ihoaa present came with fVee tickets, and 
showed their appnclationf I) of Ihe concert giver by 
talking, kiogbing, going oot Iwfon the oloae, and all tbat 
scst of thing. In a manner I had not dreamed of here. 
I had to leave tha main floor and seek a place In tha 
gallery, to hear at all. Tbe wiMst behaved audience, by 
all odda, at the performance of good mualc, which I ever 
saw wa* that — moally young women — which but winter 
and winter before I used lo lee (and bear] at tha Phil- 
harmonic nhaaraal* In New York. Bnt these wsn 
only nhaarsals. Eubjuateia'a aadieace bote Ihe palm at 
regular concerts. 
Ah, how the Germans love and appreciate muilot 



Tkry Ci.A8aiCAi~"— a recent nomber of the 
Mtuieal GautU has the following clever jeu 

Not long since, as a gentleman who is well 
kaown in this city as a thorough musician and an 



BOSTON, APRIL 7, 1855. 



Mcomplisbed artirt, wu contemphtiog from his 
parlor window the antica of a monkey, belonging 
to an oritan grinder io the «tn>«t, who wu tor- 
turing his organ and our friend with a vlndii^tive 
pertinacity, of which only organ grinders are ca- 
pable, he — the tortured friend and muaician — was 
surprised at the appearance of a dashing equi- 
page threading the numbte street in which he re- 
sided. So seldom was anything vehicular of 
more Ttcherchi and prolentious qualitj than the 
butcher's, baker's, or milkman's cart, seen in the 
street, that the appearance of the equipage 
caused much commotion among the simple-minded 
inhabitants, and completely ei.lipaed the organ 
grinder and his monkey, who indignantly retired ; 
the latter taking its revenge in aiaking hideons 
faces at the footman, who formed a portion of the 
new arrisal. Our musical friend observed that 
the approaching establisbtnent consisted of two 
^»nking bay horses, arrayed in resplendent sil- 
ver-plated harness; a fasnianable and cosily car- 
riage; a sumptuously dressed and beautiful lady, 
half reclining on the cushiotu; a burly coach- 
man on the box, and two footmen behind, adorned 
with daubing liveiy. Where, soliloquized our 
musical friend, where can this beautiful creature 
be going? He was answered by the earn ^ 
stopping before bis own door; and before he 
could overcome the astonishment consequent 
thereupon, his servant-girl broagbt him a card, 
on whiub was inscribed the name of one of the 
richest ladies in New York. The lady sought 
him most unequivocally; and with mingled feel- 
ings of surprise and vanity, he awaited her ap- 
proach, in his modest little parlor. She soon 
came. She hoped she had the pleasure of ad- 
dres8in{| Mr. Sthphokt: she bad. She was 
glad ot it. She was going to pye a classical 
musical soir^, on a scale of magni^cence hitherto 
unprecedented, and utterly reeardless of expense. 
It was to be ttrietly cUugical; and of course a 
strictly classical musical soir^ could ticA well be 
civen without the aid of Mr. Symphony and his 
band. Would Mr. Symphony and his band as- 
sist? The price was of no coneequence; the 
utmost classical nesa, at whatever cost, was to be 
secured. Mr. Symphony was charmed — equally 
with the good taste and the libemlily of theli ' 
be would be happ^ — exceedingly happy 
tribute his feeble aid, and he would also ini 
attendance of his band. But when was the smr^e 
to take place ? Oh I it would lake place very soon. 
But would Mr. Symphony be so kind as tp call at 
the lady's residence, on the following Thursday, 
for the purpose of giving his valuable opinion as to 
the arrangement ol' the room so as to secure the 
best musical effects, etc. ? Mr. Symphouj' would 
be happy to call The lady retired ; the carriage 
rolled away, and Mr. Symphony began to indulge 
in a brighter dream for muw^al Art in America- 
Tbat lovely creature, so enthusiastic for the classi- 
cal in music, and so regardless of expense, would 
certainlygive Art ^n impetus, etc Mr. Symphony 
permitted himself to cherish the wildest hopes, 



He said to himself that it would never come ; but 
it did come, neverthelets, and with it came the 
carriage, coachman, and footman, and a note from 
the lady, informing Mr. Symphony that the car- 
riage had been sent for him. What an honor 1 
How considerate 1 Mr. Symphony entered the 
carriage, and soon arrived at the stupendous man- 
sion of his fair patroness, in Fif>b Avenue. He 
was ushered into an imposing and gorgeously fur- 
nished suit of rooms. The lady soon entered, as 
handsome and clasncal as ever, and seemingly as 
regardless ef expense. She greeted Mr. Sym- 
phony cordially. She conducted him here; she 
conducted him there. How will this do? how 
will that do z Remember, Mr. Symphony, every 
thing a to be of the most classical order. O yes I 
Mr. Symphony keeps that constantly in mind, 
and ventures a compliment on the lady's taate. 
He then mentioned various compositions ol' Haydn, 
Mozart, Beethoven, and others, which he thinka 
it would be well to introduce ; not the entire 
works, that would perhapi be to tiresome for inch 
ao occasion ; but the most effective and beat appre- 
dated movements irf' them. Yes, certwnly, that 






would be very nice. But the lady wished Mr. 
Symphony *' to open the whole affair," and 



opening chorus of ^TTiani. Next, she would have 
played the sextet from Lueia; next, jullien's 
PtTtmen't Quadrille; next — but here, to the as- 
tonishment of the lady, Mr. Symphony executed 
a fuffoe across the parlor, through the hall, out at 
the door, and down the avenue ; and sbe has 
never been able to set eyes on him since. 



Itusi4at C^ c It It e&0i>n denize. 



From W ABHUrOTON, D. O. 

HiKCH 29,— For about ■ week past our city has 
been a wind-instrument, whose only music how- 
ever hsi been a prevalent pneumooie cooghing. 
Whether it ii the President's vetoes, or the SouM 
correspondence, or the Cisr'a death that have 
been sowing the wind, we hsve certainly been 
reaping the whirlwind. Under such eircnmslaDces, 
though I bad heard some good music, and had 
read the Journal, it wss impossible to have writ- 
ten a good-natured letter, as I wanted to,— even if 
there had been a possibility of getting it to the 
post office without being blown away. 

Since I last wrote we have bad two or three 
pretty fair concerts here, — the best of which was 
Paul Jollier's; whose violin reminds you of thai 
famous one whose maker caught in it the spirit 
ot hii dying mother, and whkh ever after gave 
[ortb a tone as of an imprisoned soul. But 
the Utcsl thing ii something which for originally, 
individuility, and all that sort of thing, beats even 
your own city of Iims and Eccentricities. This 
is no other than a Soirie ol Robeit Helleb's, 
held at Caruii's Saloon last week. Part 1 ; Piano- 
forte music. Part 2; three t'*")! experiments 
neeromanlici Heller's a genius. He saw what 
Waabinglon wanted ; be gave the supply, it 
brought him money and repulaliOB. 

The concert wai opened wilb the Sanata Pa- 
thttiqiu. 1 was agreeably surprised. Of all Beit- 
hovin's music this was the last 1 shonld hare as- 
sociated with Heller. I had many Boston memo- 
ries of Heller : of how at our afternoon concerts 
he used to come forth, lit down quickly and in 
nine cases out often play that little ithtrxa at 
Mehdilgsobn's youth — until once some of us 
raised a hiss, which attracted a gaze from the 
crowd iimilar to little Oliver when he asked for 
"more." It was clear Heller was not aware of 
the importance of our Wedneeday afternoons. 
.\nd then at the subscriptions he played concertos 
faithfully. 

His fingers are manifestly in better plight now. 
And the Sonata was charming. The second part 
of the first movement. Allegro molto a con brio, 
was given to a wonder. But I trembled (br the 
second. I had heard Dkeskl play it, and sup- 
posed I should never hear it again. But Heller 
had studied it thoroDghly, and the fascinating 
Adsgio did not snOer. The other good music he 
had, consisted of the following Litdir o\nt Worte : 
No. 1, first book ; No. 6, third hook ; No. fl, filth 
hook. Rsther ambitious certainly, but still such 
a treat to hear at all. that 1 had not the heart to 
criticize. Tqalbebo's Sonnambula Fantasie, and 
some selectioBS from his own (Heller's) works at- 
Iraoted more applause than the others. 

Heller is certainly a remarkable performer, 
chiefly so ttom his marvellous Intrepidity, cool- 
ness. Tbe most rapid pnUidigitatioH [a phrase I 
remember you used to apply to him as apropos of 
his profession) does not seam to excite anything 
more than bis knuckles. I rather suspect it was 
tbe laek of a better piano that made his perform- 
ance of pieces that hare so olten penetrated me 



through and through, only enlist my admiration of 

his skill. 

But of Heller's " Drum of the Spirits." " Mar- 
vellous Orange Tree," " Second-Sight Mystery," 
I have no words to express my admirslion. ' 
Second-Sight produces the greatest excitement 
here, and convinces many that Robert Heller is 
certainly a near friend of Robert le DIalile. 

I was better pleased with the first Song without 
Words, as I heard it two evenings afterward at -Mr. 
L.'s,lhaaas Heller performed it. Before tbequar- 
tet assembled, it was performed on the piano and 
violoncello. I wish those beanliOil arrangementa 
of CzBBHv'a were more common. We also bad 
on this occasion Mendelssohn's first and second 
Qaarteta. The first of these [ have beard several 

strained than Mendelssohn's usual style; somen 
as the first Symphony of Beethoven has, as being not 
exactly individual and natural. We had, as a con- 
clusion, the EroUa, which I listened to in the 
lighter Wxansa's analysis; which, however, like 
every other analysis I ever read of Beethoven's 
ransie, did me no good, and was soon forgotten. 

Iroio ZTAI.T. 
LxoHOKir, Fza. it. — I promised to tall yon some- 
thing sboul wbst 1 hid seen, or rather heard, in the 
mntical way since I bsve been wandering in that tend 
known, par erctllnin, si "the Lind of Song," P 
my uperienca it appeaia rather i misnomer. All 
as much so as the hackneyed apitbel of "sunny din 
which the illemste atornii of SDow and nin, which have 
attended onr Italian pilgiinsge in sesrcb of sunabiee, 

la Venice, whare ws stopped some weeks, we heard a 
aufficieel fuimlitjr of Open, to be sure, — bol it was 
VzRDi— VxRiii ! The Veneiiani very nalurilly like to 
hear Idut Fotari, even when perfurmed. ai we beard 
it, by I tenor, who shonled thnrngh hie aose in an e 
periting raannei^-a bassn, who raminded ma of tbe 
maa in the Picwick Pipen that was raqeestnl to "i 
a boy home, to lea if he had nut left his voice under h<a 
pillow {"and a primadonna, who probably asng very well 
indeed ten years ^o. National partialilj sod memory 
of the past may eiense the weakness wfeich aubmii 
be amused three times a week by a moat dolefu! u 
of alternate inandible solos and deafening chomie* ; bet 
no tenable reason could, 1 opise, be slleged for the 
Ihitwasmwith whicb-s certain production, calling itself 
sa opera and denominated L'EAreo (the Jew) wai 
ceived. Perhaps the aspael of the bwiatifDl Tesit 
Fenice put the ladience into good knaior. Certsinly, 
withoal, siceplion it is the most besniifbl theatre 1 1 
seen. The Berlin Opera House may ba equal to it, 
not BOpefinr. There sre no dark reds, no deep greejis, 
giving to a place of amusement the aspect of a mi 
plied cathedral. All ia light, gracefnl, airy. The bases 
sr« closed st the aidss, which adds to tbe cumpletenai 
of the aapecl of tbe hoase, thoagh it destroys tbe indi 
vidnality of the groups ia the boies, only leaving visihl 
tbe fkir, flower-crowned heads, and graceful shoulder 
of the beautiful Vanetiin women. Baantifal they ar< 
not with tba airy grsce of oar lovely eoaolrywomen 
bat with a certain heavy, monumental grandeur, that i 
quite as fascinating in its way. 

I'hey woDid be more agreeable neighbors at the Opera, 
however, if they came there to listen inatead of to I " 
which appears to be their sole object in coming. T 
there sre those insnpporUble white-coated Anstriso 
officers, who go leooging about, talUng in German, aad, 
with the proverUal insolenca of conquemn, utterly dis- 
regarding the hush! hush I which precedes the prima 
donna's grand effort, coolly continuing their sodihle ob- 
aervations on the ladies in the lower row, during the 
laat dyrng apeech and eonfesaion of the aulocky tonorw- 
wbo sings away in the agonies of death, as is the won- 
droaa Ikahion nf that class of hamanily— without in the 
least altractiog their high and mighty altantioiw But I 
am forgeting L'Ebrta. 

This opera is the prodnctioa of an ladividnil denomi- 
nated Signer Oinsirra AeroLiMri, who appears to have 

Pi hy V T\ HU^VZJ V. 



DWIGHT'S JOURNAL OF MUSIC. 



itad hia lit* to ■ diligent atadj of tha worka nT that 
woodeifiil geniut — Monaiear Verdi. Caitiiolj Verdi i* 
rj great man; he baa roanded a achool — tha clap- 
achuol of maaic! There ia 1 great deal or talk 
It "the Age" jtim now. Home call it the a^ of 
; aame, the age of Paper ; aome, the age at Bronie. 
Were I to give it * n«me, I ahnutd call it the "Age of 
Noiae." Noiac, naiae, e rer; where— fram the heighta of 
Serailopol, to the boarda of La Fenice. The higbeit 
e tint can be bealowed upon (he eraek achnlar of 
blic Bchoot ii the magniloquent prophecjF— " That'a 

daencea of thii all-perrading reatura oT the preaent 

nee, which ia oiled, " the Science of Sound*," but 
;h bid* Tiirere long to become "the Art of Noiie." 
he alory of Signer Appoltoni'a opera ia taken Tram 
«er'a noTel, " Leila i or the Siege oT Grenada." 
argument ia briefly thia : 

aachar i* a Jew, hat ■ d*itghler ninied Leila, in 
lo*e with Adel Muta, a general in the aroij of Boabdit 
el Chico, king of the Moon. Said laaachar betn^a the 
Mooriab king to Ferdinand of Atragon, and leaTei hia 
[hter in the Spaniah camp aa a pledge of hia fidelity, 
a becomea ■ conTart to ChtiaUaoilf, and laaachar, 
happening, bj one of Iboee inconTenient chancea con- 
nion to operaa, to be prowting about the Chriatian tenta 
>a ahe ii about being biptiied. raahea in, and In the 
inidM of an uproar perfeetlf iodeeeribJible, conaideratalj 
■laba her to the heart — thua pntting an end to her aaf- 
igi and thoae of the audience together. OT courae 
the Odiliiquea, compoaing the harem or Boabdil el 
Chico, diTert thai monarch bj dancea. An Opera ia 
ling Bon-t-AtyM iiilhaut an interpolated ballet ; 
wbieb being generally perTormed bj a aet of incapablea, 
wbtf dare not appear in the regular ballet (br fur of 
being hiaaed 09" the atage, i* particuiarlj' agreeable and 
letic in the higheet degree. Of conree Adel Muia 
a a aereaade behind the eeenee. The part of the 
Adel Muia waa performed bj Signer Niqriiti, the 
' indiTldual on the atage irhoae Toice waa audible, 
•loept at interrala. How hoerae he muat hare been 
■fter the opera waa oTer, I ahndder to think! Of coatx 
lachar cnraea hia daughter upon diacorering her affec- 
>B far the Hooriah general. It ia tho regolar thing, 
laao Fathen alwaja curae their danghten ; it ahowa off 
B low noiea. OT courae Leila ainga a hrarun aung 
after ahfl baa b^yn mortallj wounded. Of conrae there 
. mjateriouB choma oT conapintnn under grpund. 
I ccHild'nt be let ofi' from that; it made too great* 
n £maiH'. For the eanie reuon it wa* impentitalj 
Beceaaar; that the troopa of the king of Airagon abould 
much upon the itage, iccompaDied bj a craabiag, claah' 
ing. Ihandering militar; band, at the entrance of which 
I heardananrortgute Freacbman behind me eidaim, 
" Jfon I>l«i, qati lop^gi !" O dear, it makea mj head 
nohe to think of it ! OT conn* the orcheatia drowned 
the aingerx upon eTerj poaaible occaaien. Of coDiae 
the baaao waa inaudible— the prima donna apaamodic. 
Poor Bar BiEKi-Niiri! howahe>trnggled,andacreamed, 
threw up Ihoae ridicutoua arma of hern in Tain 
Utempta to appeei fonng and graceful 1 Of oouneeterj 
:t cloeed in ineipreauble noiae and confualoa. 
Ah! the bleaaing of coming out into quiet moonlit 
Venice, and lialenlng to the plaab of the otia of the 
•on-TDcklng gondola*, altar all that noiae and glare 1 O, 
itiful *n thoe* moonlight nighta in Venice, and 
■I iathe aound of the Vaaper chime* tcmaa the *et; 



laotlai 



n lUlj, 






Tbere la one branch of mnaic cultirated 
which ia aadi; neglected ereiywhere elae wbei 
ever been*— that of chiming ball*. O ho* aoft, ho* 
clear, bow rich, how beuitiful tbef uel eepeciallj in 
Venice, where th*} aound amid that ghoallj alienee, 
aeroea the aleeping aaa. Ia Genoa ihe; tre baantifbllj 
tu; in Piaa wonderfnllf wild and deepj in Milan, soft 
id meUncholf t bat nowhere are the; ao lorelj aa in 
tbit atrange, aea-girt cilj of aileaca, where Ibej aaem to 
aing an cTerlaating reqnieia for aplendort dead, and tot 



* Ha* out (Wr oonaapOBdenI H 



Jektbotkh that wondroua 
•inin with which hi* laat and grealeat Symphony opena. 
Indeed that whole Hymphon; i* full of the aound of 
bclla. And an I bare wandered home again, like a atra; 
ahaep, from Verdi and hi* clattering crew to BeathoTen. 
Poor Beethoien I how he would griere could he hear 
the ao-called muaic, which ia now rife in Vienna, within 

that miaerable Don Gummni at Vienna I How it 
iDOf murdered I How the audience talked and chat' 
tared; how the orcheatra — one trumpet eicepted — want 
one way, and the aingera another; while the trumpet 
aforeaaid aquaaked and howled entirely independent of 
both I How flTKADIa, Jr. played M IK DILI 90 HH 'a 
Scherao from the "Mldaummer Nigbt'a Dream," loan 
accompaniment of talking, drinking, clattering ofglaaaea 
and raining of apoona, which would hata driren the 
leiat mualcal freqnenUr ofLiebig'a raring mad! J. went 
off in a perfectly incoherent rage. I didn't mind ii— it 
only made me laugh— until the Schano came; then I 
grew deipentely angry certainly. Poor Beethoren I it 
la well he aleepa. No aound can (waka him now. 

1 an afraid the Viennese are bopeleaa. Verdi i* 
belter than Straoai, at all erenta. HoweTer,the mili- 



Urj X 



iitinil brtia band* '. 



The n 



d, I heard in Prague, 
Venice and Milan. The band which need to play on 
Thurwlaya in the Plan San Marco, belonged to a Hun- 
garian regiment, and played Haiurkai and Chardaachia 
in the moat eiquiatle atyle. The muaic of the Hun- 
garian dancea la of the mnat enlirenlng character. Far 
different from the Ruaslan muaic, in which there ia al- 
waya a hidden wail— howe*er quick the moremcnl may 
be. It ia an oil repealed remark that the muaic of 
ilaTea ia alwaya aad. 

opera which 1 heard In the Carlo Felice, at Genoa, an- 



|^asii|al 0^btt-(|hat. 



The Qmner da StaU Unit, (which, tij the waj, it 
one of the most agreeable joumaJs in the coanny,) 
ho* been pabliahing Bome xery ploaeant feuUlOau on 
" ConCemporarf Celebrities," by M. Engine de Mir- 
evoix. From a very enlertaiaing paper on Scbibb, 
WB extract ihia amnaing sketch of the way in which 
the mo<lem opera mairiea ita " perfect mode" nnlo 
" noble word*." It wonid be wrong-, sayi Mire- 
Toix, to suppose that mosic and poeirj, these har- 
monious sisters, live on good terms wjih each other. 
Music mlei poeiiy wiili a rod of iron, she maltreata 
her, clip* her wings, cuts and stasbe* her, like a rerj 
Cinderella, till the poor thing has lo run away end 
^re place to vile prose, who pula on the apoils of the 
fngitiTe, and marches about like one of Macbeth's 
witches in the robe of a Mnse. 

Your great miuiciaD wants no poet, bat rather a 
prose writer with a " Rhyming dictiottar;" under his 
arm, who will dock off hik verses or spin them out 
at tha maalm'i sovereign will and pleasure. By 
woiiting with Cherubini, Meyerbeer, Boildieu, Boa- 
sini, Herold, Anber, and Carafa, Smbe has earned a 
round million of money: but that i* really poor pay 
for the tortures Co which those gentlemen have pat 
him. 

He used to say of Hejerbeer : " Confbnnd him, 
ba treats me like a she-Bsi I " 

His hair has grown grey at this work, for he gen- 
erally has Co destroy on one day all that he had done 
the day before, and so on I0 the end of the chapter. 
" Hera," Meyerbeer w«nld say 10 him, laming down 
a leaf of the libreCCo, " here, we must have a ballad I" 

" Very well 1 " aosweis Scribe. " In what mea- 

" J should like octosyllabic verses, of four line* ia 



'* Theae four-lined verses are absurd, I want ten 
ayllahlei to a line, to suit my mnsic" 

It waa a long piece of business they w«« opon, 
and as Scribe was a m^er of metre, he mast submit. 
He works over the ballad once, twice, twenty ti 
consumes a whole week at the work, and wben he 
hands it to Meyerbeer 'm gialified at seeing it torn 1 

" What the devil is this I What made yon imi 
gine we wanted a laUnd here V 

"11 II why yoji imagined it V 

'■' Did 1 1 Well then, m have made a mistake I " 

Again, meeting Scribe on the boulevard, and ta- 
king hit arm, Meyerbeer whiapen myslerionsly— 

" I had a splendid Idea, lost evening, for 

"Tesl What was itT" 

" I should like to have all the chief persons brought 
together in the fourth act, 10 as to have a Septuor 1" 

But that's impossible 1 " cries Scribe. " The first 
three acts are already written. When jon want such 
a situation as that, yon must prepare the way for it 
fh>m Che beginning." 

" Oh 1 of coarse I It's a tremendons thing to write 
it all over I Bal mj Sepluor I I most have the ^^ 

" Well t well I I will arrange it," says Scribe, with 

He gave six weeks to retouching the play. Meyer- 
beer took the libretto, kept it three years, and iheu 
handed it back Co his friend : " On the whole, after 
reflecting upon the matter, I diink our septuor won't 
do ! " I prefer a monologue ! " 

For the third time the whole piece must be recast 1 
That day Scribe thought seriously of suicida 

All the other composers bave treated him in like 
maimer. Anber cutting the sense of a strophe dean 
in two, Boildieu inverting tbe rhymes, and putting 
prosody lo Che rack, Harold dislodging the ctesaras, 
and Carafa recklessly swelliog a hexameter into 
fourteen feeL 

The friend who bos kindly famished us the fol- 
lowing extract from a letter from the tculptor, 
CaawFOBD, and who ought lo know, asanres us that 
the Status of Bbetbovih, intended for the Boston 
Music Hpll, it an original work, and not a copy from 
the one in Bonn, (I) as lately stated In some of the 
papers. " It was (iniahed two months ago. A n 
cal ' fSto ' is to be held at Mnuich, in honor of tha 
event of the Statue's going to America. Tbe Statue 
will be taken to the Odeon, placed opon a proper 
pedestal, and receive a certain inangnration by having 
some of Beethoven's finest worka performed for the 
occasion. This lias been already announced in the 
Angshnrg Gaietie, and will create quite a sc 
Tbe Statue will he sent, immediately after tbe ci 
mony, to Bremen, and thus reach Boston in 



point out the absnrdily of the 
idea, that a man of Mr. Crawford's fertility of ima- 
gination would set himself to work to make a copy 
of a modern German sCatae j and the stilt greater 
ahanrdity of supposing that an artist would receive 
SQCh a commission from any person or persons. Mr. 
Crawford made fonr or Bve tketchee for this statue 
before fixing npon one which satisfied him. They 
were very different one from the other, and none 
them in the least resembling the Statue in Bonn. 

Oar old friend CaBL BBKaKurK walked into onr 
sanctum yesterday, as fresh as life. He had come by 
lightning train from Chicago, sick enough of tbe 
West, and is engaged to conduct tbe last of the Phil- 
harmonic concerts for this season in New York, on 
the Slat inatant, in place of Mr. Eisfeld, who, we 
grieve to learn, is seriously ill. If Boston docs not 
mean lo yield its favorite condnctor up to New York, 
Boston mnsic-kiven mast be stirring. Meanwhile 



BOSTON, APRIL 7, 1855. 



ira congranlBta the f hUhuvKmic. Mr. William 

ScHCLTzB uiled latt week for £an>p«, te reviut 
hu fiiends io Ocrmuiy. Hs intends to Miarn to as 
in about ihtM monlliB. 

Eaglidi {Mpeis state that Sir Hb»rt R. Bibbop, 
huiWd of Ai(NJLBisaop,M>d composer or alt those 
fine gleei and En^iih opens, it now linog in a itate 
of indigence, M the advanced age of three-acore ten 
and odd. Tliis, if trae, is jnntl; made a matter of 
nproBcb to lo mnsin] a £000117. 

GusTAV Sattbr, whoM piaDo-pIaying is jut 
now all the talk, wai born ai Vienna in February, 
1831, and is eonieqnentljr but twenlf-four year* 
old. Hii father iia diatingaiihed phjaician there, 
■nd he too would hare been trained to that pro- 
feuion, bnt that hii ruling paiiion, Mnsic, battled 
bard against it, and with the aid of fiiendi, pre- 
Tailed. He bad a very early love of the mn^ic of 
MoEart' and Beethoven, and studied )isnl, even 
trying bis hand at the composition of Sonatas, 
lie. The last time that Liszt played in Vienna. 
in 1846, oar yoong pianist was inspired to new 
exeriiona, and practised with an assiduity that 
nothing but a severe illnen could suspend. Ader 
the Revolution in '48, he visited France, England, 
Ireland, Belgium, and the principal cities of Ger- 
many, studying the eompoailioni and the styles of 
playing of the renowned pianists. In Paris he 
made the acquaintance of Cnopcn, whose influ- 
ence strenet'ieued him in the determinatioa to 
study to express the poetry of music, rather than 
to perfoini mere feats of miraculous execution. 
In 1851 be began his public career by the pro- 
duction of A Masi, Gradaale, and Offertorium of 
his own eonpositioo, in the St. Charles Church in 
Vienna. Indeed he seeras to have been extremely 
enterprising in early efforts at original composi- 
tion. Hia Sist concert as a pianist was given in 
Vienna, on the 16th of May, in the same year, 
with a programme entirely of his own worlu, 
Incloding, 1. Overture to "Jnlius Cissr," for 
orchestra ; 3. Trio, for piano, violin and 'rello j 
3. Fantasia on the Frophite; i. Overture to 
Schiller's " Ode to Joy." This Bnccessful debut 
was fallowed by concerts in Oratz, Elagenfurt, 
Laibach (where the Philharmonic Society gave 
him the honorary diplomaj, Trieste and Ve- 
nice. A second visit to Paris was cut abort by 
the irapriMnmept of his father for pariicipaiion in 
the revolution in Vienna. In the year 1853-4 he 
composed a variety of works, both in claiaical 
and smaller forms, which were publiahed in Vi- 
enna and met with a large sals. In the Summer 
begsvehia farewell concert in Vienna, at which 
he played Beettaoren'a Senata appatiionala, Liszt's 
transcription of the " Tell" overture, «nd bis owe 
fantasia on (be Frtt/ichSIx, and led Europe in 
September last for New York, where ha has re- 
mained entirely quiet and unheralded, unlit hi) 
recent debnt in the eoneert of the Philharmonic 
Soeiety. 



gicifihts Joupal 4 Jflusir. 



BOSTON, AFBII. 7. 1865. 



Kr. OntUT Satter'B Conecrt. 
The BMembly at Chickeiing's on MoDday eve- 
ning, though of tlie nxMtappredAtive, was Bot so 
numerals as it should bare been. TIfis was in 
a measure owing, no doubt, to the freezing blast 
which swept through all our streeta so violently 
sU that day and night, and which even beleagured 
the concert room, rattling the windows and moan- 
ing round the honse with a wild aixl crasy sort of 
muse, that ried in noiae with the n<w 



of the Llizt &Dta^ within. J>oubtle9s too, it had 
ila exasperating effect on the nerves ol the young 
artist, lashing him into a more furious fortissimo 
and a more lightning-like volwity toward the 
conelu«on of several of his pieces, sufficiently 
exciting in themselrea. But it was nevertheless 
a very delightful and successful concert. The 
pn^ramme waa remarkable, inttodm-ing the 
au(hence to more of the notable piano composi- 
tions, that were wholly new to them, than ahnoat 
any concert that we can remember. It was indeed 
purely a piano-forte concert, no other instrtmient 
or voice intervening, except the strings in a single 
Trio. But mth MozAKT, Beetsoves, Schu- 
bert, ScHDMANN, Chopix, Liszt, for com- 
posers, with so Bccomplished a virtuoso for jntei^ 
prefer, and bo telling and tractable an instrument 
as that last noble Grand of the Mesars. C bickering, 
to do his bidding, there was spiritually and ma- 
terially enough for a. rare feast of Art. 

Mr. Salter's playing satisfied us best that even- 
ing in the first two pieces. The first was in the 
E\} Trio of Fba>iz Schubert, which be played 
with the brothers Faieb. This is the last of 
Schubert's two Trios, hia hundredth work, written 
but soon before hia early death, (Nov. 1828.) 
The other, in Bf), (which was intended to be 
given, and was so set down in the programme,) 
is supposed to have been written shortly before, 
and was posthumously brought to light. That is 
graceful, tender, dreamy in its character ; but 
this more fiery and impetuous. Especially so the 
first movement, which is full of short, decided 
rhythms, in full chords, giving fine scope for the 
strong and crwp iiaccalo trf Mr. Satter, who cer- 
twnly played it with the utmost neatness, clear- 
ness, and emphatic accent.- The Adagio, too, 
is a deep, solemn, march-like movemmt, full of 
marvellous surprises in modulatien, and surehai|red 
with that strange magnetism, (as indeed the Alle- 
gro also,) with which Schubert's mirac seizes upon 
yon almost as remarkably as Beethoven's. The 
Fin^e, in grandeur of sentiment, sranowhat dis- 
appcnnts ; it opens with a Haydn-like cheerful- 
ness, and runs out to great length, with a continual 
return by all possible processes of modulation of 
a very bright and pleaang theme, which sang 
as sweet as diver bells in the exquisite upper 
octaves of that piano. The whole compoatiim, 
however, is extremely interesting, and abounds 
with every variety of image and eipresrion, (save 
tliat it has scarcely any slow cartlabUe,) so that 
Mr. Satter's mastery in execution and interpre- 
tation was displayed to the highest advantage. 
Schumann says of the E\} Trio, that it is mcae 
active, manly, and dramatic, while that in R\} on 
the contrary is passive, feminine, and lyricaL 

But the most perfect of all Mr. Satter's render- 
ings BO &T, was that of the little Minuet and Trio 
from Mocart's Symphony in £|). It is compara- 
tively a simple thing ; but it required an artist to 
reproduce so bultlessly, so genially, the smooth, 
cool, limpid, even flow, and June-like abnoephere 
of that most Mozartean Allegretto. His playing, 
to say nothing of its exquisite mechanical per- 
fection, expressed all that was in the music. Not 
so entirely with the Beethoven Minnetto, from the 
Sonata in Bjj, (No. S of op. 29.) Itseemed tons 
too fast, and not to contain all that we have whilom 
felt in ctHinection with that. music- Wo speak 
rather of the melodious hCnuetto than of the 
Trio, with its smiting, flashing chords. The 
triplet of little pieces was completed rather hete- 



rogeneoualy by the Coronation March from the 
Prophets, a very brilliant and orchestrally 
crowded arrangement of Mr, Satter's own, which 
he made extremely efiective. 

Then came the grand piece of the evening, 
the Sonata oppaasionata of Beetbovrn, in F 
minor, op. 67. Schindler, in his life of the 
composer, says : " i asked him one day for a key 
to the two Sonatas, op. 67, and the one in 1> 
minor, op. 29, and he replied : read Shakspearo's 
' TempesL' " They certainly arc alike in atmos- 
phere and feeling, and are such music as one 
could fitly hear while reading or remembering 
the " Tempest" But the other is in a more gen- 
tle, graceful, feminine vein (we wish Mr. Satter 
would play it at his next Soiree) ; this, as t\a 
name denotes, is fiery, and impassioned to the 
last degree, a most exciting piece to play, or 
listen to. We thought the first movement was 
superbly executed, tmd it is immensely raj^d, 
difficult and crowded. You feel all the UghtDings 
and commotiona of the elements in ltd wild and 
angry onaweep, and its fitflil pauses; and every 
lltde episode suggests the mingling of human 
tenderness with imaginations marvellous and 
awe-inspiring. The Andante, with its deep, 
wise, solemn theme, in manly, low chords, (Proe- 
pero, shall we fanny ?), and its naturally evolving 
variations, might, it seemed to us, have been 
made more impresdve; we could not feel sure 
that feeUng and conception quite kept pace with 
execution there ; and the wild, wind-like finale 
Presto was taken so extremely fast, although with 
perfect evenness and exactness, that the outline 
was hard to seize; besides that in strength, in 
vehemence, in loudness, it seemed also SMne- 
what overdone. We could not but feel too, on 
the other hand, that some of the finer p^sages 
were treated with a littie ovemiceness of slvle, 
rather than the downright earnestness of Beet- 
hoven. But we shall not have many chances to 
hear such great tone-poema of Beethoven ren- 
dered with such power and such independence 
of their extreme mechanical difficulties. It is 
only that acquaintance with Beethoven makes 
one's ideal ^rribly exacting. We should be but 
too glad to hear Mr. Satter play this Sonata again 
and repeatedly. 

The next piece bore the following strange de- 
scription on the prc^ranune. 



1. FnuDfalei a. V\tmt; 8. AilgqDla; 1. TalH no 
6. Rowbloi; ft FloRitaD i 7. Coqartle; 8. Repli<_ 
i. Bphlnita; 10. Papllloni; 11. Lcttns duuulai 
12. Cbiiriiis ; 13. Chopls i 11. Bnnlli ; IE. Bccan- 
lulMDO^ 16. Pulsion •tCDlomblne; 17. Tilx, 
irikiida ; 18, Paculnl ; IS, Atiq ; W. Pramtni 
a. Psuse; 23. Harckda " DavldslMliidtai " coolr 

This must not be understood to be written lit- 
erally on four notes. It is a queer medley of 
little pieces, of various styles and persona] allu- 
sions, which Schumann in some fi«ak of hia 
younger days strung upon the chance suggestion 
of the four letters componng the name or resi- 
dence of one of his lady friends. The letters 
are A, S, C, H; the H in German sliding for 
our B natural, and S or e* for E fiat Of em 
few of the allusicats and little of the piunt of the 
joke cui be underatood here and now, aniT 
seems hardly a piece for the concert room. Yet 
in BO much as can be traced it possesses a ccrtmn 
historical interest, and illustrates a significant 
period in Uie recent developments of Gennan 



DWIGHT'S JOURNAL OF MtSIC. 



These 



music- The Ldpstg Neue ZtiUehriftJ^ Miait, 
which waa ibunded and for ten jears edited hj 
Scfaumaiu), grew cnt of a ctub of j^oung muncal 
proteatera like himself, who used to meet atmoHt 
every erening in the Utter part of 1S83, " oeten- 
dhiy for social fdeaanre, but quite as much for 
the interchange of thoughts about that Art which 
was meat and drink to them — Music. The 
then moncal state of Germany," (we quote from 
Schumaon's preface to a ccUecti:^ of his wri- 
lingSi) " was not veiy edifjing. Upon the stage 
still reigned Boasini, on tiie pianos almost exclu- 
nrely Ilerz and Hiinten. And yet only a few 
years had flown, nnce Beethoven, Weber and 
Schubert lived among us. To be sure, Uendels- 
sohu'i star was in the ascendant, and wonderfal 
thinj^ were whispered abroad ^ a Fde, Chopin, 
— but these first acquired a lasting inflnence 
later. Ooe day the thought peesed through our 
yo«i^ hot heads:— :Let us not look idly on ; take 
hold, aod make it better; take hold, and let the 
poesy of Art be held in honor once more. 
Hence arose the finl sheets of the New 
Journal," &c. &c. Lefl alone in his editing, 
Sohumann introduced cndcisns from different 
points of view upon the same matters, under the 
■es rf " Eusebius," and " Flores- 
^n mediating "Huister Saro^" 
ipposed members of a cert^ 
" more than secret Bund (or confederacy), since 
it existed only in the brain of its founder," 
called the David Bund; a league in fact against 
the Philalines, which is the general term unong 
German studenla, artists, poets, &c., for prosaic, 
narrow, hard, ungenial, coomionplace respecta- 
tulides. Tina explains some of the allusions in 
the ictTitt mignormet, especially the march at the 
end, wluch is as much as to sa}' ; Down with the 
old fogies I Chiariaa (No. 12) is his own artist 
wite Clara, of whom he says in the preface above 
quoted ; " These not unwelcome ccmrades (Euse- 
bius, &c.) finally vanished alt<^ther frcan the 
Ztilsehriji, and ever since a ' Peri ' led them off to 
climes remote, there has been nothing more heard 
of thdr literary labors." — Many of the little pieces 
too are quite )»qnai>t and charming in themselves, 
and pasnng in such rapid contrast, under the 
fleet fingera of such a player, who seemed quite 
to enter into the humor of the thing, they gave 
no little pleasnre- 

The Ballade by Chopin, in G minor, one of 
the most florid, dreamy, passon-iraught, and diffi- 
cult of his compodtionB, was played with wonder- 
ful ease uid brilliancy ; but suffered, as we 
thought, somewhat like t^e Sonata, in being 
WTODght up to too vehement a pitch toward the 
close. To say tiiat this performance was so truly 
steeped in the delicate peculiar sjnrit and senti- 
ment of Chopin, as srane that we have heard, 
would be saying too much. tdr. Satter b as yet 
a very young man, exuberant with power, and 
enterprinng, ready talent; ambitious too to take 
a high and really artistic stand; impressed 
with good maxims, and a zealous student of the 
real clasrics of his Art; but it would be too much 
to expect of him all that earnest depth of feeling, 
and of inward expenence, all that maturity of 
conception, which should leave nothing to be 
desired in his interpretations of such poets as 
Chopin and Beethoven. 

The Concert closed with another performance 
of Liszfs prodigious fantana upon Mendelssohn's 
"Midsummer Nightfs Dream" music, which was 



indeed an amaiing spci^en of strength, delicacy, 
ra^ndity, and clearness in execution, and brought 
out the remarkable power and brilliancy of the 
instrument, in a manner that electrified the 
audience even more than at the concert of the 
Quintette Club. In those aerial fmry tremolos 
the pccnUar beauty of the upper octaves of the 
piano was very striking. This was reallg music 
of the "prodigious Bch(x>l,'' and was well enough 
for once, since our young virtuoso would play all 
schools. — Mr. Satter, it will be seen, announces 
two more concerts, for Tuesday and Friday next, 
with equally rare prognunmes. No one should 
lose the.ie <^portunities to hear such coropontions 
played by one so very aUe. 



MrsicAL Educatiok Society. — The rixth 
and last of the pleasant miscellaneous Concerts by 
this Society was ^ven on Thursday evenii^, in 
the Tremont Temple. The selections were as 
usual mostly from Oratorio music. Mr. Kreiss- 
UAKN conducted and accompanied the kHob on 
the piano, and Mr. Muklleb presided at the 
organ in the choruses. We were sorry to loee 
the " Hailstone " and another chorus fioin Han- 
del'b " Israel in K^'pt;" but we listened with 
great Measure to the correct, clear, and effective 
rendering of the two choruses from " Jephtha": 
No more to Ammon-'a (lod, and In glory high, 
which in its suggestion of the rolling sea is tmly 
sublime. Also to two from "Joshua": May all 
the host of heaven and We tcUh redoubled rage 
return. — See/ the conquering hero comet, was 
progresrang, as it seemed to us, too slowly, when 
we were obliged to leave, lonng Mendelssohn's 
song : O, reil in the Lard, and two more choruses 
from "Joshua." 

We have been otlen pleased, but tint time were 
surprised, by the very effective nnging of Min 
DoANE ; particulariy in the pleading and im- 
pas^oned song : Jerasalem .' thou that kiltell, &C., 
from " St Paul." Ber pure soprano tones were 
more telling and penetrating than ever ; really 
splendid sometimes was the emphatic note on the 
top of an ascending and dramatic passage. And 
what was best of all, we never in past times have 
heard her sing so uniformly true,' this is a great 
g^n, to which she adds another, d* a pervading 
chaste expresnon. 

In the other exquimte song by Mendelssohk, 
frwn his Forty-second Psalm ; For my soul Ihint- 
eth/or God, there were the same excellencies of 
voice and manner ; but was not the piece taken 
much too slow? — The old air of Stsadella, 
Pi'efo, Signor, was sung in Eng^h by Miss Idb, 
in some respects well, with even and distinct deliv- 
ery, but coldly, and with a continual tendency to 
swerve from true intonalini. We heard but the 
last strains of Mr. Bit oca h ton's Lord, remem- 
ber David; — enough to reo^niie a light, flexible, 
high tenor, of very sweet quality. The song 
about "The Church of our Fathers," sung by 
Mr. Draper, seemed to us rather a sentimental 
affair in itself, but it was very well sung and had 
to be repeated. 



BuBiNSTBtM. — We are tempted to translate 
part d* an article by the distinguished Beilin 
critic, Rellstab, upon this young Bnssian vir- 
tuoKi and composer, who is now cauung some- 
thing of a stir in Germany, and who seems to 
have made a great impression mi our " IKaTisL" 
Rellstab says: 



"The concert of Herr Rubemsteim was in 
some respects the most significant (^ the whde 
winter, dnce it made us acquunted with the ripe 
development of a talent, which we had already 
known in its first bud of great promise. It pre- 
sented nt an artist, who already has an estimable 
and a brilliant Present, and to whoee Future we 
attach the greatest hope* . . . and/eart I In the 
first part, we may say, that only the hopes smiled 
to us from the blossoming Present ; in the second, 
for his Symphony, fears rose on the horiton. Yet 
is the smn of our impresnons joy and thankful- 
ness, that we once more may greet a genuine 
artist; not merely an astonishing virtuoeo, but 
also a productive artist, whose creative power, if 
it does not strike into an unfortunate direction, 
will raise him, perhi^ does already raise him, 
higher d>an the colocsal height of virtuoaty he 
now commands. 

" He is the Hercules of the piano-forte, the 
Jupiter Tonanfl of the inetrmnent, who however 
wears the majesty of repose, and guides the 
gleaming lightnings. Not always growls he from 
Ws stormy sky ; O no, thon Urvely Hno, and thon 
mild sun, ye have yourfuU Olympian rights with 
him. To speak somewhat more technically : IBs 
power in playing chords and passages is astonish- 
ing. Althou^ the orchestra tried hard to drown 
him, yet be was heard above all in his penetrating 
chords. Yet we cannot say that there was any 
offensive sveiddng; he preserves proportion, 
beauty, even with colossal strength. Hie hearers 
felt fresh and buoyant, only the instrument trem- 
Ued under the hand of the strong master. I 
would rather be anything else than ever so won- 
derful a Sotcker FlUgel under those hands I But 
no I Afier the ruler had shown his strength, he 
let his gantleneif prevail. He did not draw, but 
literally sucked the sweetest singing tone from the 
piano, or let it sound out with the clear ring of 
eslver bells. .... 

" In his grand Etude he reached the tnghest 
height as a virluoso, and perhaps also as composer, 
in this particular department. The work is 
written with a splendor and a fire that carry you 
quite away, and the artist played it with the 
storm-sweep of the eagle, and yet with calm, con- 
trolling majesty AU the pieces in the first 

part (his ovm c<anpoutions) filled ns iritb joyful 
astonishment, that here again was bom to ns a 
reall/ creative talent, which does not have to 
stretch itself upon the rack, to get up a semblance 
of genius. The Concerto is written in grandiose 
style ; it was too richly instrumented for us, but 
so brilliant and genial, that we could only recog- 
nize in it a youthful exuberance of power, too 
lavish of its means. And in the thoughts them- 
selves, with all the composer's fondness for the 
serious, the dark, the wild, for the sombre depths 
and [nercing lightnings of dissonance, there is 
still perfect heatthfuloess, freshness and even 
heroic strength. The only weakness of the artist 
seemed to us his over^iulness, and that is a fault 
which time will cure. 

" But in his Symphony, ' Ocean,' in the last 
movements, the tidse squandering of this power 
was too obvious, not to disturb again our tairest 
hopes. Until the close of the first part, we had 
the feeling that here stood an artist, capable stane 
day, aAer earnest study, c£ becoming not an un- 
saccecefiil rival of Mendelssohn. But on the 
path which he had entered in tlus Symphony, 
we fiwnd that every step was canying him tar- 



Boston, april 7, issB. 



tber fVcMii thu higb pnL Yet t&rongli Uua woA 
too there flow rich and copioua &rtiMiic veins. 
The only &u1t b that of over-mueh-ntsi, both in 
tboMght-combinfttiona, and in the tngtrumenbtion 
esip^cialt}'^ bnt it haa this fault in the eztremest 
degree. ■ The iiutmmeDtatkiii it do longer beau- 
tiful, becauae it tries contjoually to present the 
nuat beautiful. We have no contrasts, no alter- 
nation of light and Bbade, because the compoeer 
cannot denj hinuelf enough to abetiun from 
umng all colors and all lights at once." 



U0SIC IN New York. — Our uaual New Yorit 
correifmndence hag not cone to hand in eeasoD 
for this week's paper. But we beUeve little of 
importance has occurred, although there is much 
in prospect. The German Opera at Niblo's, (our 
correspondent's account of which we were com- 
pelled by crowd of matter to cut short last week,) 
dnce the three representations of Der FregaeiO/z, 
with the cfmtiiiued success of Miss Lehmann, 
has been suspended daring Fasaon-Week. Mean- 
while the various opera troupes, all of which aeon 
to have found their way back at once to New 
York, have been giving concerts. Mile. Nao, 
widi Messrs. St. Albtn and Ibting, and the 
pianist Gockel, gave operatic and sacred miscel- 
lany at Niblo's on Thursday. For Monday last and 
Monday next the PniB and Habbisok troupe 
have had concerts announced, Oie programme of 
the next iacloding a new operetta, " The Uar- 
riage of Georgette." Miaa Pyvb has fortunately 
Tec«vered Irom the consequences <rf her fall in 
Philadelphia, and, it is said, will soon be in Boston 
for another round of English «pera. 

At the Academy of Music, Lucresaa Borgia was 
performed on Wednesday, by' STEfFANONE, 
Vestvali and Signori Briokoli and Badiali ; 
«mI a sacrad and misriillaiimHs covert by the 
whole troupe will lake place to-ni^ nnder die 
direction of Maretzbk. Among its aUnctJons, 
says the Trt&unc, will be " an entirely new mau- 
nacript Oratorio, entitled the SlabtU Mater, or 
Tke (Trucifizioa of Christ, in which several hun- 
dred perfboners will take part. — 0> Monday 
evening, Rossiifi'e masterpiece, "WilliaDi TeU," 
will be produce^ for the first time in America, at 
the Academj. We trust it will be done well 
enough la have a good mo. 

Madame the Baroness De La Gbasge, f£ 
wliom we gave an account some time ago, as the 
most brilliant florid bravnra singer perhaps now 
in Europe, ia expected to arrive ncKt week in 
the Bailie, and to oommence immediately an 
engagement at li^bb's, in Italian and German 
Opera. This, if we are rightly Infoimed, is Mr. 
UiJ.HAit'« enterprise. 



Ibe Otitar Bids. 

Naw York, Aphii, a, 1866, 



Ub. Dwiqbt: D««r Sir,— I am 
your pspar, sad genarallyJt plewaa ms; but when I 
read that part of yaur Sew TiXk eonMpoudent'a l«lt«r 
which ipealu of Mr. Uasoh's playing of Chapln'a In- 
prompla, I did not lika that at alL I haoK that It ii not 
a tnie acconnt: 1 am wsH aoqaainted with thii piece, 
and biTB heard It played many times, [tried It myself, 
and how 1 wish I ccnld play it hot nevar heard it 10 
beaotirally played u It was by Mr. Mason on that even- 
ing. More than this, my ptuM teaeber, «^ haa heard 
til the best Planlats abroad, aays he never heard It played 
more -dlilbclly tod beanUrutly. Tlte "conrusion of 
•OBDds" nnut have been in yonr correspondent's own 
braiot for I am sure no ooe else felt It who was present, 
and I for one asn confldeut I heard every note. As for 



the "looaeneM" complained of In Mr. Mason's playing. 
It is that nreedom from ititT, solid, iron, mechnnlctl pre- 
cision, that pleases me so mnch when 1 ilslen to him. 
It is like 4 pleasant dream or deti^htrul vision ; I feel 
that I am not listening to a machine, but to a living Kml. 
I excuse yoar coTrespondent lomflVhat, it is h> natnni 
for New Yorkers to be unwilling to ■ppreclata naliM 
talent; bnt he (or she, is it not? 1 think the writer must 
he of my own sex) shonld not have found fnult with 
what was really tJie beit performsnoeof tlie evening. 
Yours truly. Justice. 

We gladly give place to the above, (although 
it is a better plan in such cases for writers to let 
us know dieir real names) ; because we like to 
hear good tlungs, rather than the contrary, of all 
men, and especi^y ii^ a young artist who has 
given uB so much pleasure as William Mason; 
and because two honest statements, tiiough of 
opposite impreatdons, help ub to know the tnith. 
If " Justice " has the right of it, it is not because 
our New York correspondent's tone of criticism is 
not as uniformly kindly as it b candid, but doubt- 
less owing to some accidental difference in their 
listening conditions at the time referred to. Jus- 
tice must remind " Justice," also, that sdd carre»- 
pondent pronounced very high praise upon some 
of the other performances of Mr. M. 



nbanolT 



IRusi^at Jiit^tlt9etii[£. 



3un>. This evening, at the BosMn 
Uoiic Hall, a Benefit Conoert is to be given complinieii- 
tUytoHr. J. P. QnovEi, a young America ti vloliaist, 
who has grown up among ns, hi* mapical talent having 
been flnt iBoogniied and pnt in the way of doe improve- 
menl while he was a pupil at tba Warren Street Chapel. 
For aeverol yean Hr. Groves haa unifurmly held a jJace 
in onr b«t orchestras, and haa aomelinee played a con- 
cert t<da very creditably. He is evidently a favDrile 
among the nssiclaiii, fron the fact that ■« many of 
them have vohinteered their aid to make Oila concert a 
substantial IwDeBt. The ovenatea and accompanlinent* 
are to be [dayed by an orcheatm of fifty perfarmen, -and 
Mrs. Ventwobiw and Mr. Uiu.ahd also have volan- 
teared to sing. The proceeds are to swell the sails that 
shall waft the yoong artist over to flia old werld, whera 
lie goes to teak hnprovement in his art under the beat 
GennaD masters. He is worthy of eDconragement and 
Airtberance in this design. 

Od Tuesday avealng tliere will be two concent,' one 
by Paul Juijeh, In the Maaio Hall; and one by Mr. 
Sattkk, at Chickering*! Saloon. Mr. S. will then 
show as Llait'a remarkable power of arranging a Beet- 
hoven Symphony for the pltno, even for two handa, by 
playing his arrangement of the PaMorala. He will alie 
play what may be ealkd the companion pieoe to the 
Beiula tippaiBOrMa o( Beethoven, namely the one hi D 
minor, op. 38. Bis last concert wiD be on Friday. On 
both these occaslans he will be assisted by that sweet 
young singer, Hiss Loins a Hekbi^r. 

Hr. E. Bhocs, oi^anist of the Bowdeia Bt Cburtih, 
announces for Thandaj evening a repetition Of a concert 
reoently i^ven by blm with hit choir and papita, which 
leeqis to have been very popular, consisting df ehomsea, 
&0., from different opetaa. And for the ISth Inst, he 
announces a performance of Hatsh's Maas in D. Mr. 
WiLLOoz to officiate as organist on both occasions. 

HuBicAi, Fdmd Sociect.— Thepropseed Benefit Con- 
cert, which ought to enlist the eObrts of all friends of 
good miu\c, is fixed, we nndmtand, fbr Saturday, 
aist of AprIL There is some cbaooe that Mr. SATxaa 
the ^anist, will aaaist and play the E flat Conoeilo of 
Beethoven. Ha oettalnlj will da so, if his own conoeits 
jottiiy U* stay. 



BtaooB.— We are happy to lean, sa we do bj the 
Ibllowtng ante, that we have hso to credit instead of one, 
for the "EicellenI Example" of which we apoks a 
fortnight Knee. 

Bangor. Mi.. MarA Vi. ISM. 

Mr. Editor >— In the Joanud of list week I obasrved a 

not, howevvr. claim to hare acRnmpiiihed all that for 
which you gave me credit Mr. Hobacx R. STajiETSH 
hia been hrart and hand in the work, and lo him thoold 

Althnnih the namber intereatrd in our Concerts ia 

lever been as lame aa ataied by yon. 
Very napectTullj voon. 

Jobs W. Terra. 



MR. aUSTAV SATTKB 

Hu lb* plnmin to tnfcnn Ilia public thai hIa SICOHV OON- 

Caiciialaa, IMiaoKio T»i»b.) on TUE-tDAT KTINING, 

April lOlh, on wUeh OKulaB ha will ba Undlj aaristad bj 

MISS LOUISE HENSI.ER. 

paoa&Auus. 

1. OotrlonW 'William TaU^.V Baorial. 

Arrannd by Uaat. 
I. a, PutoT^r. 

L Arioan, TimDsetiptlnna daConeartof tba Opo* 

■LeProphi-fc' bjM.yarfc-ir Kollak. 

e. 1ILqd<»ua oTthe G miitnr flympbonj,. Uoaart. 

S. Song, bj HIas Ijosat HtliaLca. 

4. Bana(atu9in<i»r, op 9 Baatkonn. 

1. OnrtarctD 'Obana.' Wab«. 

ArrmniFd bf Satler. 
a. Song, bj Mlaa Laoisa HsasLaa. 

5. Paatonl HvmpfaoBT, DaatbovaB. 

Arranied by Uait. 

[CTOniHRt to eoiuDiuea at IH o'eloek. 

IIT-ncka's, W aaob, may ba obtalBad at the usoal plana 
nd at the door. 

0-«r. Sattn wnnld ranHtrallv anaoanc* that bis THIRD 
and LAST CONOBRT will take plan on the rolUi<rln( Fubit 
BtwniB. ahiTD ba will h^n. Ihc MmsUnn nf Mi™ LOUIBS 
BBNETLER, and tba UBNDtLSSOHN QDIHTZITa CLUB. 

C BREUSINO, 

IMPORTER OF FOREIGN MUSIC. 
TOl BBOADWAT, NBir TORE, 

Depot of Erard't Grand Pianot. 

CIRCCLATING UCSIOAL LIBSABT. - 
QT-Oanataatly an 



rpO SCHOOLS AND CHITKCIIEB 

aha may Wacfa Miuhi, OErman, Ao., Id tOma 
«ay^ ajid also •IDS « i>Ur tkt orcan in a Ch 

Hrt. »r 8. a. Hho, Mca. R. t Amoav, G 


n BtaUi, wh«« 
iohool or And. 
nieh. Bhaeaa 

aoaaaP.RniS 


Giwlnatn 
Sonu B 

(wsaWBrii 


OTTO DBE8EI. 

Hliinan lfa> pUse, aod may ba addneaed at the 
MS. Tanus:-»fo p.r qaartiR'or M laaains, 
no pat qnanar of la leaaraa, o» a weak. 



HAHIffT iSB TEACEEB OF KUSIC; 



.. , IS Waahlnccoa Bt.' ait Q. r, 

Baip k Oo. 17 lT«»»t Row. 

Banaeaosa:— Kia. O. W. Lorisf, 8S HI. Vkbob St. 

Mtia K. B. Prim, Smlmi. 

Hlaa NIehola, X Biwth Bt. 

Wm lUy, 6 >n>ktba PIkk. Mk IS. 



THOIHJkS BTAK, 

XEAOHER OF MUSIC, 

SSBIDBNCB, Ho. W BIX PLAOB. 



TODIG Wm TOGU KDSIC SCHOOL 

B. R. BLAICHARD, Taaehw. 

This Sehoal Is daaifiiiid fbr thoas who wish to aeanlTa ttia 
abUity to nod leuate taadlly at tlfitt, aod b partlenlBriy adi^ 
•d to Iha wuta of tboaa wtio dialTa is Bt tbanaalTaa M ttuh 
slailnc In aahook, or to rswin lDSCt«eb>D,flraa tta* baat aias- 
t(ta,ln theCultlntkmuflha V(,i«,H(yIa, fcg. 

Adilras,tknDrGaD. J. Webb ft Oo.,I(o.a mntaratnet. 



F. F. MULLER, 



>, So. a winter F 



DWIGHT'S JOURNAL OF MUSIC. 



KEW AE8THETI0 JOURNAL. 
THE CBAVON, 

* Wwklx P»p« daioltd lo ART, DlhnOHirialhrdWntlaii 
nong lilt ««lribu(on lo THK CKAVOH 



■ln-il7.r«B»i 


























































::;:?4^r. 




































jv™u.c*™ 


lM»7..,«rp 






Th« flnt fin i 


niobfn or mil 

































































r, llwl thl1««diDi IHicIa alwi;! aJmi. Tbo wrllBr hu 
~. dbtinct, ud dnlilic thought tn ooD 



idmifUloii'— A poor TloUry — but to 



•iBiMlon— topargt 



«b>riie (be Djlaof on 

out pHplB !» nBRll. Th. btUei, iukiu, mnil ■elBtlllattni 
ityltof our puUlc piwil>bec«aliiK intolEnMe. Ths Cnjoi 
oiu k GDsl, qolac and onobtnulTa i^lt, which l> liolj n- 

Ainn fti Citninnaii Oattiti. 
Wt hin Bliwdr itfongly rsoominraa*!! TnS CluroB, •nd 

liu em bam n tbl; ooDdoiIwl, In this dduuu; ; >ud If U 

orthaiioDDtiT. " """"P" 

Pnbllthtdbj STILLMAN & DURitNO, No. SS7 Bmdnj, 
N.wYork. Taimi, M ptr unnm.lnwlTiuuc. Buk bbid- 
ben luppUtd. 



^OBPMHTMiieiiilyaiidpMplljtmiilriailliisllce. 



'^^. «r. z>.^jEi.aLzizieic>za', 

NO. 8 LA OKANOE PLACE, BOSTOH. 
HiTiDirrnldtd tbtrtnti jnntn Caropi with ■ TkT of •dip- 
ting Ih* Itillui ntfle or !<lnglBg tu th* Eiigliih take, iihI of 

bunb. gultdiml, nut], or «hcr DnplnwDl inculbrfilet, pio- 
HMH ID jrin toaoDi tn tiM Tnl«, lad in eiD^g, la tiis IMllin 
Vnneh, md Bn gUth liimna|ii 

0UiiTHDpkHutniuMrkm,*bvid<>n (he puiHiitfi^ni(b«'b«- 
ItorihutlMTtniaioiKl vHfa ■ niiIiiRildflW[lTeiieH:«htn, 
vltll m riHtlDDlJ put Df [he ■ppllcaUao ohicb the; beelow on 

Biml^tbe nndutd compkntlre- 



«la bKutlfj'lng the toIdc, u might dallght 

'* Bring e«tiulnt*dw1tbthaFOiine or vocal dlKlpElneparaned 
I17II1, IV. J.Piuu»iiDfOitdlii|udilinloprngUiaTol», 

4t*llif Ittobaf^pnranbletouijotberjnetbnd known tana*. 
QBO. J. WEBB. 
Bonur, On. T, 1864." 

HT" Temu, WO por qnutR. 



\n 



lololtj. 



Inquln of Mr. Dwran, >t ttata ot 



L. H. SOUTHARD, 
TEACHER OP HITSIC, 



CHICKERINO & SONS, 

HANnrActuRXRS or 

PATENT ACTION 

QRAND AND SQUARE 



01 KTZBI DBSCIUPTJON. 

ir ABEBOOnS, 



EDWAB D H B ALCH. 



NATHAN RICHARDSON, 

asa WASHINGTON STREET, 

Hu jnN ncdTed m Urge iDTolce •>{ 



OoupTbdng (be Ueet worki of > 

— JOBT POBLiaasD,— 
Btohardion'B OoUaotlim of N»tionftI Kad Ope- 

ratio Halodlea, 
ycnrtfUf aRxnged Ait tbe Pluio, ind Sngered olIeT At 
mtaioi or tbt Uodem Scbool. In twenty namben. Price 
fNo IG IvtSoenUMOh, Ttaaj ira aicalkot tor joDog popila. 

SlxtT'-Slx Interludes In the Itajof Kayi, 
Bj J. H JONES, ("rthtOrgBn, MalodHiD or Piino. Tba; 
Are BAAy, mod Tery iDluoBling. Erarv muilolui ibonid bare 
■ copT. PrtHfiOcute. 

Third Sook of Ooaooae's Vookl Exorotaei, 
Fat Ihr mlddl* ngliut of Ibe Tolce, tbe odIt cooiplete adttViD 

penHblatoin'TeHheTiufaiDglog. Price VS. 

O-All the ebon will b> hdi ban of pcffive on Iba lacelpl 
of tba tiiHnt priaefl. Our CAtAk^a« uo lent gtwtie to uj 

NATHAN BIOHABDSON, 



IffB. HABRISON HIUtARD, 
TEACHER OP ITAUAK TOCAUZATIOIT, 

Ho. e Trier Bt Ihbu B£0 p« qnuUr. 



PATENT AMERICAN ACTION 

PIANO-FOIiTE, 

Hiwafitetanr, 3T9 ^VsihlBctoii BU«et, 



B. D. -ALLEN, 

TEJiOmES OF THE BlANO-FOnTE. 



UIUHCII— Ottsl>t<ei'l,K.Huilltoo,I. I, [brwi>od,b 



MB. J. C. D. PARKER, 

BEOS (o umouace thst ba 1> plapcrad lecwimeiKa lutne- 
tlon Id Pluio-fWto uad Or^u pleylng, Uijmonj Bad 
CopDterpolnt, end will be happj to receiva kpplkulou %t No. 

Rinuiciiu—U. k. Aptliorp, 0. C. Perklni, J. B. I>w%bt, Biqi 



a. ANDBt tb CO. '8 

JStfot at fmisn, and iSamistU ^lulc, 



I romgn VBno, luui oi o«r 
publlebed. Uualc ind Mule 



f tuica luid Eaglud. 



Mb. J. Q. WETHERBEE, 
-VT'^O.A.X^XIBKFp 

(BASSO CANT ANTE,) 



AEI. alBTNEB. 
TEAOBER OF MUBZO, 

kTbelSDnd it No. 10 Dam Bbwat, tmj tottuaaaW 



NEW COURSE OF HARMONY, 

BT I.. U. BODTHARD. 

Tha PabUaben all tbe utteoUoo at [be uoalcil prohBin 
(a (hli work, u ooe eminently enlantiiled to llgbun lbs libon 
of tbe mcber, ud ni^illj idnnc* tbe pupIL It le ampbul- 
caUy ■ Punriou work, nrrlng both u ■ Haniul of inBtroc- 

belteicd thu ibe pecuUu (irugnnaol et tba work, logitber 

ftru uinntueiitobaEbHtaoluudlMchM.aTeruiTiiBilLir 
work :r« pub)T^*d. Prita «l.aa. 

OKO. P. REED * CO., UTnmoBtSt. 



ADOLPH BAUMBACH, 
T£ACHEB OF THE FZANO-FOBTE. 

AppKcWIan an bo mida U Beed'i Hule-Stan, at M tb* 
Hotfolk QooH, Boiburj. Sept 9 



J. TRENKLE, 

TEACHER CF THE PTANO-FCRTE. 



I, lias 

aHKv (Wodca), 
raqulrad In Hdi 

MU8IO AN D JOB P HIHTIMO OFglCB, No. 81 BCaOOL^THBET: 



Bqaalitr, Fowar, Sweetnan of Tone, Frompt- 

' •-*5-n«ndatrle — ~-'--- 

» to sue, ue 



u*j, f-uwBT, DwvQirnwna tn u-'one, rr^ 

neM ot Aollon uid Strle of Xtnlolt. 

Out price! ni7 IVom WO to SITS, usorcUng tu tlia riv and 

ityla of tbe iurtra&ant. BecomiDandatloiu [rom Lowiu 

u >.... ,. .. "lUHl-RwlT, L. H. BoCTB*»B, 



CUlih«lt> 




>,iD>Tbe>»nu 






























HABON A nAMI.111, 












(ku 




"7 





SCHARFENBERG & LUIS. 
IMPOBTEBS OF FOBEION IHUSIC, 



WILLIAJS BERQEB, 
Publlsber and Importer of Miulc, 

So. 88 Wait 4th Straat, Clnoiiiutl, 0. 

K,EEPS cnnatantlT on bud % I^rgi end Seleat Stock of 
. IHPOKTED HU3I0, lOr Ikla It Xutem pricai. New 
Miulc recelTed bj Bteunir u Han aa pobliebad, A iibetal 
dlKoncl gnnled to Irachere. All ordi n promptlj Ulendod 
lo. Uiule utangad to order. 
ITT- Uataloguei MDt.(ntii b; lull. AuglO 



.A« 



w TEolin and pluoj for prorata partia a . 



A aoOD TIME TO 6UBS0BIBEI 

DWIGHT'S JOURNAL OF MUSIC, 

A ¥>fit tf Sit snk litxntuit, 
?«bIUh»d ITUT btniday, mt 91 BeLool St. BwtOB> 



Doting tbt thiM jean •bun it wai MtabUnhed, (hl> jDnmal 
■pan Iti SETXHTK TOLUlUt with tha nnmbcr tbr Salnrdij, 

lU conltDti relala nalnlf to the Artof HDnD, bnCwltb 
glaacee at (lit whale World of An and of Pnllla i.llaratnra ; 
Inclnding.fHimtlBelodme—l. Crltkal Bariawi of Conctrta, 
Oiatotloe, Oparaa ; wlEbtimalj Analjeaioftbe notable Worki 
patftmud, aaeooata of Ihalt Compoaan, fto. %. NMIcei of 
New Mule. & Mndaal Hawi frou all parta. i. Oorraa. 
pondanoe from muileal penona and plaeaa. 6. Eaaayi on 
moalcal atjlea, aohaole, perioda, antbota, compaaltlona, in* 
(ttODeDta, (heoriee ; on Unalcal Bdoeatlon ; on Mmlc In 11* 
Horal, Sodtl, and Ballgifna baailngs; on Hnrie In tba 
Ohorch, the ConeRt-ioom, the TheUn, tlae Ghanber, and 
tbe Btiaet, to. 6. Tnailadona ttan the bait Oatmu and 
Vranch wtltara npon Mule and AH. 7. Occaakmal Notlcu of 
ScDlptnn, Painting, ke. S. Orlglnaland SeUclad Pa«ni,fte. 

in7~Baek nnmbera, rr«m tbe Mnuwneeninit, can bo fnr- 
Ktabed. Addnea (pcM-pald) 

J. B. IfWlOWt, U SCBOOI. St. BomK. 

fVrHR IA< ITne York Dailt IHbinu. 

Thero ta no better mnrical critic In Ibe countrr than John 

8. DwIgfal, of Beaton, and law nra ar* able Hi alpnM what 

and pnctor. Hb ankle* are nu* to plaua tfa* laanied la 
DOik, and (a dalletat Ha lontt. Wa eouDand hla ionmal 
nnrHerredij to owr mnalcal fhanda aa a work wbkb will ba 

from each In auaifleaDct. rarylng ita crltteal nodcet of marie 
and moelriana, both new and old, wltli blagraiphlcal and tn(ar- 
talnlng drtaila ; and alwaja tniv to wbaE la moat Intartatlog 

From tti Beilew EetnlBt IVaiucnp'. 
Whaterar Ibnt la a plana-lbru, tbli JoamaJ m^( to ba 

From Ml Btum Mat. 
warmth 01 bellng b ■ 



i, or aociatj ageota, or mana. 
I Cnlj what l> good and what 

Dftbawritar Mr.BwIght 

d tbe Indga'a cbalr than any 



vnderad Urn ttmUbu 



TEBHS OF ASVBBTXSINa. 



Inaartlon S12.0(> 

aabacqDaDt....S6 0a 

Special nsClcea (leadcdl, each Inaartlon, par lbH20cU. 



5ttJt0hfs j0tti[iml off JUttsw, 



Whole No. 158. 



BOSTON, SATUEDAT, APBIL 14, 1855. 



Vol. Vn. No. 2. 



gmfllrt'ft j0!H[naI of JIflnstr, 

PUBLISHED EVERT SATUEDAT. 

TMBMB : Sr Mall, 98 per umnm, in adrmnoa. 

Wkea UA br Oanln, *9,60 " 

J. & DW16BT, EDITOR AND PBOPRIKTOR. 

EDWARD L. BAICH, PBIHTES. 

C^ OWFIOB, ZTo. ai Bohool Streot, Boaton, 

SUBSCRIPTIONS RECEIVED 

AltbiOFriCB or PUBLICATION St School St BotMo. 

Bt NATHAN RICHARDSOH, tSt WaAliwKin St. " 
" SBOttSB P. RBED fe 00. . -U I'naoiit Bow, " 

" A.M LILAND, ,. PcotUhk*, B. I. 

■■ C. BRKDSIHO, T(nBn»dnT,N«rTack. 

" BCHARFKMBBRa fc heU, mmmdumj, •' 

" OEOHOB DDTTOH, Jk BocbHtor.N.X. 

" a.ANDRB k 00....1flS«ithinBtbat. PfaDmililpfaU. 

" JOHN H. MBLLOR, Pkubnra.PL 

" HILLBR fc BBAGilAlI,..ieiBtUhaonBt.Biltli]ii>n. 

■ COLBUBN ft FIELD, CiDclDDUl, 0. 

X HOLBBOOK k LOHfl, CWnlud, 0. 



OLARA 80H 



•n. 



Ai long ago u in 14S7, in the Oaittte Mjisicale 
of P&ris, ire derigoAted Sorbet Schumann as 
one of those indiTidualitka, vho iuBcribe Uieir 
oames wilk a diup burin on tbe page* of history ; 
as a man, whose works Biiut draw npm tli«ai- 
selves the attention of contemporaries, not need- 
ing their content to ontJiTe them ; as an author, 
who by the deep stamp of his character, inde- 
pendently of the degree of sympathy that be 
might ibare, would certainly oco^el reipect. 
Tktn we could say tkim only with an anticipating 
look into a Fnture, which, now realixiog our ex- 
pectations, has asngned him so decidedly promi- 
nent a place among living composeH. We men- 
tion his hi^ m«rit here only to inlimate, tiiaX 
the man, who of pretent composen is Dnquestion- 
ably the one who most ihitUa mujie, was inevita- 
bly called to esercise a great Influence upon a 
female virtuoso gifted with a like propensity 
fn»n birth. Since the relative equality of tbe 
two artists did not endude a poaiUve superiori^ 
of the hnsbaod to the wife, it necenarily fidlowed 
tlwt uninternipted cmitact with an intellect so 
loffy and imponng, so confonnded wiA her own 
ideal, and environed with ber own viaona, as 
Bobert Schomann, stamped the indelible impress of 
his profile upon Clara's tsleoL And in ftct 
Claba. Wiegk was Tery &r fiom what Madame 
ScuuH ANK bat become. 

Tbe former lived in a sdll transparent atmos- 
phere, cooled by the' Bofl breeses of life's morn- 
ing ; if gentle flames arose here and there, they 
were like Bengal lights, the mere blosh upon 
young Tirgin cheeki. The pnri^ of her esecntion 
did not exclude a certnin invtduDtary jAaj of 



coTora, which one might take (or 
coquetry. B(^aish,careIes8humorwasnotstrange 
to her. Her grace nnfolded itself with an ob- 
viously indolent laiuex-faire. One saw that (he 
imagination of the young artist soared aloft, 
more from an inward and commanding impulse, 
than from selfconscious passion, or decided will. 
Unstable and capricious, she followed her own 
incUnatioDS through the fair and mazy path, 
locked with delight at every flower, at every star, 
if tbey but breathed the dightest fiagrance or 
(^jmmered wiA the palest splendtv. She knew 
bow with the most lovely grace to fling a epangled 
comer of the fdlvery vol that floated about her, 
over every object, which she would see sparkle 
with new beauty. The rhythmical accent struck 
her, more than she determined it ; (he movement 
of ber play depended on the InSnence of the 
hour, dte day, on sunsbbe and a tranquil mood. 
Hie melody did not rcmdn always aUke ; now it 
oame out nebulous and pale like the &ir features 
of a Walkyr on a grey cloud, and now it ad- 
vanced toward you bright and beaming a« a gyp- 
sey child waving the tambourine. All tUs was 
inTolttntary, sudden, ravishing, so that even the 
imperfections of the young nature, through this 
purposeless and naive way, through the evident 
want of all tiiought of before or after, through 
the ma(po spell of a peculiar chaim, througfa the 
innocent 'unfolding of all ker excellencies, 
Uiroogh the truthAil mmplicity of diis poetic eu- 
thuNasm, which never dreamed that it was poetry, 
became aknost more attractive tlum her more 
serious and sdid attributes. 

For a number of years M"'"" Schm^^ui 
baa pts^ed only now and Uien is pnUic. Fate 
bas led her i«cently to make new concert tours, 
and to turn her special attention again to vir- 
tucaty. As Weimar was one of the first cities 
embraced in her plan, we had for acTeral days, 
during which the noble guest tarried among us, 
an i^^Kirtunity to measuce the aigniicaat de- 
vdopment which her talent hai been gaining 
dnce that time. Tlte lovely Uusea' playmate 
has become a consecrated, ftithfully devoted, 
severe priestess. To the moist, youthful lustre of 
ber eyes, there has succeeded a fixed uid anx- 
ious lo(^ Tbe flower crown, once so loosely 
woven in her hair, now scarcely hides the bunir 
ing scan, which the hdy ciiclet has im- 
preieed so deeply on her faiow. A mysterious 
light seems to stream from her fingers, when they 
make tbe strings resound. No more do those 
op-flickering waves of light endrcle her, which 
made her hair thrill, and her heart beat quicker ; 
all tbe warmth is ooncentraled into a glow, whose 
focus is known only to the hietopbanta of Art; 
they only may approach, to f^ the electric 



stream of divine fire, which irithout torch, with- 
out lustre, without flame bums all tbe more in- 
estingnishably. An unhnpeachable perfectioii 
characterises every tone <^ this soft, sufl'ering 
Sibyl, who, breathing heaven's air, remains con- 
nected only by ber tears with earth. 

Sddom again like ber wiD a woman yield up 
her whole inward li& to Art, only to feel and to 
enjoy in its domab. She has gradually attained 
to the subjective life of such masters as we 
find de]»cted in certmu ftntastical narratiTes, 
with whom tiie interests and importance of the 
whole g^obe are soeompletdymerged in the sphere 
of Art, that to Iheoa the actual bas beccsne a dream, 
an unavoidable but painfnl interrupiion of riUv 
life, which in the eyes of the multitude appears a 
viaionaiy lifb, but which they value as the only 
true reality. One eadly sees, how she only 
wakes, so loi^ as she hean music, or plays her- 
self; bow as the last tones die away, her sonl 
shuts up, like the flower cup, whose petals droop 
ere tbe last ray of tbe sun has vanished, and only 
opens itnelf to the new splritnal day, when she 
is borne np on tbe wisgs of harmony. For her 
exqniate senntiveness a fUse lone were a calas- 
tro^, the fiulnre of a passage a blighted incK- 
natkin, a mistaken (cnpo a love unretnmed, a 
wmngly coMOMved rhythm a demised deed of 
greatnen, irtitdb b ber «icited inmost soul she 
must needs feed like so many wonuds. 

When A» mooBtsthe tripod of die temple, the 
woman speiJcs to in no more ; sbe entertuns na 
not as poetem about earthly pSMon, about 1^ 
stoiwy strife of human destiny ; she convinces nt 
not by the facUDen ct hsr appeals, itill less does 
she court our sympathies. A devout, believing 
and snbiraa^v« prieste* of the DelpUan god, 
with ta'embling fideli^ she perfonns his worsUp. 
TVemtdonsly careful nottoniM an iota of the or*- 
cIb to be announced, not to act^nt a syllable 
^sely, she chastens her own feding, so as not to 
become a gml^ and a treacherous interprets. 
Sbe renounoee her own iD|geslioBB, that sbe may 
declare the oracle as an incorruptible mediator, 
as a feithful expounder. She will ei)Mn no ob- 
scMre pasMge acowdii^ to her own individiml 
inclinntiaii. For her, in tbe holy books whose 
simple pages have beea received at valid after a 
severe t«st of their genumenesi, there is nothing 
great and notlung small, but all is holy and must 
be accepted wi^ undoobting, pious reverence. 
And she is ^ dominated t^ devotion, that tbe 
nxffe variable human dement recedes almost 
entirely out of view before this objective inter- 
pretation of Art On the contrary, no one will 
escd her in the tnidrfhlness with which sbe 
renders die masters that have become sacred to 
her through an mtimate acquaintance. Among 



Uigitzed by ViV^^^^VlV^ 



'3' 



10 



DWIGHT'S JOURNAL OF MUSIC. 



die momeiite of liTely adnuratioii, for wbich we 
have to thank her, we mention one above iH 
others, unce in that we most dMocdj recc^;iiized 
the transfomuUkn that had been wrought in her 
talent, from the time when Grillpaizer saw in 
her bandd the key, with whii;h, however, her 
joung fingers could not at that time open all the 
Kcret chambera of the casket For ye&ri we 
could hardly t-ompel ourselves any more to Knen 
to the ¥ minor Sonata of Beethoven {Sonala 
Appattionata,') so much had mediocrity &tigiied 
And vexed our ear by a cold, Boul-leaa drawling 
<rf this work. But recently when it waa pei^ 
formed by Clara Schumann, we experienced an 
inmost spiritual salda&ction, as when a painter 
finds again a sublime original, after having been 
long, long persecuted by fade and disfigured 
c<^iea. For if anything can turn the sublime 
into the gall of bitterness, it is the ridiculous imi- 
tations of it. 

He conscientious minuteness of Hadame 
Schumann's preparataons for her public pet^ 
formances, has often been remarked. How she . 
searches through the key-board, and tries every 
tone, the sound of which, although correct, does not 
perfectly yield the desired resonance and color- 
ing; how she takes caT« that her seat be not in 
the least too high or too low. Uow she not cmly 
like a knight, who manages his horse before the 
loorney, practices for long hours on the piano 
which she has to play, to get acquainted with all 
ilH fine p<Hata, its weaknesses and excellencies, 
but docs this, where it is posuble, upon the very 
q>ot where she is to play, tliat she may hear bow 
every chord, eveiy arpeggio, every crescendo 
and diminuendo of the flood c£ tone will be 
affected by the acoustic conditiona of the room. 
In this we can see only a neceesity of her nature, 
a consequence of her whole mode of being, of 
her conception of her Art, her duty to her calling 
and the difficult of her artistic life-purpoee, 
which does not pennit her to trust the personal in- 
^Hrations that-depend upon the favor of the mo- 
ment and upon choice moods, bnt rather con- 
vinces her that, to remain faithful to the digni^ 
of Art, one most approauh its every fertival irith 
the same earnestness, the same devotion. 

And so we found the whikim mostly melan- 
choly, but yet often cheerful, always fiwduating 
fiory changed to the conscientious servant of an 
altar, animated, as it seemed, more by divine awe 
than by divine intoxication. When Talma at 
Erfurt represented the greatest kings in their 
beat moments, he saw before him a parterre of 
kii^ In the same way for Chu« Suhmnann it 
r«quireB a public of the majesties (rf* Art, in Older 
that the secretly strug^ng fire (rf her soul may 
io seize upon all bearers, as it make* her own 
breast heave. Bat she will always be admired by 
all because she is in fact spotless, and has by pei^ 
severing carefiibess, by energy of will and by 
ascetic devotion attained to a mastery, which 
stamps her in ascertain manner as infallible. She 
is no pianist and concert-giver in the common 
sense of the word ; her talent seems to us like a 
peiBoiu&cation of the secular oratorio: a Peri 
yearning for her Paradise, in consla^ mystic con- 
templation of the SuBliMW, the BeautaAd, the 



Pe<n>le tay-. "It { 
6ase. As if there 



, .. ^ or: "It did not 

pifcase. As if there were nothing hi^er, *hv 
to please the people ]"— fi. Schumann. 



Diftry Abroad.— Ho. 15. 

BBRLni, Fd. IB.—" Osmuii Bhetorio on the opsra is 
ohiefly DSOMoat ileratloos abont HozAer's Dm Gio- 
BOMt." I ibooghl oT this ««n(encs last night; om 
which I cat from soma New York paper a year ago, and 
■■T»d, becaoM I vrai m> smtiBSd at tha absnrd falaity of 
th« atslenMDt, and otter ignoraDC* of all that I* Geiman 
which the writer e<h1bi(»d. I tlkoogfat of It (gain last 
niglil, sod hit that If the cbuga wsa trae, then wnuld 
be good ground for It, tor Don Jubi wai itlven with idl 
the sphmdoT of the Sajtl Open here. Mot iMb at th« 
tola linger* oT last evening 1> of nnoommoa excellaDce 
—several oT (be parts I have hsd beller: I hive seen ■ 
better Donna Adds, than Tuczek; a better Juan than 
Salokok; a better Leporetio than Kfuvaa; Bosio wo 
a belter Zerilna than AoMEa Bust. Tet never was 1 so 
wTougbtupon, never didi tbel the gradaal progrew of 
the dnimi, the itapendont climnz of lie Anale— Ibe 
Bwial eStet of Ibe contraata k> ofteD aooaning, the im- 
roenw, anrivulled, unapproachsLle variety and ricbnsn 
of eipreuion in tbe orchestral coloring, fram the open- 
lag blatt ot the oveifnn to the flnal 



Nor did lever feel mun decidedly bow much better It 
la to attend the prDdnctioii of an Open — than tbe pro- 
duction of oat a two alni^rs. There ia a vaitdeal in 
the patting of ■ work npon the stage — in the icAiery, 
the chonu, all tbe little acceuoriea, to say nothing of an 
orcheitra properly balanced, tninad and canduoted. So 
law Digbt I wiia thonmgbry intereited in Don Jum as a 
play. For tha first time, 1 tbink, have I Mt i«Blly 
the dnniBtic force of Di Poxra'a text The opening 
solo of Leporello csme to me aa something mora than ■ 
comic description of fala own tnmblea and aapintioDa — it 
gives a key to the cbaracter of bis master, which Is Iblly 
explained hi his " Calalogoa Song." It prepared me for 
the entrance of Don Juan and Anna. At last tba libera 
tine has Diet a rebuff— aeideDtly hl> Bnt; for ooce be Is 
nnauocesahil. From Ihia moment his downfall data*. 
Adding murder to hla attempt upon Anna, cast* tbe 
die. Thlaireltlattnight; and now, aa 1 read over Ou- 
Uhicbeff'b view of thia opening scene, I am by no 
maana satEtOsd with II. 

Through the wbde play 1 followed Anna's InflaaDca 
npoo the fate of Don Juan, feeling thst the.nenltwM 
inevitable. Bat I am mora than enr anwllling to admit 
HorrnAKH'a idea that Anna may loo have been ■ vic- 
tim of the Don. When vengeance had at length over- 
taken him, I wanted, strangely enough to be aun, that 
cloalng scene, which !■ now never pUyed, and the exist- 
ence of which 1i forgottea, in wtdota the other characters 
appear, and all ends happily. 

Carioas, ttuU aa I led Ibe houaa I met an Amarfoan 
gentleman, whose text-book wu preparml by Da Ponte, 
ia Kaw York, in lO-i 7) for tbe performance of the 
work by the Garcia Inuipa. Unluckily tba title page 
was gooe, hot Da Ponte's prethon Is there. Haria 
Oabcia, alterwardi UAuaaAit, was the Zerflna. That 
of conne waa the flnt peWonnxnce of Dan Am on our 
side of Ibe Athmtlo. Will liaver ha given Ihaie with 
tlie scanio and orchettral «ffecti of lul night? That 
ball scene for inilance— three bands, three liall*, three 
kinda of dancat al once 1 

Mmk IS. — That nnfortnoate lover of moaio, Agindoa, 
who for his tins baa been banished to Paris this winter, 
has at length been pitied by the Fates, and aUowad to 
hear a Symphony by tbe Consarvateire. Long abati- 
nenoe having made him bnngrj to raging, 1 foar that he 
hat sarlUted and that hi* wits are ilig^tly disordered. 
Tboa he wiltee to my friend Pegan. 

Pabib, March It. 

My dear Pegan : — I have jual come down. 

" Come down, fhtm where, pray ?" 

Why, tmta tha a;qier regioDs, not like loama nor 
Vnkan, bat in a respectable manner, gently, Miberiy ; 
and I now find myHlf npon terra flrma. The thing was 
attar thia wise, vli : — I went yesterday to a ooacert of 
the CoDiervatoIre. I had moved heaven and earth to 
get a ticket — and sncceededl Thb same Conservatoire 
hsd been bannling me all winter. Everybody taid "you 
moat hear thia orcbaalia before you can be entitled to 
speak." I was becoming dwperate when fioaliy a 
friend brangbt ate a ticket I turned over my table, 
broke a ohalr, and nearly broke my neck, beside* (not 



doing) other antics— which were down oo tbe bill bnt 
omitted by partlcnisr leqaest on the receptiao of said 
ticket. 

Tbe ccHioeTt was advartieed for two o'ahxsk, P. U 
" dm lewti ^reciHf " — I came very near going at 
twelve for ttai of bdng late,— I did present myself at 
one and a inlf.— Excellent oOcar at tba doot^good sonl 
— only lore offaoomaroTmy ticket, and didn't say It 
was f alse that some one had played a cmal trick npon 
me — DO ; be let me pass and then I wanted to make him 
a apeech on the ipot aa an tcknowledgment of my giati- 
tnds; bnt I oonU not get beyond "Honnsbeer I" to aave 
my lifo. Good people ahowed me m; seat and I took 
po««ess1on of It with the compoeare of the oldest si 
scriber. I had tims to look aboot me befon tbe mu 
eiaos cams hi—Oramdt BaB» da Onuerts— that's what 
Ilia programme oalla the eoocert room. I iboold ca 
a "sell," not * Soils. It reminda roe of tbe Itaealn 
QotUngen — or that of say aut^ little provincial town. 
It is elliptical In ihipe; baa three gxllarfes, beside* lbs 
partem, and accommodsta* about 1300 penon*. Every 
nook and corner Is occupied, and there Is s large nnm- 
ber of " standees." I oevar saw a place more com- 
pletely crammed. Tbe aadience was evidantl; com- 
posed of people who bad nmaio In their sonla. Tou Alt 
thia when a gentle mnnnnr, a aympatbatle paliatlao, 
shivering along the artaries," followed some tooolung 
pasnge. 

The letder of the t»x^hettra, M. GiaAHD, a great, il 
man, rapped for BllaDOa, and not a sonnd wis Iward. 
The first piece npon the programme was " SfmpkaA 
Bol Bwwar, dt UoxAbt," an old acqnalntiuice of onn, 
Mnf^ng yon and Che Veda vividly to mind. Bow they 
piayisd It 1 The tears gnshsd Into my eye*— I wanlei 
cry like a child. Uttalo ha* •aldom ifrecled me 
Too eoold almoat hear llie andianca sob ; the maslciam 
ttaeniseivaa exchanged glance* fiill of feeling, tixU of 
meaning at their own eiqnlslta rendering and inlerprela- 
tlonof someof tbepniiage*. Tbe Sebeixo was " jitieri," 
— (encored, as we sa; in America) as it always Is and 
deserves to be. I never heard anything more delioioaB 
In my life. Yon remember the introdaotlon to this Sym- 
phony? It remind* ma of the instrvmenUlioo in the 
"Msgle Ftate." This piece accomplished, the m 
eian* talked together about it; the indlanca talked about 
It; and everybody foil himself a better nun. I conld 
have gone home and had somelhiog to think of all my 
Ufa. 

The second piece was an Aria ftom Hatdm'i " Grea- 
tioo," beantifnlly snng by M. LavASaBlta. 

Third, Musia to " Egmont," by BasFBOTan, the con- 
necling text read by H. Guichabd, tba vocal plecea 
snng by Ume. HioLAX-CAVALm)) both accompllsblng 
their part* a* well as they conld have been done. It 
would be vain to attempt to convey to your mind 
adequate conoepUoo of tbe perAct manner in which 
orobastra rendered this sublime composition of Beetho- 
ven. 1 nevar undentood nor felt it* power before. 1 
oould give my impreasloo of " Hamlet" In a letter 
describe Ut Blanc, I might hope for aaooe** with " Eg- 
mont " — bat as It la, I paaa It over as too great a subject 
for my pan. I can only say that tbe orehastta played It 
almost aa If tospirsd. 

Fourth, Quartet by CmanBin. I ooold very wall 
have di*peDBed_ with It, bnt I sappcae It was performed 
becaoaa there moat be at least one piece by a French- 
no, by a composer clatmad by tbe French. 

FlIUi and lastly, Overtnra to " Oberoo." What an 
appropriate moroean to ctase withi The close of II 
overture ia *c partlcnhu'ly fine as to form a finale oortby 
of so great a concert. It was played with a perfscUon, 
too, exceeding If possible that of thcaa which bad gone 
before It, and sent u* home, all well satisfied with i 
selves, with the world, and with everything we 
heard. It waa at this concert that T began my sscai 
do you wander that It took me twenty-fonr hoan to 
mm tosuhlunary thing*? 

Now yon will ask if the orduatia of the CoaserraMre 
la better than our Boytl friend* In Berlin? I reply, 
impossible to p]»j better; theyjilay a* well, and in fact 
It seamed bt me thai the Berlin orchestra had b 
tnnaponed hi a body to Paifo, and that 1 waa lister 
to my old Mnids, not to tiaw aa^uaintance*. A m 
clan might deteot a difference. I am iDcIhted myself to 
tha opinion that a Geiman crsbeatia,^ wider a Uan 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, APRIL 14, 1856. 



11 



leadar, *ihI in Uu beart of Gcrmui; Ibairf ooald baltsr 
fntecpnt BwilboTga ud Houit (hu fonignan. 6U1I 
the ocotieMn here played " Egmopt " In r manner be- 
yond all oriticUni. I rtionld My tha Consairatoire ia 
tqatd Co any In the worid, and if not Dnmber ooe. It I* 

Thli i* the Mcond concert I liava attuded. At 
tha fine they played the 'Heroic Symphony' of Baalhoren. 
Then ware loma miitakas committad in the Scheno, 
evidently an accident of rare ocennvnce, aa 11 ciealad 
an immeota aenaationi ottierwiie the performancei 
wen, like thoae of yeatarday, worthy Ihe great funa of 
tha orcbeiCia. Still I have heard the 'Heroic Symphony' 
pUyad batter in fieriln. So much fbr mnalo. 



^usiijat <^aVimei}fanAtn^e. 



Tram SJSW TOBK. 

Afbil 9. — I did not irijta yon lait week beeaose 
then wH hardly anything to write about, pnrticalar- 
ly in inj apaeial iine, that of concert-mnaic. And 
eTCD now yon will have to be ladified with a mere 
diit-chat letter, u I did not Ute»d any of the con- 
cert* of last week, partly because I wu not ahle to 
do *o, and partly becanae they sltracted me too lit- 
tle. At that of the Fritz and HimBiaon tronpe, 
on Monday, I am told, a very laige andience was 
aaiembled, who wera ^eted, according to the lUu- 
tkoi Gaxette, to "adeingeof ballads." Tba per- 
formancea of Hlaa Loniaa Pyne, and aome of thoae 
of heraiater, aeem W have t>e«n the only part of the 
entertainment which waa beyond mediocrity. It ia 
to be repeated to-night, I hear. A pnblie rehearsal 
of the N. T. RuNOHio Societt lotk place on the 
iame cTcning, and ia said to haTo l>een very aatlafac- 
toty. I regret that a pennaoenl engagement on that 
night of the week baa proTented me from attending 
ADy of these qaite intercating and attentive rCanums. 
or Ihe coaceTt of the Opera tronpe, on Saturday 
evening, the leaat aaid the belter, according to all 
acconnta. The honae was quits empty, and ttw per- 
formances, with a few exceptions, very nnaatiaflic- 
tory. Among them were aclQcUoni from UoasiHi'a 
Staiat Mattr: (he Sloiof Mater, or Ae Cracinxion 
of Christ, of which yon make mention in yonr tact, 
is a new eompoeiiion by Mr. Txi, the bringing oat 
of which is poslpoaed nntil the 19th inat. 

On Saturday afiemooa the aaaociate members of 
the PHiLHi>Mt»(ia SociBtT had an opportunity of 
admiring the excellencies of your friend Mr'. Bxbq- 
MAMt as leader. And I, for one, did admire his 
energy and enthusiasm, and the strictneaa and pe> 
tinaeiiy with which he " reined np" at the sligbleat 
fault, as well as the greater nicety of shading to 
which he actually compelled the orchestra. The 
latter will have to keep wide awake while he sojonma 
among them ; for his Boatonian tepntation, and the 
fact of hia being a stranger, gives 1. m a control over 
them which Mr. Eisvkld cannot have, who haa 
had 10 create his own position, and ia not yet firm 
enough in it to be ahle to preanme npon it ailth 
the heterogeneona and aDmly ^irits that compose 
the body of which he la the head, and of which he 
only haa made what ll ia now. Ho one can regret 
Mr. Eiifeld's illness more than I, nor rejoice mora 
heartily at the prasent prospect of his altimate recov- 
ery, but I cannot help thinking that this season of 
thoroagh training will be a very good thing fbr the 
Philhamtonie oicheetra. 

I must thank yon Ibrtaking my part against my 
fair antagonist, who expresses her opinion so deci- 
dedly in yotir last. Bi^ I would also say a few 
words in my own defence, and as gallantry forbids 
my addressing myself personally to an nnknowD 
tadj, (who does ma great honor by sapposing me to 
belong to her acx,) yon mnst allow me to make yon 

Elrst of all I wonU clear myielf from the Impota- 
tion of being pr^odleed sigainst aotiTC talent Far 



from this, I am too tmly American, ikm to rtjoiee at 
any triumph of my countrymen in Art, or welcome 
gladly the rapidly increasing number of youngartisls 
springing np around n>, and the love ot tnit innsic 
which ia slowly, bnl I hope, surely spreadingin oar 
land. For this reason I looked forward joyfully to 
Mr. HAHK'a retnm to thia conntry, and his appear- 
ance here aa the first thoroughly American pianial. 
I waa present at his Hating and Concerts in this 
city, admired heartily his ready solution of all the 
moat difflcult problems of the modem school, waa 
delighted with hIa masterly rendering of the Han- 
delian Fngne, honored him fbr playing something 
besides hia own eompoaitiona, (whldi are, however, 
well worth playing,) and heard him then play the 
Impromptu of Chopih aeveral times, hi a manner 
which completely satisfied me. I, too, love that 
compoaitkin as well u any one can, and because I 
love it ao, and know It so well, am very jealoni of ila 
rendering, and I atill maintain that on that evening, 
the apple of diacord between yonr unknown corres- 
pondent and myself, it was met played as well as it 
should have been. And instead of my being singu- 
lar in thia opinion, I have as yet memo one who did 
not agree with me, of many of my friends who were 
present. 

As regards the laotmrti of playing which I men- 
tioned, that expression refers moro to the school to 
which Mr. Mason belongs, (^aomimmgout; some 
prefer that school or style, others tli« crisp, nerrons, 
forcible style of which Mr. Sattsb's playing is a 
type, and, in a measure, that of your townaman, Mr. 
DiiBsai:., neither of which, 1 am sore, any one can 
accuse of being stifT or mechanical. I was perhaps 
wrong in attempting a comparison between the two 
styles, as they are so toully different 

Mr. Haaon is to play Wbbbb's OmcamSdc in onr 
next Philharmonic concert, and t tnist my Mr op- 
ponent will not qnestion tny interesrin tutise talent, 
when 1 say that I sincerely hop« that ove^^^ejg^o.st 
critical will have do faolt to find yrijfrMf. Mason's 
performance. BomioiriB. 

AFBit 10. — Absence from the dty prevented my 
giving yon my osiwl report last week. But as there 
was not much to lell about, and as you have yourself 
told what there was, I am excusable. 

Last Wednesday liaereaa was given at the Acade- 
my to a poor house. But I have hardly ever heard 
it performed better. 8TBr>i.HONa sang and acted 
soperfaly. and Bbioboli, Badi&li and Vesttali 
were cqillal. On Satnrday evening a " sact«d and 
•acnlar concerf was given, the second part conalat- 
ing of part* of RosBiHi's (not Fkt's) SUibat Mater. 
About three or fbnr hundred persons were preMnt 
Fry's ^ahat MtOtr is to be given oa Thursday. 

And now for the grand event of the seaMit, the 
performanoe of " William Tell." But let me firat 
correct the assertion of die bills and some of tha 
papers, that thia is iu first performance in America. 
From the " ZitapatcA," whose maslcal and dramMic 
editor, Mr. C. B. Bdbxhabdt, ia excellent aathori- 
ty in anch matters, I Icam that "William Tell" was 
produced in the original French, in New Orleans, 
anterior to 1841, and (also in French) at tha Park 
Theatre in this city, on the I6lb of Jane, I84G, and 
a number of times afterwards, with the following 
caate : Tell, H. Gabbt ; Amoldo, Abhahp ; Walter 
Fnrat, Douvbt; Melchthal, Bebrabd ; Oesiler, C 
DoDTRT ; Sodolpho, Coedbiot ; Matilda, Hme. 

J waa only able to be present at the Academy last 
night fbr a very short time, and therefore can not give 
you much account of the performancn. The andi- 
ence, however, was the largest I have everseen in the 
building, and, from all reports, though it was not 
dismissed till 13 o'clock, was well pleased with the 
performance. And indeed the managere did their 
ntmoet fbr a good and soecessfnl repmentatloa. — 



Several new acenee were added, the choruses and 
snpemnmeraries were increased and everything doiM 
for ila success. It did my eyes guod to see the 
AcadUBy so crowded full for once at lea^t. The 
cast is as follows ; 

Matilda, an Anitrinn Princess, Signers StefTannnS. 

Gea<1er. the Austrian QMvernor, Signor Rocca 

Rodolpho, CHDlaln dF the Gonrd Sinior Qniiilo. 

Ert*ige, the wife of Tell SiKnora Avoffulro. 

Albert, her son...... Siguorallenncca Hnretiek. 

Gnglialmo Tell. ) - . Sij. Badiall. 

Arnoldo, in love with Uatllda. J pf,!!™ ) Sfg. BolciiMil. 
Waller>»rst, J P""^*"*- ( Slg, Cnlelti. 

Lentholdo, Siimor Crooia. 

MelclithHl,lha father of AnKi1do„ Sipior Mullar. 

A Fisherman, Signor Vlatti. 

All the solo ungers are said to have done better 
Uian usaaL The opera itself reqnires a great deal 
of care in its represenlation to be given in a aatia- 
factory manner; for from the following plot jou 
will see that there are many situations which need 
great scenic and mechanical assistance. 

ActI.— The people of the Ave cantons of Svlturland, 
are groanine under the oppression of their Governor. 
TEm who hm alrendy determined npon procuring ihelr 
independence, endeavors to axclta tha younff Arnoum, 
who is in love with MATiLci, to ombraoe Ibe cause which 
Inflamet his own palriotinni. At Ihl> moment, t.ic:*. 
TI10I.II0 bsving slain a soldier who was carrying off his 
dnugbtar, appeanand Implomtbe (l»hermen'lo bear him 
acmaa the lake, Tbey all refnsa, bnt Tell embarks with 
him as the soldiers in pur*uit of him arrive. In their 
rage at loaiDg him. they bear away the veaerable pastOT, 

Act II, — Tkll., vbo has surprised Arkoldo while 
having an iiKerviaw with Matilda, Infbrmi him that h& 
father ban been murdered. In his remorse, Ihe vonng 
man delnminea npnn joining him. Tha people of tJnler- 
walden, Sohwiiznnd iSri than approach. Their plans are 
laid, and the cry is first breathed " To Arms." 

Act III.—ThecaportheAnstnsn Governor, Gai<si.KB, 
has been erected apon a lofVy pole, and all who are pre- 
sent are required lo bow before It Teu. rafuret to do 
so, and the aoldlen who fecOKniia him denounce him 
to Gksslek. Knowing bisfame SB a marksman, the Gov- 
ernor orders him to pierce with an arrow an apple vbich 
la phuied upon the iwad of bis son. Teu. ia tn despair, 
bnl compelled to make the attempt, succeeds. As orer- 
powcrej by bis emotion he sinks Into tha arm* of his 
MH(la,an.airosi Alls from bis veat. It had been in- 
"the heart of Gessleh, if Tei.l had ' ' ■ ' 



ed, bnt Matiloa elaluu the boy's life In the name 



Swiss brea 
Act IV. 



only 1 



ipnn Gessleb. 

I Ibe people for the purpose of 
j)A, who has renliTsd Ihe patriot's 
•on lo n>B mnuier, praposes lo save the fstber by remain- 
ing with them aa a hostage for hl> iHfetj: when s storm 
arises, and Tell is seen sleerinK Ihe bail on the lake, in 
which Gessler had tkome him away. Hearing a rock, 
ha takes a desperate leap from the boat and manages lo 
rejoin his family. Gebbler efftcts a landing on a more 
distant part of Ihe shore, and comes In pursuit of him, 
when Teu; seises his arrow and takes a deadly aim. 
GE8ai.BB Iklls. Thefirstblowhasbeeaatrickenfoi Swiss 
Liberty. 

As it ia announced for repetition on Wedneaday 
and Friday, and will protulbly be continued still 
longer, I will endeavor to give you a more detailed 
acconut of the performance ia my next 

The German opera at Niblo's commences agtdn 
lo-night, And in connection with thia, I must se- 
verely, very severely blame Miss Lehmamf. I un- 
derstand that she refiised to sing in the FrtitcASli or 
any other German opera, unless BitLiHi's misera- 
ble Cppukai a MonUchi should also be given, so that 
she could shine as Borneo. Accordingly it is an- 
nounced fbr to-night I shall go, but only for a lit- 
tle while. I saw Jobarna Waqkeb in it and if 
she conid not make me like it, I do not think Caro- 
line Lehmann can. And besides, the absurdity of 
producing it in German, by a German troupe. It 
will hurt the " good cause" vastly. 

Mme. Db ul Gbahob could not get ready in 
time for the Baltic, bnt la certainly expected by the 
next steamer. For the next Philharmonic (April 
aist.) we have the TamhSaMer overture, the Seventh 
Bympbonj (under Mr. Bebokann's excellent direc- 
tion.) MEiii>aL8iOHii'a Lordey, and two choruses 
fWim " Elijah," by the MEBDELsaoHH Union, and 
Weber's Ooewt-aflc*, to be performed by Wii^ 

UAM MaSOR. »■ 



Uigitzed by V7V^»^^V1V^ 



'3' 



12 



DWIGHT'S JOURNAL OF MUSIC. 



Hakcb 9— What a conwrt I I b«i been toW 
icpeaiedlj by Dr. Hlsnk-^bo ^iUta bit limo 
eqaall; between hi* patienU and mntfa^tbat Mr, 
HusiiHlireclor STsmr's Sintfing Society had beeeme 
reallj a rival of the Sing-Akademie in nnmben afid 
in the excclienM of its perfonnancei ; which asser- 
tion I had taten nm gmna, snppOiing he wa« blinded 
bj purtiality. Last eiening lbi> society g»T8 its 4r»t 
eoncert, and this morning I make all neeoswry and 
proper acknowledgmeots to the Doctor for-baving 
donbted him. The eoncert was in the hall of the 
Theatre', a room with ■ gallery, half the main floor 
or which wu occnpied by choir and orchestra; ao 
that the andience nnmbered possibly five bandred 
persons — a good portion of the gallery seat* being 
empty. Who tafs that the Oermana are not Ibe 
most mnsical people In the world 1 Fire hundred 
persons — free tickeu and all — in a city of 430,000 
Inhabitants, to bear a cfaoms of some two faandred, 
an orchestra of abovt fifty menben, and two sriiiU 
of some distinction, peiform the fbDowIng pro- 
gramme: 
I. p«lmCIIV: "WJnolm^ Tint ooto(l(Jpli" *"'■'>'■ 



IT FiMao, Otehntn and CtMKU, l9 Bbtbdtdi. 

put kf F»B Cuu ScBiuHir. 

r ■M>K) kr TloUnwU Onbarta, bj BBTHona. 



ft. Kjrit aBd QialK b< 



■ laDibrBi 



No. 5 was given for the first time in pnblic in Ber- 
lin, say the newspapers — and an audience of some 
fire bandred was there to listen t The 1 Uth Fialm 
ii ibort bnt worthy of Mbhdelbsohx, reminding me 
iit same of the painUng of the mighty tnosic in 
"Eliiah.'' Why tbn't they sing these things at 
home ! A* to JoACBiv and the Concerto, I can say 
nothing. Fer^tloB I peiftetion 1 

The Natiomd Zdtmig nan writes « great deal of 
the flattest nonsense abont mosic, and makes the 
(analeet mistakes sometintesi but this, about the 
Choral Fantasia, No. 3, of the programme, hits the 

" This," he >«ys, "is a gentle prelode to tbe Ninth 
Symphony, a paiallel piece to that sablime cnaEion 
taken from the domain of the gracehl and delicioua. 
It begins with a long continned solo on the piano- 
(bne. The master in a state of dreamy thonght or 
rererie seem* to be preluding apon the hiitmmeat 
to wbieh he ha* been appointed, and while his finger* 
are gliding carelessly over the keys the son! is ap- 
parently colleeting Itself. Here aJI is vagne and 
pnconnected. Theme* come peeping np only to be 
lost in broad arpeggios, and no distinct form comes 
oatinall this flood of tones. Outof patience with his 
poorsDcccis, the composer calls npon the orchestra to 
help hia give expression to the feeling wbieh is 
straggling within far atterance. At finl the Con- 
Irahassi answer in a tort of recitative Bgnre, and 
after the other instniment* have fallen in one by 
one, the pianoforte gives ont a melody, which I* sin- 
gularly like the 'Freude, mMhur G^merfiaJcen,' in 
the Ninth Symphony j and in which our Tone-Foet 
at length has found that means of expiesaion he 
ha* so long been seekii^. Now the orchestra di- 
vides it*eLf into gronps, cnrionsly examining the 
newly-foand theme, throwing it abont and Taryinf it 
in all sorts of playfnl ways. The fluiea pa** It to 
the oboes ; they lo the darineti and bassoon* ; then 
the string qnartet gels possaasion of it, and flnally 
ws get it from the nyoid^ ehorns of all the instm- 
ments. Still there is more in it than pianoforte and 
orchestra tan make known ; there is yet sometbii^ 
more lo be expressed. They do net yet give up the 
attempt, bnt vaiy it into new fb^ns, lead It through 
the nost manifold haimooh: chaages, and at last 



in the minor, as if aogiT at their own I 
At last, near the close, the human voice : 
come* to their assistance, a fnlt chords join* the ' 
quartet, and surrooaded as with a halo of tonea 
from the joyous Instrument*, sounds forth the 'The 
Praise of Harmony.'" 

The only attempt, so far as I know, ever made to 
give this Fantasia, (bow perfectly this title fits it 1} 
in America, was that of Hattoh, in Bouon, some 
eight year* since, at that concert of his in which a 
pnblie, which had never Jailed to make him sing 
double the number of songs set down lo him in the 
concerts of other people, left him to play and sing to 
empty benches. I have aever been able to get over 
my shame and indignaticm at the Aabbineis ex- 
hibited on that occasion. 

I need record nothing of Claua ScBCKuia'a 
performance of the [nanofbrte part last evening, nor 
of Joachim's playing ia the Beethoven romance 
which folh>wed. 

It is surely a record-worthy event when one hean 
for the first time any part— though only two nnm- 
berfr—of that work of Beethoven whicli he himself 
declarea hi* " srealest and most snocesstul."* The 
greatest, because in it the musical ideas were, like 
the mbject of the composition, of the grandcK 
order — what lo tnbllme to a devoted Catholic like 
Beethoven as the words of the Has* t — and becana* 
In the breadth and acope of the woA it surpassed 
all else which he had written. The most suocessful, 
because he felt that he had here achieved his greatest 
success in obtaining a full and complete mastery of 
bis idea* and in niastelly expTessiDg ibem. Kay 
one judge a work of the extuit of thi* gnat Mae* 
by its two fint movements 1 If to, I feel that Beet- 
hoven jndged his own work coirectly. As I beard 
that jl^rrie. and that Gloria, so nobly sung, I went in 
imagination into tmat grand cathedral and listened 
to it under the influences of the place for which the 
mass was writtsn,and where alone the quostion of its 
■Dcce** as a work of Art can ha decided. I was for 
the moment in Antwerp, Vienna, or Stiatburg, and 
the mlgh^ flood of tone eamedown to me from the 
oigsn-lofl a* the piayer of the klteeling moltitade — 
" O Lord have mercy, Christ have mercy" — or as tha 
" Giarj to Qod ia the highest" of that tame nolti- 
tnde in an ecstacy of irligioos fteliag. 
Tos, hit gresieet and most suoceasfal t 
Borne time or other that crowning work of Chito- 
tian arcbileeinre, the Cologne Cadiedral, will be flu- 
isbed i tha last itena will be laid, the last blow at the 
hammer will hare been strack; the sculptor, tha 
psJnter, Ae decorator will have gathered np their 
tools and departed, and the noblest work of archi- 
tectoial genius will stand there perfected! Thea 
from every dty In Europe will oome together the 
Halibrans, the Haras, the Linds of that day ; the 
LaUacfaes, Ruldiis, and Brahama; the Joachima, 
Ernsts, aad Beriots ; all who vocally or Instnimen- 
tally are above and aeparate fron the mediocre — will 
come up to thi* " house of the Lord, to assist in dis 
dedication thereof." Bat what in all music shall be 
bund worthy of the place, the occasion, that chorus, 
that orcfaeslia I Then and there wiU tbe gi«Bt Ua*« 
in D, by Beethoven, Sod a fittii^ time and place for 
iisprodtwtionl a. w. i. 



■ITot in hit Ifltttf to CasRCiinT as IIm Loadoa Mmtitat 
WtHi bta It THHtlT Ik ■ ladhif Kliuiilil anlel^ tin sCrte of 
wU«h Bilchl de pntKia li ■ IHuT, bat *hOM fllrpa«T •■« 
MtUUdoB nf l(winiHt ^oa tba hUmtaalpalBtlaqaHtkiB 
tm ujthliis bat bowmbl* IB s Joonal of u miBb f4ltm- 
fin u tha mit MuiisJ Witld. ChtnMniH aolBBn Mur 
iwlwd hUa !• Ml 



THE BGLL.S OF VCNIOE. 
I love the bells of Tenlce, 

They sound across the sea 
like the music of a tisioih— 

Oi a Seraph'a minstrelsy. 
Throughout the day they>e iinging 

Thcfr sweetnen dd the air, 
And tbnmgfa the night tliey're ring^g 

Beneath the starligfat elesr. 
The dec^, sad belb of Tenisa t 

They ting a dirgc-Uks lay i 
The; tell of piide torgottan. 

Of tpIenJor paaaed away— 
A wild and wondmua story 

Of ths ages that an gone, 
or tbe faded, fallen glory 

Of that dty, stUI a&d lone. 
The strange, wild bells' of Tenloe I 

They oaU a woadreos train 
FioD dinr graves in the statdy AurAe* 

To their aacitot haunts again.— 
Hai^na (air and matraus holy, 

Touthi and gray-haired tire* of yora, 
Id shadowy barkt eome gliding slowly 

O'er the mooulit waves once more. 
The swset, soft bells of Veaiaat 

Thiy laug when Portia wed. 
They Bounded sad, a reqniem 



And pealed in triumph glorious. 

When, o'er tbe glittering tide* 
The loveit brave, victoiion*. 

Bore home the rcscned biide*.* 
The holy bdlt of Tenice I 

They call tha soul to praya. 
When tbey break the Sabbath stillness 

That fills that haunted air. 
Thej pealed at the wondrous union 

Of the eity and the aeas, 
And they rang at the atiauge niromuBiDi! 

or the ssftened enemlert 
The dreadful bellt of Venice ! 

They tell an awful tale. 
That make* the strong heart tremble. 

And the ruddiest cheek grow pale ; 
Of terror and oppression. 

Hands of steel and hesrts of atone, 
Wild deapaii and still dq^iatalon— 

Drawaiog cry and dying gioan. 
the bellt, the bell* of Venice I 

Sweet it their mingled strain ; 
Bnt ne'er be their mutie wakened 

By auch cruel handa again I 
Let them iwing o'er the proud old dty, 

Blowly linking, day by day. 
And oali opon tbe world to pitj 

Both hn criaits and her dcoey. x. 



IBmiilsI (l[Iiit-(!|hat. 

Urns hnmoriaea Ae PliiladelpfalB fminy BuBOui 
about— Mart not, ladles— Gownif Habio! •'~ 
taat coHDif of the Earopean pre** 1* the itory that 
SIgnoT ICario, whvenjoys the digni^ of a Sardinian 
noUe and rejoicea in the title of the Count of Can- 
dia, la ditpoaed n> join the Sardinian army destined 
for the Crimea. The story is sobeHy copied by 
American papers, and itnem are probably peaple 
believe the gentle little tenor singer is really grown 
patrioticandbelligereDt; tUt ""hi* vrice is for w 
tad that he is in earnest when he tings "tal' eanpo 
ABaglana!' Wetl, It may be so, and SIgnor Mario 
may be dtspesed to abandon tUe luxurioDS life of a 
frimi tmort, the charm* of OMSi'e ioclety, Ae q»- 
plaste of ■'MrwoiiieDandbra'*emen,?'and theador- 



rr of " The BtMh at 



^ tba laHiCMrtjn at HutBapMla ef T< 



Uigitzed by V7V^*.^VIV^ 



'3' 



SOSTON, APRIL 14, 1855. 



13 



mtioD of tfae eBlfaaiiMtie Courn, for tbe chaiic« of 
glory and ■ gnre in tbe Crime*. If M, the wodd 
will b&TB to Unent the ipoiling at ■ good linger to 
nuke B bad loldier ; for fiignor Mario will flnS tbe 
bont fids loldier^ lifa id the field Teiy difierenl from 
tbe ihaoi Boldiat's life of tbe opera. The little iqattd 
of thinj' or bnj bassea and tenon that make a grand 
army on tbe nage, ia a mncb more mantf^table force 

a a diTiiion in Iba Held, and the best martial air 
with which die prince of tenon ever rallied his fbrcea 
in an open, woald b« of litde araii in die trencbea of 
Sebaitopol. Wbat will the worid do if Hano doea 
really get an attad ef tbe military f^ver and doea 
really go to the Crimea! How will the faaluonable 
world ever endnre the atmpt and total ceaaatjon of 
bii charming " ^ria gemtd," or, ai ha prafiared to 

; i^ " aagM d'amar " % How mach faabionable 
proapectiTe happineaa will be mined, irtbe gay circlea 
of Farii and IjondoD are nerer more to hear his " il 
(0 tamv," bia " anajmiivalagrima" andhii " to pur 
ntiilt ptaeida!" What will Griu do, if tbe partner of 
her lOTca, dramatic and real, ihould raih madly to the 
Sgfati Final, and moat agonizing qnery — what iriU 
poor CoDtta do 1 Wa lee no help lor tfaii diarming 
lady but an immediate eatiatment, in male apparal, In 
Sardinian conUi^ent, or a pnrebaM of a dtoice 
loop-bole in tbe fbrtiBeatian of Sebutopol, from 
whence, with a bnndrad-horae power open gl*M, she 
may iupect tbe ntOTetoenta of Oenenl Uario." 

Ai.FitBi> JjULI-'s acddeat, we are glad to >ee, waa 
not aeriona. He baa reoovered hia prtiUdigUaiiini »nf- 
"flciintly to play in Paria, aa .we leun by tbe exqai- 
ritely roa».hordeiad card which we hare jntt received, 
containing tbe programme of hii concert in tbe 
Salle BsK, on the ISih of March. He waa aaaialed 
by tbe Tioliniat Hzbjiibh, with whom ha played ihe 
" Kreutier" Sonata, and the linger Hme. Anna 
BasTixi. Jaell aUo played a Serenade by Rabin- 

a,' a Fugue by Bach, hi* own BeminUcencea of 
WagBcfa operaa, Fanlaata on Abnaa, &c,, &c The 
ecataciea of (he Paiiiian critica abont JadI are qnile 

uing ; who ahall lay diat the inUime art of en- 
logUtica, commonly toppoied to be pectiliaj- to onr 
Tankee newipapera, hai readied iu acme here T 
Litten t Th^ aaiih La FnuKt Uvriaale, from which 
'e tranilaie skippingly : "Another brilliant pianiat: 
It na appland anew ) bia name it ALrnsD Jabi.l, 
and he comei to na right straight from America, 
where he baa conqnered iin< ynin^ iJ/ualnUion.'' — 
" Flgnre to yoarselrea Jiiigm qf ated, which become 
at tiTBtafiagtniifvdiiti, something by tami thnnder- 
Ingand anctDona (fi»idTii)a«teld'onetiitax]{!);t rapid- 
ity to gire one tbe vertigo, a nceetMU to raeuh Ae 

it!" " These pianists, they are ail astoniahingi 
If M. Jaell were only a powerfnl medianidan, we 
Aoatd admire him only moderately ; but he com- 

M, he write* fiir hi* uutrmmeoC a mnsic brilliant 
and oripoal." " Sealed at the piano, in tbe attinde 

master Wolfram, the pianist behold* gardens 

n with atan qnick with Inspiration, thote beaati- 
Atl gardens where, according to the divine expreasion 
of the poet, spirits linger. Then arcbangela dotbed 
in white combine tbe chords and direct the artilt'a 

la. Would he write fantastical mnsic 1 Myriads 
of diaUatiBM appear, who, poised upon the desk, tarn 
over the pages, dance sarabands upon the blazing 
pedal rods, while imperceptible gnomea move tht 
' da." Bravo I Monsieur Giicohelli ! But the 
article has also solid praise for Jaell ; " He showed 
an cqnal familiarity with all uyles.' " In his Wagner 
leninlseenoe*, one observed, besides ttn axecntion of 
rare power, a habit of harmonic progressions, a ed- 
eoce of aatlmilttioa and development by no means 
common with virtnoso composera." " His An bordi 
da MstMnjsp' is a page of tbe beat colored and full 
of poesy." Tbe Soiuia of Beethoven was " admira- 
my execoled," &c. And Dm critic pleads for a tec- 



The masked balls of tbe Grand Opera in Paris 
promise this year to be nnnanally briliient, tbe mnsi- 
cal direction of them being confided to tbe well 
known ability of STaicss. The ortheatra which 
he is to direct la to be composed of not less than 
SOO muneians, distributed in Ihe following manner: 
40 first violins, 80 aecond violins, 36 altos, 19 vio- 
loucelloa, 30 basses, 10 clarinets, 8 flnles, 4 bsnlbois, 
4 bavoons, IS oomeli h pistons, 6 trumpets, IS 
trombones, 6 ophycleids, 1 cymbals, 1 big dmm, S 
ordinary drama, and 4 harps.. The fint ball was to 
l«k* place on tbe 33d, and to open at ten o'clock ia 
' phu:e of midnight, to enable tbe orcbestra to play for 
the fint time in pnblic tbe variooa novelties which 
compose Stranss's albom, snch M " Tereea," the 
" Cascade," tbe "Diable ■□ Bal," the " Schottisch of 
the Gnides," "Miss Lucy," "M'thilde," and other 
pieces. Afia the concert the theatre was to be de- 
livered up in the nana! manner to tbe votaries of 
the dnce. 

Goftjnani aays : There hu been a coDtest at the 
Opera in Lisbon between Mmet. Castbllui and 
Albohi, as to which should ring tbe part of Amine 
in La Sonnambt^, The fatter lady carried the day 
with tfie director, bnt tbe pnblic quiz the perform- 
ance very mudi as supremely ridiculous, from &e 
nnfitnces of tbe arfiate for the part &om her increat- 
ing obeeity. Tbe ei^sgement of Alboni, who re- 
ceives an eiorbiunlBa.Iary, is described aaaeomiriete 
failure, and the manager almost rained. 

Miss JuuAiTA Mat, of Virginia, (a niece, it ia 
said, of Joseph Gales, the editor of the tiaiatial A- 
tetff^encar,) who has been studying fbr some years in 
Italy, made faer d^but at Verona, on the ITth of Feb- 
ruary, in Verdi's Syoletta. The Italian joamals, 
from which our friend Willis tranalates iu bis Muti- 
cal World, pronounce it a sorcesa and predict for her 
a distlngnisbed career. — This reminds ns of what a 
Mend wrote na about tbe young American tenor, Hr. 
Bquihis, a glowing report of whose appearance in 
Italy we copied some week* since : Be waa bom in 
Bennington, Vermont, in 18SB. After trying variotis 
kinds of business for bis friends' sake, his love for 
mnsic finally got its way, iu spile of Ae general 
aversion to the life of a singw. His voice, says onr 
friend, is a pure, fresh tenor of the Mario quality, 
and he can make a chest tone like a silver trnmpet 
up to B lutural above Ihe staflT. Eebas naturally taste 
and Bipressiou, loves all that is beautifnl, ia well edu- 
cated, and — what is not a bad thing for a tenor — he is 
handmne. He tried to learn la sing some aix yeare 
since in Boston, bnt with poor advantages. After- 
wards be sang for two yean in St Panrs church at 
Albany, during which time he concettiied with Mr. 
and Hra Vihcbitt Waluck, as tar West as Chi- 
cago, and Bang in Mrs. Bosrwiox's Soire^ in New 
York, and always with a warm reception., Tbe late 
JoHAt Cbickebiho was one of lUe first to recognise 
the rare promise of his voice, and to speed bim on 
his way to Italy two yean ago. 

The Slaliat Mattr is announced to be peifbimod in 
Pbiladelpbia, under the direction of Profeason 
Tbdhdkb and RoHB. Thnnderaod roarl Do yon 
bear that, Jullien t — Mme. Boeio ia engaged at a 
high figure to sing in St. Petersburg, while Tbdbsco, 
joit returned thence, la more than ever praised by 
the Farisiaos. 

Tbe health of Robbbt Bchukarii Is still pre- 
carions. Claxa Schchash has written a letter to 
WiLLiAK STiBBDALa BBHiriTT, whosc goest she 
w»s to have been, nating that the most therefbre re- 
nounce her prapoeed visit to EnglMd tbit teaaon.'- 
The elaisicd pianist, Cbablm BuAJt, met Istelf 
wbh a severe accident In Manchester, by a door do- 
aiag tnddenly on one oT his finger*. It wai at fint 
feared that amputMitin wonU be naceasaiy, bnl it is 
now hoped IbM he will be able to play at olie ot 
Ella's two remaining " Winter Ereninga. '' 



Tbe London AtJkmiEuia may woU marvel at the 
titles of oar Yankee books of Psalmody ; espedally 
the latest, "The Young Shawm." We are not 
aware If it be yet settled what sort of a monster a 
full-grown Shawm is or was. Enoogfa, we suppose, 
Ibst it belongs to the masiril Sanrians ntA Megalo- 
tberia of biblical aniiqnily. 



BOSTOK. AFSII, 14, 18fi6. 



OONOERTS. 

L Bknbfit to Joan F. Gbows. — We eo- 
tered tbe Music Hall last Saturday evening, only 
to see again the nsnal &te of conceit-pving Ibis 
year iu our once so muaic-loviag dtj . There 
waa a remai4»bly good concert, and a remarkaUy 
thitt boute. We only hope that tJuU scattered 
handful of people did not represent all tJie benefit 
that wat realized in sales c^ tickets, and diat llie 
young native violuutt, who proved bit talent and 
devotion so luunjstakeably (hat evening, will itot 
want for (he means to cultivate hia art abroad. If 
the coQcert answered that end, we will not coro- 
Olain. But it waa really a good concert, and we 
were aorry that we bra bad to lose the larger 
portion of the progiamme. 

The orcbeabB was excellent, compoaed of over 
forty instruments, easeiUiaUy the same that com- 
pose the Muracal Fond orchestra, and under the 
btoio of Mr. EcKHAKDT it told admii»bly iu the 
accompanimeuta. We did not bear tbe best or- 
chestral pieces, tbe overtures to Fidelio and Wiln 
liam Tell; but in what we did hear we were 
struck by tbe euphonious eiuemhle knd the marks 
of thorough drill and leadersh^ Ur. Hillasd 
sang the opening tenor cavatins from Emtmi 
with fresh, elastic voice, and great ease, finish 
and expression; and Roenni't Uira la bianca 
luna, by Mn. Wkntwobtb and Mr. Millabd, 
was one of tbe sweetest and purest pieces of 
duet Buging that we have heard in the concert 
ivoai for many a day. It was neatly and sympa- 
thetically accompanied, too, on the piano, by 
young Hr. Lamo of Salem. 

But what pleased us moat, what gave us the 
newest sensaticui, was the Qnartet for French 
horns, composed by Mr. Eckhabst, and played 
by Measis. Hamann, Fkies, Eckhardt and 
Kloob. In tlie execution we do not remember 
anything'of the kind so true, so Jflamag, to lus- 
cious in the blending of the tones. In the soft 
paas^es the quadruple stream f£ baneaaj Sowed 
as smoothly as from organ pipes. !I1ie genius of the 
instnunent was nowhere perverted, by attempt- 
ing a kind d'solo virtuosty ontiof its own sphere, 
aid yet there was all the light and shade, Ihe 
free mdodious movement <£ a quartet of vtuces. 
The compoBlion was not (mly perfecdy adapted 
to tliB insbimienta, but interesting in itself, and 
solid. Hirong^toat a oonnderable length of con- 
trapuntiJ movement, imitBtion, &C-, Jt charmed 
the listener doug with it We congratulate the 
aulhmr mi prvdocing something so much mme 
felidtoqt than the nmal atlen^ at ingeaioiit 
novelties of liiis aort 

Master Gboves himself played two solos, M6 
on the vkdio, by David, and one on the viola, 
fay Eckhardt lite first akme we heard. It was 
after the nsnltl type of lolos, an introdaction, a 
melody, with 



Uigitzed by V7V^*.^VIV^ 



'3' 



u 



DWIGHT'S JOURNAL OF MUSIC. 



tin loHa; cuitebile adagio, and bAvura close; 
enough to Bbow that he has attained to no small 
inagtciy already <^ the reqinrements of a modem 
TirtuoBO, that be has a very (Ur idea of B^le, and 
that hid intonatbu ia remaAablj' true. Hit ap- 
pearance too was modest, and all went to show 
that he was well entitled to the opportimilies he 
seeks, of a more advanced artistic culture among 
the orchestias and masters, and in the musical 
atmosphere of German j. 

n. Mr, SATTEB'a Skco:<i> Conckbt. — 
Again an admirable concert and a miserable au- 
dience — BO &r as uumbeis were concerned. — 
There is no accounting titr the shyneas sometimes, 
even to the most liberal and honest solidtaliotis, 
of tlus same muncal taste of Boeton. An artist 
of the decided stamp of Mr. Satter, who gWes 
jrou programmes of the rarest and the richest 
order, who has not onlj the skill but the wiH to 
interpret to jrou out of all tbe choicest treasures 
new and old of piano-lbrte composition, from 
Beethovbit to LiBZT, comes here and pUys in 
that dolightfiil Chickering Saloon, where all who 
go are sure to be good listeners ; and furthermore 
he gives us die fresh maiden TCoce and charming 
talent of a singer Uke Miss Looiee Hensleb, — 
and yet the room is hardly half fhUI Wecan- 
not help thinking it a reproach to Bastoir, when 
the dollars leaped so reaifily and so repeatedly 
frisn pockets as long as the opera lasted, and 
when fin- dancing " light brigades " it is thought 
a pretty tlung to looe the doDan and the n^ht's 
rest and the Uomn upon the cheeks besides. — 
But those who did go Tuesday eremng f^ them- 
selves decidedly the gainer& 

The bill of fare, as at the first concert, was re- 
maikable, periii^ a little too mnch so to esdte 
the otuniliated palate. Four out of the seven 
pieces played hj Mr. Satter, were orchestral 
CompondonB tmnacribed for jnano. We have 
long heard of the wondcrfiil talent LiazT has for 
this transferring of a symphony or overture, with 
all its parts, upon the key-board of the nngle in- 
strument His most Eunons exploit in that line 
was his last, the arrangement, whjcb we noticed 
some lime nnce at length, of the Ninth Sym- 
phony for two [nanoe. The Paitonit, the 
"TeU" overture, Stc., were eaiiier efforts, and 
for two bands only. Of coarse only a lisit 
coold do theae things ; the amngements must 
have grown in the act of playing them; they 
must have been i^yed first, b^>re they could be 
mitten ^ for it was only to Lisxt's unprecedented 
fWlity of eitecniion that such arrangements 
ecnrid occur as possible. Of course, too, only a 
-fery few pianistB have learned to execute them 
when written, and these have bad to leant the 
secret snd the st^le thereto from Liszt himself. 
Mr. Satter, ;oiuig as he is, b one of them. He 
proved it in hia first piece, tbe overture to " Wil- 
Ham Tell." We could not before have imagined 
so much of the orchestraJ breadth and coloring 
and contrast to be represenlible upon the piano. 
The opening violoncclli strains preserved their 
identic to a stngidar degree, under hia expresnve 
touch ; while 'ite piano, the last from the Chick- 
ering manu&cloty, and less powerfully brilliant 
than the one [dayed hut week, had a sympathetic, 
Boul-fol qudiilj of tone, well suited to the moist, 
lake-tike atmosphere, and tmnquil picturing of 
all the first half of the overture. The effects 
were bron^ oat with beantiAd distinctnen and 



freshness ; the storm, too, (notwithstanding that 
fnend Fbt calk it " as bad a botch, in the way of 
description, as the storm in Beethoven's Paslo- 
rrde,") was made grandly imposing, and the flule- 
like Alpine echoes on the clearing up were de- 
licionsly clear. Nothing could exceed the crisp- 
nesB, the vivacity and enei^ of the quick-step 
movement, and the violin-like vividness and bold- 
ness of the fl(md figures at the end. Greater 
strength, or greater delicacy we have not heard 
fVom any pianist — and perf^ neatness, certwnty 
and clearness through the whole. 

No. 2 connsted of three smaller pieces : a very 
sweet, expresnve litde PaitoraU (not the sym- 
phony,) by whom composed we know not; an 
onoio tnnscribed 'fVom the ProphSe, by Eul- 
LAR, which did not interest us much; and ano- 
ther Minuet (of his own arrangement) from a 
Mozart Symphony, the well-known one in G 
minor. This is not like the equable and flowing 
Mmuet he played before, but more bold and im- 
petuous, though the Trio in the major ia charm- 
ingty naive and pastoral. We like these little 
tit-lnts, renuoden of the great works, flung in 
sometimes thus incidently, when they are ao CUD- 
plete in themselves and played to such perfection. 

The artist's rendering of the BBitTHorBN So- 
nata in B minor, op. 29, one of the "Tempest" So- 
natas, and companion piece, as we have stud, to 
the Sonata appamionata, pleased us even more 
than his rendering of that It was free from ex- 
travagancies ; it was a conscientioua, finished, and 
poetic rendering of an exquisite muncal poem. 
Ibw expresnvely those little recitative sentences 
sang themselves in the first movement 1 one might 
&ncy Miranda's Tcoce. The Adagto was played 
with true feeling ; and the " airy fiiiry " Ariel- 
like gracefulness, croeeed ever and anon with 
pasrionate hnmors, of the Bondo finale was as 
nicely conveyed as we should think it posnUe for 
human frngeis. Were we to confess any want, 
it would be perhaps here, as in all of Mr. Batter's 
plapng, of more of a gradual crescendo instead 
of BO much positive fortUiimo in the strong pas- 
sages. It is very, very seldom that we listen in a 
concert room to a Beethoven Sonata with such 
real satisfaction. 

The overture to " Oberon," Mr. Sailer's own 
arrangement, wae also remarkable as recalling so 
mnch of the magical coloring cS the original in- 
stmmentation in the first half, although it seemed 
to us less clear and satis&clory in the stronger 
portioaa than the " TtlL" ButfAe triumph of the 
evening, as shoWing the union of astounding 
rirtuoaity with the poetic conception and repro- 
duction of one ai the loveliest tone-creations 
ever written for tiie orchestra, was the young 
artist's playing of Liszt's arrangement of " the 
Pastoral Symphony" for two hands. It certainly 
was wonderful both on the part of arranger and 
performer. Not a note of any of the twenty 
inatrumcnts seemed wanting anywhere ; it was 
all there, obediently answering to the touch of 
the ten fingers. And so much of the cbann of 
Beethoven's munc, here as everywhere, is intrin- 
aic, residing in the musical thouf^ itself^ that 
when the notes were as fiuthinUy and apprecia- 
tively touched as they were here, when to such 
unlimited, easy mechanical grasp of all its con- 
tents there was added such power on the part of the 
interpreter of entering into the sjurit of the 
miitic, we really heard the Symphony and felt it 
all come hcxne to ns in a very enjoyable manner : 



always undentanding of course that the remin- 
iscence thus awakened of the orchestra ts one 
great element io the charm. The two first mo 
ments came out as warm and fresh and summer- 
like, as one could wish. Neither atmospber 
nor light and shade, nor breezy motion, nor an 
of the thousand little exquisite effects were want- 
ing. The dance of the peasants had the wei] 
of an orchestral unisono; and the storm was « 
and grand and vivid, as it might have risen in the 
composer's mind ; the strength of Mr. Satter't 
playing heT« was prodigious ; he certainly made 
no " botch " in playing it, wbalcTer Beethoven 
did in writing it Of course it is not safe fn» 
simple htaring to declare that Liszt has neither 
added noF omitted ai^ht ; but the general impres- 
non was true to onr best Binding impression of 
the Symphony. Once only, near the beginning of 
the first Allegro, we thought there was a bright 
dash of the piccolo too much, something that 
seemed fitter for the thunder and lightning pas- 
sage than for this quiet scene. It may have been 

Miss Hbnsler sang charmingly. Her first 
piece was the Una voce, from " the Barber," 
which was given with not quite all her veme and 
free abandonment, but yet with admirable slyie 
and a rare felicity in the exccutiou of sc 
of the ornamental points. In the second part 
she sang an air &om Btaoice di Tenda, of a 
more sustained, dramatic pathos, dealing lai^ely 
in long high tones, which she held out with a pure 
and silvery viuce rf ravishing sweetness. It was 
encored mth great enthuriann: 



Richard Waoheb im London. — The n: 
of the " Music of the Future" has actually ap- 
peared and " waved his bftton," in the very cen- 
tre of the conservative citadel of the Past, in 
old Philharmonic concerts of London- Greeted 
with ribald jeers bo long, and at length bidden to 
their feast, the bugbear came and stood among 
them, not so much a msn of marUe, as a moi 
fire, and great was the dismay and general the . 
dance among the critics. A cenar leco m'tnin 
tasti. Ice. And how Gked they the supper t 
which they found themselves invited in return ? 
We shall see. We quote from the reports of 
some of the more eminent survivors. The i 
cert took place on the I2th of March. We will 
first cite our «niii«ing and original c«ntempcn>ry, 
the London Uutical World, which gives two 
tides, first an editorial ode or rhapsody, in the 
fUtowing, lununons, dignified, calm manner: 

The die ia cast lUchard has waved his Ji&lon 
in Hanover-square. The " Seven Wise Men " 
are in ecstasies. A beat "up" (the only beat) b 
sabstituted for a beat "-down" (a dlly beat). 
Michael Costa is quenched. The " great Tritto " 
is ignored. The new prophet is the only pn^het 
Liszt was right 

" List !— list !— O Lii{i)t I" 
Stnnge readiggs were enfix'ced, and nforxandi 
yet more vigorous (wo had thought that inipoe- 
slblc) ; while the lost pages of the Hebrii/ei went 
faster than probable, ^nd made noise enough to 
drown the waters that grumble and wail and rush 
and roar, in the darkness ef Fingal's Cave. The 
slow chords in the second port of the ZnuberflSt 
wore reiterated. A flat found its way back into 
die Eroica. The " Child " (Mozart), the " Erro- 
neous " (Beethoven), the " Stupid " (Spohr), the 
"Old Wife' (Haydn), and tbe "Jew" (Men- 
delssohn), were beaten, as they never were 
fore, in the Philharmonic Tcmjde. The m 
hers of the band were as demmu, and shook and 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, APRIL 14, 1855. 



15 



I tlie orchectrs. 



trembled with eoUinsiam. Slutpe* like unto 
tboae which delirium puala upon dailci ~ 
fiiuing and grinning ghastly ■- 
The new prophet, &c. 

"LUt !— Uit l-'O Li«{i)t !" 
TThe star of Richkid shone m a moon in the 
heavens. The new Prophet imu the only pro- 
phet Pr»eger me there, with " the bookB" in 
hiB mind's coat pocket He wore a HackiutMh 
and Fe*. The "Reactionary" stood still, as the 
taa at the woni (^ Joshua. A new kin^ had 
aheen that knew not Michael; and Mchael 
was forgotten by 
and the ArUtarckL 



place, with a copy of LoAenarin, would doiibtless 
have stalked from ita pedest^ in the square down 
to the very concert room — like the stony Com- 
mandaat at Don Giovanni's supper, scaring Amy 
the Fhilharmonic Leporello — tor William hated 
Jews, Mtd would have exalted in Richard, who 
crucified Felix and Giacomo. There is but one 
Wagner, and Kchaid is his pnnihet 1 There is 
but one BJcbard and Wagner is Iub scribe. The 
Entelechia irf harmony, " he a," — as Aristotle 
says, &c. &c. 
And then a regular conceit critkiuu, as td- 

Bcrr Wagner was received moH courteously. 
He b a short spare man, with an eager lo<A and 
a capacious forehead. He conducts with great 
vivacity, and beats " up " and " down " indiscrim- 
inately. At least we could not, with the best 
intentions, distinguish his "ups" fiian his "downs ;" 
and if the members of the band are down to his 



^th a quill tooth-mck, as a forfeit for our own lack 
of discernment The Haydn symphony — aglorious 
old lady — went with immense dath — dash b (he 
word. Of delicacy we observed no sign ; while 
the »/orzandi were intenser than even under the 
despotic stick of Mr. Costa. So many quicken- 
ings and slackenings of tempo we never heard in 
a Haydn symphony bdbre. Perhaps it is in " the 
books," however, and was all tiAi. Aa forlfen- 
detssohn'e overture, that magnificent Jewish inspi- 
ration — ffency a Jan who could erc^ about 
fingal's Care, and give such a splenifidly poetical 
account of his impreasiona 1) was taken slower 
than necessary at the beginning, and Aster than 
passible at the end. It was rather a "rii;-zBg" 
sort cf peribrmance, but wonderfully vigorous 
and animated. The pianos (we do not expect 
pianiiuirtion') were disregarded from one end to 
the other ; and this was felt to be especially di». 
advantageous at the beginning of the two grand 
creieendot, in the midtUe and in the eoda of ^ 
overture. Perhaps Herr Wagner maintains that 
the music of Jews should always be as monoto- 
nousas the "Clo' — elo' — eloM* which agonized 
the poet in the streets. 

Aj for the Eroica, that was all " sixes and 
•evens " — now firm, now " shaky," now over- 
poweringly gnnd, now threatemng to tumble 
to piecea. "lb us it was most ungatufaclory. To 
others it was evidently otherwise, mnce thev 
praised it loudly. When the beat is undeistood, 
Dowever, by the end of the season, it will be a 
very different thing ; but then the concerts are 
over. What of that 7 There is next season— 
1656 ; and is not Herr Wagner a conductor, as 
well as a composer, for " the future ?" The glo- 
rious overture of that divine "child" with the 
long name — Wolfgang Amadevs Tbeophi- 
itrs Cbrtsostom (etc.) Mozart (who wiU 
soon be teaching the " Future" to look back long- 
ingly to the " Kst" — or we are much mistaken), 
went, as we thought, better than anything else. 
The long chords of B flat, that usher in the in- 
comparable second part, with such pomp and cet^ 
emony, were reiterated (not sustained^, accord- 
ing to the Weimar fashion. About this we hare 
nothing to say. 

Altogether our impression rf Herr Wagner, as 
a conductor, is confused. By and by, we shall 
better be able ta ^ve something like a decided 
opinion; at present we are tongue-tied. 



Tongue-lied I We should think so afUr all that, 
and from sheer fatigue of the unruly member. 

The Athenamn is short and acrid : 

Nothins could be itranavr than the perform- 
ance. The violins were rarely to{rether. The 
pauses in Haydn's Andante were very long 
paoaes. ami every forte was a fortittimo. Men- 
delnohn's overture was hurried and muddled, 
without ease or undulation, — and Beethoven's 
Symphony was a fatiguing piece of exaa^ration, 
stnek full of fierce t/onxtndi and ill-meiurared 
raUentandi. . . . Was it worth while to affront 
the profenion in London, and to send a deputa- 
tion to Zurich for no belter result than this? 
Spirit Herr Wajiner indubitnbly ponrssm, — but 
of his sense as a reader of great compositions by 
great mastett, Monday's concert gives us a poor 
opinion: and it remains to be Men how far bis 
fits and starts will be able to impress our orchestra, 
should he be intrusted with the production of any 
unfamiliar moric 

So much for one side of the qnestion. And 
DOW for the other. Ilie Ttme* (Datidbon,) 
still abuses the composer, but adnuta that " there 
was quite eooogfa in the exeention of the sym- 
phonies and overtures to show that Herr Wag- 
ner is a man of intelligence and firmness, an ori- 
gioal and perhaps an intellecnal (hiaker." The 
N. T. Mmical Gazettt has the fdlowing letter 
from a London correspondent, which evidently 
represents the ofunion of not a fbw : 

The audience rose almost en matte to see the 
man first, and whispers ran from one to another; 
" He is a small man, but what a benntirul and in- 
telligent forehead he has!" Hnydn'i symphony. 
No. T, (Grand,) began the eiNieert, and opened 
the eye* of the audience to a state of thing* hith- 
erto unknown as regards conducting. Wagner 
does not beat in the old-fashioned, metronomio- 
automatoninanneT; he leaves off beating at times 
— then resumes again — to lead the orchestra up to 
a climax, or to let them soften down to a pian- 
issimo, as ifa thousand invidble threads tied them 
to his bSton. His is thei^ou ideal of condactwn; 
he treats the orchestra like the instrument on 
which he pours fbrth his sonl-inspired strains. 
Hnydn's well-known symphony seemed a new 
work through his inexprenribly intelligent and. 
poetical conception. Beethoven's Eroica, the 
first movement of which used to be tnken always 
with narcotic slowness by previous conductors, and 
in retnm the fnneral march always much too fast, 
so as to rob it of all the magnificent gran' dUore : 
the scherzo, which always came out clumuly and 
heavily ; and the finale, which never was under- 
stood — Beethoven's Eroica may be said to have 
been beard for the first time here, and produced a 
wonderful effect. As if to beat the Hpndels- 
sobnian hypercritiM on their own field, Wainier 
gave a raidmg of Hendelstofan's lutes of Ftngtd 
that would have delighted the composer himself; 
and svea the overture trf Die ZauberflSle (m^;ic 
flute) was in/est«l with sosnething not noticed 
before. Let it be well underatood that Wagner 
takes no liberties with the works of the great; bat 
his poetieo-musical genius gives him, as it were, 
a second sight into their hidden treasures; bis 
wtHship for them, and bis intense study, are amply 
provea hy his conducting them ill without the 
score, and (he muriciana of the orchestra, so lately 
bound to Costa's reign, already adores W^er, 
who, notwiihstaodinK his republican pdltics, is de- 
cidedly a despot with the orchestra. In tbort, 
Wagner has conquered, and an important influ- 
ence on mnncal progress may be predicted fbr 
him. The next concert will brine us the ninth 
symphony and a selection from Lohengrin, which 
the directors would insist m, notwithstanding the 
refusal of the cemposer. . . . The Pott sgi«es per- 
fectly with as. 



Ths HXKiwLsaoMH Cbobai. Soonn gin a cenesct 
to-nigfat on a nonl ptan, It b sMif^ bMramantal and 
ts ^van In cwDpliment to lbs Lsdlss of tha Society. 
Tha orchastra of a msmben, nntfer Mr. Eckbabdt, 
win play BuRHOvm'e Saventh Sympbony, whioh w« 



have bul no ehauoa to hear tiafbre this wintar, altbout^ 
«a have hul all tha othen nva the MlDlti-.~ilK) Iha 
ifuBwai overtura for ■ flnala. Mr. Grovw pUya a 
viola, and Mr. Kliessb a comat Solo; and that tiom 
quRtnor of Mr. EcxnAROi^ will be playad agala. Ulsa 
BoTBAULT, "Mlu Twicnzu., Mr. WxTaaBSXE. and 
othan will oortnbuta vocally. Wa hope the Haalo Hall 
wUl be erowded. 

Rixt SitBnlaj (Hit) li fli^ Mr tba Banrat OnwRt of tha 
HduoAi, Fnn Boourt, and n tmM ika ml Maadi of nuk 
wlJl not imdf* Iha ipmlini of a Ultla tlina doilDi tba IdNt- 
v«ild( nek In iBtanMlat thalr nalftabon UacUBd. IM 
BgMoaalhast ibn a hudr Joalk* lUa llBa,and>nteU 
tba Fund 




majr haat H*I»'s Uaia Id 
peitonuad bj Nt. Dunn's 

CbiHr, wUb Mr. WiuoeiaeeaapaiiTtnf eattaiagblaTnBOBt 

Tnapla Orfan, db XbondiQ avaDliic Hit 



^do^r^i8»m^Il^^. 



TIE mniELSSOHI IXOEU SOCIETT 

iDvlta tha fatroDasi itf UmIt rriasdi and Iba PnbUs at a 

GRAND CONCERT. 

OaDpUmantarf le tha UDin OV TBS BOCIKTr, at Iha 

BOSTON MUSIC HALL, 
This (BntoTdsyJ Svening, AprU 14tdi. 




Hardn's Mass In D, 

WUl bi tarfarmi la tba TRKHOHT TKUPLB, ao TrnsM 
Bruma, April IBth, ISNk bji tba jHHmtud brain [»Bb*[ 

Mr. R. Bi^a, — Mr. J.uTwiucoii^lpnddtatlbaOiiaii. 
lET-nekaa 3G atDta Mcb. to ba bad at UU ■«(« lUna, as 
at tlH dAor (u Uh amdof of Lba cooHTt. 



ILTBOTATORI....>'atildaltraBpa," Tst>l 
Jaat pBbltobad OBOEQB P. KICKD t CO. 

TX TB0TATOaK...."I>(a«U nlla Tem," Tbul 

1 Jim pnbUahail. OBOaflB P. KIKD t CO. 

IL TBOTATOR>....''Ahii.liaDV>o," Tibm. 
Jou paUlibad. GBOIiaa P. KBSD ft CO. 

ILTSOTATOIU...."T»MlaNotIa," Viabl. 
JaMpnMlihad. OEOEUIB F. KBBD h CO. 

IE. ntOTATORB. ..." D'Aaor nl' alU naia," Taun. 
Jaal pobttHwd. OBOHGB P. MtBD t 00 

Heir and TalaaMe Mule Bim^u. 

TBCBMICAL BTDDIBB 
For PtuBO-Fana vUjHg. By Lons Punt, Tmbar Id tba 
Couaai lauitj of Mule ■> Upile. Tnnalalad from >ba Qta- 
lua, br J. 0. O. Puisa. Piiean. 

IBB VOCALIST'S COMPANION: 
Or bardaes Rb' dttaloiiliw, atiaDfrbcDlnc aod tqaallitiif tba 
Tod*. DMjfMd aa Iwnxfartorr (a asd to ba nant la eoB- 
■oatka vltb tba c^biatad Boiiaia BmclNa of FaoaaroB, 
Crlvaill,j«blaabaaDdaihcn. B/biraaB B. Olitib. Prig* 

PabUshadbr OHwn INtD«>, US WbaMviMA. 

WABrTKDi A AaattoeaaOrfaDMhlMtaDorvldldlTi 



THOMAS BTAN, 

XEAOHER OF MUSIC, 

BUIDBHCB, Me. a JtlX PUOK 



Uigitzed by V7V.^*.^VIV^ 



'3' 



16 



DWIGHT'S JOURNAL OP MUSIC. 



HEW AEBTnETXO JOVRITAL. 
THE CBATON, 

k Wtcklf PiptrlaToudta ART, olhnltHirto [fir KtlntioB 
>f an wbn an Inmted In Ihe il(>ilhi( ind nBnioi InHn- 
•Bttt ot BtmalJ. Adodi UlCHinlrlbaBMtoTHS CRATOH 

I, Pndilaiitaf UwR tfcmil Acidmi} oTIMalin, Dinm, 



u* Lcmimuis, Bi»m TiiutK, Ok. Wd Csnii, Bn. H. 
W. Buoiu, ■•». Si»qn. OtoooB, IUt. H. W. Biliowi, Hm. 
Cviun Soa HIE, moil otben or DnrmodralDsBt vritin. -A 
MtIh of Pipn* If to"" "" " '"" ■^~ "" ' 



1, add to Ih* biUatt ot Tb* 



Tb* BrM In BBabcn or thb p 
tfOnniivl T>*P" >H 
vhtatalgfauMlBtnr 
limdtd la ■ doBbto 



tlw taiM, (bM tk* IwdlM aHlcIa ilinri 
» rHi, nall-aHwIdaid^dbliKt, uid m 



vtlahlj vltk thoaifat u nil H 






idrith tba •■ 



ibc^KpaSntlr.BD- 
■DUUBiBI;, iBd luiKaUT, una nccesoi not Id >lDntnt not 
•dtBlnUoB— a poor TieMiT— but in tHTlag lu wIht thu b* 

Tbi CnjaB liw, m bop*, ■ ipwIbI mti^D— to pugi ud 
mbtrba tha Mrla of oni jDoriuAiliic, u Krll u tbi BHc ol 
our paoplfl Id fnwnL Tbn bratrd, HHOiu^ iiDd ■datfllatipt 
MjlaiifanpiibllopnHlalKeeBlDifiiMonbla. Tb* Onjon 

rnm Iki anuimiati Oaxiut. 

tfo b*n altMdj MnD|lj nooiDiHDded TBI OuTOW, ud 

aTvrr raoceed l og nttubar pi4T« It lo btuort uhI mofe vorthr 

at ill n ban Mid In tu pnln. Ho joonul, ifcroud u Art, 



■ Tsck. Inap, •> pu w 



vir. jT. z>.AJE«;s::xxEijeK>za-, 

NO, a LA ORANOX PLACE, BOSTOH. 
HiThw rulifcd tbMM* TMn In Burof* iMh * Ttov of *d*p- 
U^ tbt IfeUlu i^l* of StaflBC W Um Kncltoh nle*, ud of 

MDMljllC OHtoUtOt UH TOtn, Wld (hMMI|UT dOmiltlllf 

lunli, tnttanl, mbI, er ofhtr mitltuut sHuniiilttH, pro- 
pgoH to iln lonu oa tb* Tofet, wd In Sfai^C IB Dm tttlkB 
VniKb, ud BuflM laotmaM. 

Hut who hn«ipn(T<«« oTMrnvitBd} tsMUln mntul 
ncdlniea, ■!>» MntgUng to am^atr MBwsattanl, autl, at 
otba dn*)«Hut irtnuiFliw. abmdoii lb* nonatt ftm tbg bo- 

UtfthittbnaaaflieudiiMt SMlanWdrfccth 

wlu arnc^oul put o( thai 



l«wVliT«lHlaa*rt(irHopRlj dbvetad 
■iinn f iita1,lhi ln <ilM»»lthtb« 
IfbauMtU. 
To itngM of ^^bana r h* woaUiyfi .. , 

otlbdr lil»h a>l«ii»iBM, thw ■ briaf pwarnea 

Ui^Mcn wWaaoflBea^aaaat KMtkal, tha* ba •■> lan 
tbna tub wriMmMlD bitlftlut Ihantaa, aa Bi%b( dallcl 



" BataaaoqulMad witb tbamtnataf nnl dtadBHH pa 
bT Hr. W. J. PiauUH ta femtai ud d>nla]>(u tb> 
1 tata plMTi la bmhia mj I M t l ai u]! to Ita awiatlaim 
U(ilii(U IS batkrpratmMauiuj oUiai matted kaswa I 



B. B. ALLEN, 

TSA.CHSR OF THE PI^rTO-FOKTB, 

I«U*n dbwtad oan tt HaCbiia BMBidHn, &ff. VB WuU- 
toatoaStiaat. 
ftDnuoa.— Otto Dnarl, >. HuiUtm,!. I. Harmod, lav. 



L. H. S0U7HARI>^ 
TEACHER OF IStTSIC, 



CHICKERING & SONS, 

HANVTAOTUEIM 01 

PATXITT AOTXOH 
QRAND AND SQUARE 



WAREBOOnS, 



tro-W ABD t^ BALOH, 



NATHAN RICHARDSON, 

2Sa WASHINGTON STREET, 

Haljnit nni**l ■ bofa Innlsa of 

CTTmXOf 

i of all tba di 






—JUST PUBLIHHID,— 

Blo3x«rdion'a OoUsoticin of Nation&l and Ope- 

ratlo MalodlM, 
YeiT iBifflT innpd «pr tha Pluo, and ««ia™i a»l« tha 
qicthod of tba Hodarp ScboaL^ In tvFD^ miinban. Prica 
I^ooiUloSGisniUiaeh. TbiraiatualleDt lbi;i>nn| pnpUi. 

Blxt7-Bti InMrladsa la the Mi^or Keya, 
Dj J. H. JONES, tor The Oiju, Ualodton ~' ~ 

uai^, ud TRTlnUnatlng. Inij muMi 
aeo». Plica tOauM. 

nitrd Bo<A Of Oonoana'd Vooal 
r«t tba Bilddl* iHjIilaT sT tba nita, tha oalr cosinMa tt 
InttMaoantn. Jau pabLWud. Iba; will ba fcud 1 
p«nub1alomIlTiH:l»nDfSlnslu(. Prioi n. 



HATBAH BIOHASSSOIT. 

MVtaCAL BXCHAKGE, ma 'WMUmftoB M.| 

BOSTON. 



KB. HABBISOtT KZLUUtD, 

(ixNoai,) 

TEACHSB OP XTAUAIT VOCALIZATIDV, 

H*. ■ *rlav tt. tuu aiO par foaitB. 



PATENT AMERICAN A0T10N 

PIANO-FORTE, 



TODie LANEr TOGAL lUSIC SCHOffl. 

B. R. BIiAHOHARD, TanclbWf. 

TUi Sihaol U dtalfnad IBr tbam alio «M to acodn Iha 
ibUUT to ru^Biaitonadllt al richtiUdlipaMloalarij adapt- 
■d lo tha iraiita of tbon who (Mra to Ot IbaaMln* lo uuh 

l«a, in tba CnltlTUliia tf Iba V*lca,S(jlk'fta. 
Addm, can of Oao. J. W*bb k Co., Ho. S fflntai itnat. 



MB. J. C. D. PABKER, 

BEOS taanncmnaa (hat ha bprtiarad (oawuna taatna- 
lion In PUna-lbna ud Orsu pl>jlB(, Hamon; ud 
OoonlarpolBt, aad wUI ba bapn lo racdn vpHoailoBa it Ns. 
S Uajaaid Pliaa, oa and aftR (tat. laL 
RiriaiKCB*— R. k Aptbcop, G. G. PaiUn*, f. S. Swl^t, B*v 



a. ahdk£ b. oo.'B 

jDtput at fatifipt Ritlr SanustU fSmiit, 

19 1. mna nam, u«n oBmsn, 

(brtUda,) PBTLAKBLFHIA. 

[T^A oatalDfita of onr HlArk of Voniga UuiLd, and o 



Me. J- Q. WETHERBEE, 



OAHL QARSHEB, 
r£.AOS£B OF MUSta, 

0x11 



HajbalMnd at K*. X) IIDTat Stnat, twr teaniuB hi 



C. BBEUSIIVO, 

IMPORTER OF FOREIQN MUSK>, 
Wl KLOASWAT, HEW lORK, 

Depot of JSrard't Grand Piano*. 

amcDLAiiKO mraicAL libba&t. 

lE^ Oaaatutlr on hand a aoiaplaca ■■nriimnt of Amtloan 



ADOLPH BAUMBACH, 
TBAXJHXR OF TSS PIAHO-f OKTS. 



J. TRENKLE, 

TEAOHER OF THE PIANOFORTE. 
Raaldcnsa K*. M Kaaaland Street. 



MASON a. HAMLIN. 

rnHB atlwtloB of tba aioileal puUle la iBTltad to IbaaaalT 
X bapimad MODEL UaLODEONSaudabjiiL Wtballan 



lu all tba MKDtUl p 
inhtllj la nvud tD 
SqaaUty. Power, Bw«Mn«M of Tons, FMmpt- 
>!•■■ of Aotlon and Styla of TitU^ 

Obi ptiiiia wttj tioai MO (a (ITS, iwaidlnt le tba ite ud 
itjia of tba lattmmant KtoommandadDBi fnn LowuL 
H^HR, Wh. B. BamuiT, flwaM P. Root, L. U BonaiaB, 

DT-TBa optalmi of On abore gantlaoMn flTa Iham a dacUal 



SCHARFENBEBG & LUIS. 

mPOBTEBS OF FOREIGN BllJSIC, 

Mo. TBO BSOASWAT, mtmi of KUth It. 



WZZ.Z.IAM BEZaSB, 
FabUrtier and Importer vf MbbIc, 

Ka. BS WMt 4tli atraet, ClncInuU, 0. 

KEEPS oonaUnlll Dn bud a Lain ud Bclaot Stofk of 
IHPOKTED MDBIC, Ah aala at batac* (Mm. Ra* 
MnHs nnalnd taj SCaamar aa 1000 al paWMiad. A Uberal 
dlaoonoB srantad to Tfaehan. AIL acdaci prompllj atlaadad 

ET" CaCalognta ant fnide b; Biall. AofM 



A CARD. Maun. flAHTNZR aad JDNGHICKML ai« 
nadr toTeea<TaappIliaaaBaloturiiMiin»il«lducia, trioa, 
fca. At A«m and pbBt" '—' 



DWIGHT'S JOURNAL OF MUSIC, 

% y>(n at flit inH Itttntun, 
FnUlilwd emy B«tiirda7, at SI SAool It, Biwtn. 



tea mat vlth aoBtiaDallj laanail^ kmr, ud It uMnd 
apoB ICa BEVXNtB TOLOMB ■»! tba neaibai IM BMart^, 
AtrU7lb. 

Ita coBluli talaU atalalr lo tha Aitof Kiao, hatvltb 
lluoae at tha whola WorUotArtudof PalkaUtatatM*; 

liii lulling, n Iimliillim 1 CrHtealRarlaaae/Osaearta, 

0»>(Hla,Opaiaa; vlthOmalj AaaljaHOttbaaMahlaWoifea 

Ninr Hndo. B. Uoalcal Nan from all pHla. 4. Conaa- 
poDdcnsa from moalcKl paiaont and planu. t. Enaji oa 
mnakaJ itjlaa, achoola, psrlodi, aoi' 



MDiai, Social, ■ 
Cburah, tha Oa 

fmiehinUadupaiiHinlsud Alt, 7. OsaarfaaalMaUoaaor 

Smlptna, PalntlBc, ha. 8. Orlgbial aad flalaatad PoaBa,lEa. 

0~Bask nunban, from the eoBuntnetnani, eu b* fnp- 

' J. S. SWIGHT, SI Boaoai 9i. Bona*. 



From IIU Xnc York DoH^ ^iX-mt. 



a.I><right,of Boaun. aad 1 

udpndaa. Ub ankka a: 
- - to dal^l Ita la 






d hb Joartial 



■■ilalfat 
Iihad,la 



V Ihrtt la a plaoDftirta, ibli Josnai aafht 

laJUoK 

■ ■blchbaBbvTb 



hold tha iadfa'a chair thaa aaj 

vbaaepnnnnarBacqaalDted. Hliganlal 
•f ftel(o( la ultwt to u acata pansapdoa of tba 



Bpaetal QoUcaa (laadtd), aath laaartkra, pc 
Pajvaata nf nlrad Id adraaaa : f« raacljr 

Mo. 31 BCBObi." BTBBB$r 



Uigitzed by V7V^*.^VIV^ 



'3' 






Whole No. 159. 



BOSTON, SATURDAY, APKIL 21, 1855. 



Vol. VIL No. 3. 



puii|ht'5 Jouijttal 4 SKttak, 

PUBLISHED EVERT SATURDAY. 

TMBIfS : Br X«U, *S pw itniuun, la Bdniu«. 

wiiMi toft tar o»Ri«T. «s,so " 

J. S. DWIQBT. BDITOK AND PROnilET<». 

EDTAKD L. BALCH, PRINTER. 

ttT" OTTIOB, Nol si flehool Strttet, Boatou. 

SUBSCRIPTIONS RECEIVED 

UtbiOTnCR or raBLICATiaH.....n8ehiwlBt.BH(H. 
Bf NAIVAN &IUHAKDSON, 281WaAlDitgDS(. •• 
- OKOHOE r RBEB Jc CO. . U TntHnl Row, « 

" A.H LBLAnn, PniM«»,R,I. 

•• €. BRBU8IN0 Vn BrM4>Vi>>wV0[k. 

" aCUAKlTRHBJtaO A LOia, 7aa BnMnir, 

" OKORai DOTTOII, J« KortHtn', N T. 

" O AHBIU k 00. . . .» Soatli Hbltk Bt. PMluMptaU. 

« JOHN U. NH-LOk PliMiiug,PL 

u MILLER fc BBACHAX,..ieiBalll»ieSl B>UliDon, 

" COLBOItN ft VIELB, MmLnnut, O. 

» HOLBROOK & LONO,. C1n*UB4,0. 

■«r 0«l(kl<i Jiwukl or Moils. 

Bfli^uesnom of a SnmiiMr Tour. 

ViRsnil.— Wkit thtll Kt DOW toBDd oar ilbeoane Dnn t 
TiuiTiTi — Iftet jou will: I wlLlulkortblB|>ba¥eDlT, 

orthlogi to earn; Iklngi fcrclKp.ar Ulufi tX kom*— 

tded ill k« AoiH to oar tntl — Auquw. « 

1b. Editor; — As tbe seaMii dr&wB ta its 
cb»e, alloiT me, in the compaTativc dearth at 
Intimate musical critacimi that may foUow, to 
lip, m a nwdam my, of Mme incideata, partly 
■cal, partly otlierwise, that befd ne daring a 
ef (onr m the Summer of l^». I must pro- 
e that in theK chapten, be they more or len, 
my diaoonne will of necemity be desultory — set- 
ting at defiance, for the most part, all chroDO' 
logical and It^cal sequence. 

Says a diatJngtmhed writer : " To an American 
fuiting Europe the brief voyage he has to make 
is an excellent preparative. In my own case 
•office it to say, the passage across was afier the 
alter ot all voya^ on the Atlantic in April, 
with the usual alternations of irind and calm, 
amre and cloud, storm and sunshine, and but 
Uttle (rf incident to mai^ the leaden bouti of 
mch encoeeding d^. 

To me, indeed, all external drcumslaBees ai« 
the same upon the tea: a c<Hislant and aUding 
•ense of ntter wretchedness is my portion — eea- 
■icknee* my inevitable destiny, pervading aU 
lime* and places — changing all romance into 
dullest reali^, and merging even the semblance 
of enjoyment into pontive suffering. I End it 
hard to believe that any landsman ever fvUy be- 
guiled himself into the idea that he was enjoying 
"life on the Ocean ware," 
[t was early on a Sunday mormng when the 
cry of land was roared out ftom the deck of 
the forecastle. I can isiagine, bintly it may 
how that sDond once thrilled through 
every timber of the first ship that came in 



n^ of an unknown shore, in the merry days 
of dd Christopher Cohunbus. All day long the 
low shores of Ireland floated past, so near that 
one could almost pitch a tuicuit to the eager sons 
of Erin, seen here and there on ita shelving 
banks. A red letter day was this ta all. Sea- 
sickness at last had gone, and in its place came 
that most delightAil seosatiiMi of relief and iree- 
dom that most needs be felt to bo known. 

On reaching Liverpod, I heard much of the 
appro&chmg 'inaugur&tioD of the great Industrial 
Exhibition of Ireland, and this determined me to 
make the beet of my way to Dublin at once. 

I arrived there on the day preceding that of 
die opening. Every hotel was crowded; and, so 
I was told, was every nook and cranny besides, of 
the hospitable old ci^. I was turning away in 
despair fimn the steps oS the Impend Hotel, 
when the landlord enquired, rather abruptly, with 
a brogue, if I " might be an American," and, on 
my replying in the affirmative, assured me that 
his best iwon was at my servicfi '. " for," saidhe, 
"we have a yearning in our hearts towards your 
countrymen." I do not doubt bis sincerity. It 
was coufinned a score of times, and in as many 
different initaocea, during my brioT sta; in 
Dublin. 

I was fortunate in that the " Messiah * was an- 
nounced to be performed that evening ibr the 
benefit of the Irish Academy of Music. It was 
given by the Ancient Concerts Society, so called, 
an association established in 18S4, and having in 
view the same objects as our oim Handel and 
Haydn. The occasioa was me of more than 
ordinary intereet fer whioh especiid preparation 
had been nude. Yet the hallv a small one, was 
not filled. 

The Oratorio was produced e>lii«, by a select 
fHvhesIrk of forty-fire performers, and a choms 
numbering about one hundred and fifty. Of 
course, it was well done, but nOt better than I 
have beard it by our locieliei at home, on many 
a Christmas Eva. I speak of the vocal parts. 
The orchestration wag such as to leave nt^ieg to 
be dearcd. An organ of great power, managed 
in a masterly manner by Dr. Stewart, was as a 
tower of strength to the voices in the sublime 
choroses witb which this oratorio abonnds. 

I was struck with the excellence of the room 
itself for music. This is such, I think, as to 
merit a particular description. 

It is called the Ancient Conoerts Boom, and 
was constructed, so far as I could leun, at about 
the tine of the (brmation of the society. Its 
size is small, being ad^tad for seating comfort- 
ably ottly thoiO. 1 200 persons. The form of the 
apartment internally b very neariy that of tifo 
cubes as once suggested by Mr. Gardiner. Its 



wafls are relieved, at intervals, by pilasters, and 
further broken by panels. A heavy cormce runs 
aniund the top of the room ; sprin^ng from this 
is a coving irhich, at the hci^t of ten feet, is 
Joined to the flat ceiling above. The ceiling it- 
self is intersected by deep panels uid is finished 
in stucco. There are no corridors at the aides, 
and but two or three of small dimensions at each 
eitremi^. Tbe fioor is level. The seats are 
mere benches with wooden backs, innocent <:£ 
cushions or upholstery of any kind. A l^ht gal- 
lery extends around three ndce of the room. 
The orchestral platform follows, in its plan, the 
some general arrangement as that of the Philhar- 
monic Uall in Liverpool (of which 1 may give 
some account hereafter), but the scats for the 
chorus rise less abruptly. Back of the orchestra 
is an organ with power sufficient for a building of 
thrice the aze. 

The ventilating arisgements are ample and 
most excellent; the fresh air, preriously warmed, 
entera throt^h minute apertures in the risers <rf 
the steps, (wUch, I shoulu. he-vj mii, extend 
along the udee on the floor irf the hall), and es- 
capes through apertures tu the ceiling. The arti- 
ficial lighting b effected by means of chandeliers, 
suspended however tcane 16 feet only from the 
ceiling, so as not materially to interfere with 
vision or produce acoustic disturbance. There b 
in thb hall, when filled, no echo, and no percep- 
tible reverberaiiaa. Iha genenl deposition of 
the house for the seating of the andience b am- 
phltheatrical, giving to the assembly, on thb occa- 
sion, a most brilliant effect 

Apropos, in this eonnectuxi, some one has re- 
marked that the idea we fonn of Italian and 
Grecian beau^ is never realized in Greece and 
Italy, but b found in Ireland, in the upper ranks, 
hei^tened and exceeded. I believe in ihia, 
Certainly I have seen no equal in face aod form 
to those I saw among the hi^cr classes in Dub- 
lin. 

The inaugural cerauwies of the great Exhibi- 
tiou have been prerioady deacribed in the pages 
of thb Journal," and need not be r^>eated here. 
The occasion was, iiMleed, one of paramount in- 
terest, and which wanniy enlisted the synipathiee 
of the whfJe oonntiy. It was a project designed 
to give fresh vigmr and life to die drooping spirit 
of the nation. The press had labored incessantly 
in its behalf for many months. Every appeal to 
patriotic feeling had been made, and no eflcal 
spared to give it magnitude and importance in 
the eyes of the people. Tlere were those who 
fondly saw in this event the dawning c^ a new 
life fbr Ireland, by awakening a uatiimal pride, 
uid recallii:^ popular attention to the industrial 



•ToLlIL,PH*TT. 



^v 



18 



DWIGHT'S JOURNAL OP MUSIC. 



of die kingdom, uid thtis airegdng the 
tide of immigratioa which has dmncd its popula- 
tion fiw so many years. 

For myHelf, aa an impartial tooler-oii, I could 
notso hopefull}'- interpret the import of this great 
event It seemed to me rather the last struggle 
of a noble-hearted bnt doomed race. The gloiy 
of it is illuaive. It is as the red glare at evening, 
which foretels the Usckness (^ the storm that 
shall brood over the night. 

The day dawned in cloudlen beauty. The 
streets of the town were alive with the eager 
multitude. At an eady hour every seat -and 
standing place of the vast structare was occupied. 
Here was brought t(^ether, in closest contact, 
tba rank and aristocracy of three realms. The 
high-bom beauty of England, Scotland and Ire- 
land was largely represented. There was a 
marked eameatnen upon the bees of all — enthu- 
siasm even — which showed how deeply their feel- 
ings were enlisted. But it was not the eamest- 
neai of hope, nor a joyous enthusiasm. In s[Nte 
of all the pomp and pageantry of the occasion, a, 
shadow sat unmistakably upon the vast assem- 
bly. And when, at the close of the ceremonial, 
the superb band of a thousand voices and instru- 
ments jcnned in the national anthem, ponring its 
miSgniSccut muac into the ean of twenty thou- 
sand listeners, filling the huge building with a sea 
of sound, there went up a response from heavy 
hearts. It was the wajl of an unhappy people. 



Bobert BehnmaniL 

(Fnm BoMUWiD'i ■• BmeOnatrj LctMn.")* 

Napoleon said that it was more useful to know 
ons man than 49,000 plants. We are of the same 
oinnion, particalarlr when such ui ordinary-so- 
cial, beer-drinking individual is possessed of such 
extraordinary genius as Robert Schumann. 

Allhou;ih the outward appearance of a com- 
poser ought not to interest us, but only his inward 
Bind, the element with which hie works renderus 
acuoainted, we are stilt very fond of studying his 
bodily form, in ordor to see whether it is a coun- 
leipatt of his soul. 

Unfortanately Nature does not often make a 
perfect man, like Goethe. The outward appear- 
ance of tbe good Mozart did not correspond 
with the mind within ; neither does Robert 
Schumann's. 

Robert Schumann Is a coimnon-place, wetl-Ted, 
ballet-headed individual ; the bridge of bis nose 
does not ^ve evidence of tbe slightest grain of 
poetry, neiiber do his eyes flath with heavenly 
ore. His complexion is not at all tinged with dis- 

gist for the world; and hU hair does not, like 
eethoten's, stream in the wind, but liesquietly 
on his forehead, which is not more than usually 
lofW. 

He looks K> calm and sober, and yet has been 
to drunk with love I He appears reserved, and, 
like most men who have always a thing to do, 
avoids those who have always one to niy, and yet 
he can gossip so detightlully, at one time like Fto- 
restan, and at another like Susebius, according as 
his heart is at high or low water mark. Like 
claret, be is only palatable when a li'tle warm. 
Arrogance has not filled his head and emptied his 
heart He is proud, but not in mind — for a proud 
mind is always a small mind — his soul alone is 
proud, and a proud soul is a great soul. 

For me, he is an amiable man and a very dis- 
tinguished artist After Beethoven, no one hM 
compoaed a symphony like Schumann. After 
Sebastian Bach, no German compoeer has ever 
succeeded in jotting down, with luch nonchalance. 



• RratiioKor^ L'lini, b^ E. BobolHi 
prfnted from ibc OmpnuiniKks Zciiini 
tb* LSDilan Muiral Wurld. Tllrw taUct 
notij u lUj [hg tldn of Wnfnisriiini In O 



the most wonderful melodte and harmonic combin- 
ations, in the form of canons, as Schumann has 
done in his SHicke/^ Pedidt^avier. 

Some of his sonfis are most charming, bnt his 
pianoforte muuc ranks higher. 

The first pianoforte compositions by which 
Schumann attracted attention was his " Carnival, 
Seine* Mi<ptonMS,on four notes," Op. 19. It is a 
varied series of characteristic pieces, in which 
Hurlequin, Columbine, and Fiermt, Florestan and 
Eusebius, tbe Philistine and the members of the 
David league, Chopin and others, apnesr with all 
their nationality and peculiarities, ErcI; piece is 
more charming than the one before it, and each 
begins with the four notes — a, e flat fes), c, h. 

The resder will enquire what those four notes 
mean. Tbcy were intended to represent a town 
of Saxony eaJled Asch, whither Schumann's 
thoughts frequently strayed, because at that time 
there was an object there which interested his sen- 

Nnw, it is salisfiictorily demonstrated that a meet 
excellent method of overcoming a seemingly in- 
vincible passion is to write venes or music on it 
Tbe trouble of Rnding the rh^me and studying 
the sound, the fact of being amiable, on four notes, 
in the most widely different dispositions oF mind, 
disturbs the one fixed idea- A menial crids is thus 
produced — until another passion supervenes ; and, 
unfbrtnnately. poets and musicians have, and must 
have, a superfluous amount of passion—^for it is a 
lucky thing for them that their blood contains 
more component parts of iron than of gold. 

The second of Schumann's pieces which pro- 
duced a sensation was his " Grand Sonata," Op. 
11. It is difficult !□ play, and most be well stud- 
ied, if the performer would bring out the efTei^ts 
it contains. It appeared under the title of " Flor- 
estan and Butebius." 



derful articles appeared under their name in tbe 
Leipziger Miuiloiluiche Zeilvng, when R. Schu- 
mann edited it, TTie sonnet itself depicts the 
contest of the members of the David league (co- 
edllors of tbe J\'eue Leipzigtr Zeilung) with tba 
Philistines of the old Mutikalitehe ZeUung at that 
day under Fink, 

Some one hsS said : " When I hear Schumann, 
it seems to me as if I were floating on the sea." 
There is a great deal of truth in this senliment. 
It is one of~ those which I like to hear fnnn the 
uninitiated. 

There is, however, a great difference between 
pronouncing a criticism on a work of art, and de- 
scriUng the impression it produces at the moment 

The^atter every one has a right to do, but cri- 
ticism must prove why this is good and that bad. 
Now-a-days, mere talk will no longer pass current. 
What reatonable being will feel offended that the 
continual repetition, in Wagner's Lohengrin, of 
" Heil deintT Fahrt, Ifeil deiner Akrt "—that in- 
stances of false declamation and intonation, which 
are always quoted \ and that transitions which 
tear one's ears to pieces, like that in tbe finale, 
with the chord f, a, c, e flat, g, are blamed, if, at 
the same time, every thing gmd is praised. Only 
weak-minded persons are clouded sufficiently in 
their minds to find everything perfection. Liszt 
and Raff do not belong to this class, but are en- 
tirely of our opinion, and the little work Rafv 
haspromised will bear us out in our assertion. 

The torch of critii:iim should notium but sim- 
ply light, and the hand which has grasped it, in or- 
der to invoivein a destructive conflagration ev^y- 
thing with tbe exception of one tingle object, 
should be rapped until it lets fall the torch it is 
not worthy to bear. 

The sonata. Op. II, is a battle-piece, and its 
compceer stood in the foremost ranks of the com- 
batants, and spoke well both in words and tones. 
" Kantl kommt her von KBnnen." (The word 
Kfintt is derived from Kdnnen), such was Schu- 
mann's motto and that was the sonneL We think 
at the present time as we thought as members of 
the David-leagae ; away, then, with what is bad 
in Wagner, with what is bad in Meyerbeer and 
Schumann ; with what is bad in ourselves. We 
will never attach any value to the fact that Dumt 
(fog, vapor), rhymes with Kuml (art). The fog 



ipbere may still be a little hazy, 
clear Dp. A great deal o! Wagner's works will 
live, but a great deal more of Schumann'a 

In Op, 12 (" Phantasiesliick") we again find R. 
Schumann wounded in the heart We particu- 
larfy recommend the " Carnival" and this piece, 
for they were composed in the sacred 



In the " Carnival " the patient is snflidently re- 
covered to indulge in humor, but in the " Phan- 
tasiestiick " we find the pare platonic attachment 
to a pupil of Tag, a fair pianist whom we then 
knew and whose talents we acknowledged. These 
pieces are dedicated to her, and she herself need 
to speak with pride aS having excited the admi- 
ration of such an artist as Schumann. 

But, as we know, men, like children, are sent 
to sleep by song, and Schumann sang himself to 
sleep and awoke as — a child ; he composed his 
wonderful " Kinderteenen" (Op, 15V rode his 
hobby horse, felt frightened at Ruprecht, and again 
sang himself to sleep wtth a lovely " Wiegeniud." 
These little compodtions, when delicately and 
prettily played, as Beiaecke could play them, wofl 
even ourselves into the fairv realms of childhood, 
and call up such home-aick longings that we would 
willingly return to the time when everything was 
so beautiful. 

Schumann awakes us with a grand idea, name- 
ly: to conlribate something towards the mcmii- 
ment to be erected to Beethoven. 

Ten years previously Beethoven almost died of 
starvation, but at the period in question collections 
were made for his monument. 

Such ii the fate of German composers. People 
allow them to starve during their lifetime, in order 
to be enabled to give more towards their monu- 
ments, while French composers live in palaces, 
possess large incomes, and smile at our pasuon for 
erecting monuments. 

Schumann's contribution consisted of Op. 17. 
He at first intended giving it the name of " Obo- 
lus" (a small Greek coinV but it eventually ap- 
peared under the title of '• Fantalsie in C," 

It is a wonderful work, full <rf deep feeling, and 
admirably in keeping with the feelings of a great 
man who knows how to bear his misfortunes. 

Fopnlar Songs. 

Andrew Fletcher of Baltoun, in one of bis politi- 
cal essays, uttered the famous saying that has since 
become almost a proverb : " I«t ma maks the songs 
of a nation and I oue not who makes its laws-" 
Every day sbows that there was a good deal of truth 
In the saying, and every aathar of popolar songs, 
that have real life in them, deserves notice. The 
London Hhatrated Nea* speaks thos of the songs of 
Dr. Cni.BLss Maokat. 

Mackay Is, in England, what B^ranger has been, 
a little before him, in France— the ckansonnier 
par excellence, the fong-writer of the time. He 
speaks to tbe people in a language familiar to 
tnem, but punned and refined ; he echoes their 
feelings, exalting and embellishing every thought, 
every sentiment that is good, and beautiful, and 
noble. He cherishes the sweetest and holiest 
affections of domestic life, and the free and manly 
aspirations of the citizen, the patriot, and the lover 
ofmankind. Hence itisthatthe versesof Mackay, 
though only of yesterday, have already become 
household words in tbe mouths of the people of 
England, as if they had descended by long tradi- 
tion from a distant age. Versatility, too, is a fea- 
ture of his genius. He has the rough energy of 
Ebeneter Elliot: while he has also, it not the vo- 
luptuous epicurism, the airy grace of Thomas 

Like Moore also, Mackay iB« musician ; and 
we believe that no poet who was not in some de- 
gree a musician, has ever written a good song. 
Henry Carey, Dibdin, Burns, Moore, wrote real 
songs, because their lines, in the act of formation, 
were associated with beautiful melodies j while 
tbe so^alled songs of Scott, Campbell, and num- 
berless other poels, are not sonn at all ; they are 
read witlu>leasur« and only spoiled by singing, be- 



BOSTON, APRIL 21, 1855. 



19 



mnflicBl MBOcialiooB. ^ackay, in hii Kiiig-writing, 
hu alwBfB abown adeliL-ate perception crf'melo- 
dj; but it is only now that De has evJDced the 
poirer of creating melody. 

QLBB rOIt THIBB TOtCM. 

Vhat joj attend! the fiibei'i life ! 

Blow, winds blow! 
The fiiber and hi* fiuthftil «{h ; 

Saw, boja, row I 
He driTe* no plough on itubborn land, 
Hii fleldi ue readT to hia hand ; 
No Dlppieg IVoita hia orehurdi fear, 
He baa hia autumn all the jtmi : 

Yeo! heaTB, hoi 
The hutbandman ha* rent to pef, 
. Blow, wind*, blow ! 

And aeed to pnnihaae erar daj, 

Row, bo/(, row I 
But he who faima the lolling deep*, 
Though neTct aowins, always leapa; 



The DC 
Then 



n fielda > 



and tree. 



■7 tai-iing breeae* All hte aail, 
ia teeminit barregl neTer fail ; 
■ cottage 01 ■' ■ 



. . uns bai 

And, from hia «.. .„ 

Come Ibrlh defenders of out land ; 
Teo ) heave, ho I 



Teivea luch as these ftre easentiallj musical. 
Ton feet, in reading them, that tbey are made to 
be (ung, and that the completeness of theireffect 
demands appropriate melody. No melodiea can 
be more appropriate tbao tboM which the author 
of the poelry has himself contributed. They are 
«xceedingi]' tuneful, and in every instance echo 
with Initn and lidelily, and sense and feeling of 
the words. They are faultleBs in all the technical 
requlMtes of the art — in regularity of rhythm, 
symmetry of fonn, iweetness, and variety of ex- 
preMton; aod fwhal is of the greatest moment) 
they admit of Ine cleu and emphatic utterance trf' 
every syllable. Hie anaQgement of the vocal 
parts ID the glee, and the ^mple but elegant piano- 
forte accompaniments, are skilful ana musician- 
like; and these compactions cannot fail to give 
pleasure to every lever of genuine English spng. 



Onnrdli in Farii. 

Never did a greater crowd beaeee the doors 
of the Acad^mie Imp^riale de Muiique, and 
never did the Grand Op^r* coatain within its 
volls a more distioguiahed, or more nDmeroas 
audience, than on Monday week. All that Paris 
possesses <^ celebrated, refined, and elegant, in 
the world of art, literature, and &shian, was as- 
sembled. The heroine of the eveniag was Mdlle. 
Sophie Cauvelli, and the opera one irhich is 
full of opportunities for the display <^ her powers 
as a singer and an actress. Now that she is so 
toon to leave the st^e for ever, the pnhlic ex- 
citement in Paris wiUi r^ard to Mdlle. Cruvelli 
haa reached fever heat; wd she meets with re- 
ceptiou, night after night, such as the " oldest 
inhtdxiant" cannot remember — and it would be 
stnnge indeed were it otherwise. Scarce five- 
and-twenty years of age ; with a commanding 
and gracetiu figure ; an expressive and lovely 
&ce; replete with intelligence and genius; with 
a dxnpaas and freahnecs of voice that have sel- 
data been equalled, never Rnrpassed ; with powers 
OS a comedian, which even the gifted Makix Ca- 
BEL herself might envy, and force as a tragedian, 
second to Rachel alone, Mdlle. Cmvdli has 
exhausted the whole range of the lyric drama, 
ancient and modem, from Bkbthdven to Vbr- 
DI. Her Leonora in Fidelut ; her Donna Anna 
and Elvira in Don Giovanni; berChcmbinoand 
Counlesa in the Noxxt di Figaro (1 may add Su- 
aanna and Zerlinst, since she has ^yed both,]) 
ber Amiua, Norma, Rosina, Julie (Valaie,) Od- 
abella (AttUa,) Elvira {Emani,} Florinda, (Thal- 
herg,") Semiramide, Lucrezia Borgia, Desdcmotia, 
Lucia, Anna Bolena, Erminle (Quatre FUi 
fAymoni) Ninette, Alice, Valentine, and others, 
to mention, are proob of the coo- 
irtiioh ha.r« nwrked her career; 



and if ever there existed a dramatic singer, irith 
the stamp of genius impressed on all she undei^ 

take*, Mdlle. Cruvelli may surely lay claim to 
that distincdon. During tlie hut five years she 
has studied hard, and to good purpose. She 
has sof1»ned and toned down many crudities and 

Sierities, she has given breadth to ber style and 
tneie to her expression, and she now remains 
(Grisi having left the stage) without a cmnpetitor 



I fear the part of Rachel in the Juive is the 
" anti-penultimate'' of Mdlle. CruvcUi'a new im- 
personations. In Verdi's forthcoming opera. 
Lei V^pra Sicilicnnei, we shall, probably, see 
her last " creation. " At present there seems lit- 
tle chance of her place being filled np, but let ns 
hope for the besL Meanwhile, 1 must give you 
an account of the reprice of La Jaiot, at the 
great national (Impenal?) establiiibaient in the 
Rue Lepelletier. Of the opera I need say noth- 
ing, as you have heard it here and everywhere on 
the Continent; you have teen it in London un- 
der everyshape and form, with and without the 
music. The part erf' Rachel was originally written 
for Mdlle. Fauion, and was one of ber most fa- 
mous creations. It was aflerwards sustained by 
Mme. Stolz, who^ fine dtvnatic genius was ex- 
hibited to the highest advantage. Since then, 
Mdlle. Nathan, Mme. Hbikefbtter, and a 
host of others, have achieved more or less every 
year. Mdlle. Cruvelli hascast aude all the " tra- 
ditions " of the theatre, and has refused to be 
bound hand and foot by the dicta of stage mana- 
^ra. Mdlle. Falcon did this and Mme. Stolti 
that ; Mme. Nathan sung a cert^n passage in 
such a manner, Mme. Ileinefetter in a manner 
directly opponte, etc. etc.; but Mme.Cruvelli, with- 
out caring for any of them, has gone straight to 
the source, has studied the character for herself 
has repeated what she did with ref;ard to the Uu- 
gaenois, and produced a fresh, onginal, and true 
" creation. " On the first night, she was some- 
what too enercctic, and displayed too much of 
that peculiar force whiuh is so remarkable a 
choiBcteristic of her style. Unlike the majority 
of timorous debatanta, who hesitate and Joubt, 
who venture with fear and trembling on a new 
part, and never feel themselves at borne, undl 
encouraged by applause and the ezpresmon of 

Euhlic feeling, Molle. Cnivelli takes counsel of 
erself, studies her part with enthusiasm, and 
sometimes in the passion of the scene oversteps 
the bounds which art has set to nature. For my' 
■elf, I readily pardon this defect, which springs 
from exuberance of feeling, from original concep- 
tion of thought, from genius, indeed, and tntel- 
lecL It is a &ult which she possesses in 
coounon with Rachel, which was cbai^^ as a 
defect in Malibron, and which, as M. P. A. Fb- 
rentiui significantly hints, she does not possess in 
n with the tribe of pretty young ladies 
rlsey to and og}c the public, Mncying they 
resses, when thejj are mere puppets and 
to>'B, devoid alike of intelligence and thought, 
drilled and tutored like so many bullfinches. In 
the celebrated air, // va vemr, Mdlle. Cruvelli 
portrayed, with overpowering force, the remorse 
and fear of the maiden about to &I1, and the sad- 
ness which urges her to her unhappy fate. In 
the malediction — 

" Anathema, anathime, 
Kt qua Dieu qu[i1 bliuphtme 
Le maodiwB a jamais — 

she electrified the audience, who recalled her, 
amidst the loudest and moat genuine marks of ap- 
probation. In the fourtli act, in the duet with 
Eudoxia, and the short scene with the Cardinal, 
she was calm, dignified, and rengned, and with 
ber rich and mellow contrallo tones gave full 
meaning to the woids Ma tile tombera; and in 
the concluding scene, when she sees the stake aiul 
the preparations for death, a shudder ran through 
the house at the cfi*ect she produced with the 
words. Ah, man plre, ^ai peur." She was re- 
called three times dunng and at the end of the 
opera. M. GuKvifARD was successful aa the 
Jev, bnt, in the cursing scene, he attempted to 
force bis voice too mncli, which reaulled in three 



) since profitM by 
er. Mdlle. Duaaey 



couacs." lie has 
experience, and succeds bettei 
was channing as Eudoxia, but illness has compell- 
ed her to cede the part to Mdlle. Pouilly, who is 
by no means so good. The Emperor and Bnt- 
press was present on Mon<lay. The Juiee will be 
plaved three times a week until furthpr notice, 
and, up to tbe present time, the receipts have 
been limited by the size of the bouse only, — Cor- 
rt4pmdtnee of Land. Mu$. World, itardt 17. 



7erditumd Siet. 

Bj B, 1. Cboiui. 

Now, tet us glance for a moment at the imita- 
tors of Beethoven, and see if we can make out 
what they bare selected for imitation. Tbe Grat 
of these — nay, for some twenty yean, t))o only 
one to be found — among European composers, at 
all deserving the name, was Ferdinand Rics ; and 
he attached himself, by love, by intercourse, and 
by habit, to those works by hia master, in which 
the master's peculiar genius was complete — not 
clouded, flawed, or cros se d with singularities nev- 

to be unriddled. By the mass of compositions 



by Ries before the public ^which, indeed, for any 
■ ■ ■ ■ ■' ■ thev find, might nevi 

ill), he is proved to ha^ 



ipti 
have been written 
been a thoroughly 
ing fluency of expression ii 
— not without m humor of his own — not without 
a certain vein of wild and national melody — not 
without a fire and a brightnen that remove most 
of his carefully finished works beyond the 
cat^ory of tedions and imitative exercise-music. 
He wrote well for the orchestra ; and being, in 
bis day, a superb piano-forte player, he wrote 
effectively for his own instrument. But, seduced 
by tbe bold, uncompromising manner of his origi- 
nal, he fancied that abrupt transitions, unforeseen 
iniemiplrans, banh modulations — if applied to 
thoughts in ihemselves weak and second-hand, or 
in no wise fit for such treatment — would bring 
him to a grandeur and an authority approaching 
those of his model elect They did but succeep, 
alas I in earning for him an unfair reputation for 
oddity and rudeness, wiihont the relief of any 
better or more agreeable individualities. He has, 
in tbe general mnmcal World, a fame little better 
than that of the adroit country actor, who soe- 
ceeded in catchir^ some of the salient points of 
Kemble's stately declamation, or Rean's violeiit 
and spasmodic transitions. Yet, as life advanced, 
and he emancipated himself from that excessive 
admiration which takes the form of outward simn- 
lation, and only arrives at the success of clever 
grimace, Ries produced many works that deserve 
a better fate than to be forgotten — in which, 
though an eariy unsettlement of mind can, per- 
haps, be traced, there may be also (pund a spirit, 
interest, individuality, such as few writers, if they 
now command such imalities, now exhibit.' 
By the example of Ries, then— a solitary exam- 

Ele,moreover,among German composers, (whereas 
lozarl has bad bis tbonsanda, and, Mendela- 
•ohn his tens of tbouaaads of cloae imitators,) 
it may he seen how the great qualities of Beet- 
hoven defy dilution, copy or reproduction ; because 
they are qualities far more dependent on llghlning- 
keen originality of idea, than on this system of 
orchestration, or the other choice of harmony — 
than on this manner of introdncing a sulnect, m 
tbe other noode of working np a cloae. How, in- 
deed, is second-rate fancy to deal with genius that 
never did — that could not — repeat itself ? There 
is no making over again, on any pretext, such an 
effect as that of the suspense, followed by tbe glo- 
rious hurst of triumph, which is now so familiar 
to US, in the icheno and martial finale of the C 
minor Symahony. There is no parroting such a 
programme (not prelude^ to an opera as the 
Overture to " Leonora," in which tbe grasp of 
tbe Ukaster proves itself gigantic and forcible 
enough to work up all manner (rf fragments, so as 
to mute a whole sinffular in its coherence, the ma- 
terial considered. Were tbe form of tbe Sonata 
allafantatia'in C sharp minor adopted by any ad- 
venlurons new writer, hia cony would be simply 
intolerable — as g^WBly and nakedly calling atten- 
tioo la the girat otiginal, which be was atru^Ung 



U l yilzed by V^-ll.J^.^'^i ^^ 



20 



DWIGHT'S JOURNAL OF MITSIC. 



to nproduce. Ha real inTenlumt of B«etlioTen 
«re all single, oT no school — having do connection 
one witb ibe other, isve by their nirpaning lofci- 
nesa, and ihe imaiin;; affluenve of invention the; 
didplay. We mav we, indeed, here and there, 
that he used — '— - 



Hi'her li 



e thar 



-that 



availed himself, when he pleated, of epimde, 
depree Burprising in one who could spin ineh 
wonderful poems oat of such nmple fcroaps of 
notes as [he one opening the C minor Sy upbony. 
We can recofinize among his piano Sonatas one 
as an example of a^fitation (the one in D minor. 
No. 2, Op. 31); another (the one in D major. 
No. S, Op. 10), as containing; a wonderful con- 
trast belwean the lublime sadness of its Largo e 
mfaio, and the unbridled freakishness of its final 
Alle<rro. But thb is all: for the slightest at- 
tempt to make any of these over aaain, constioui 
or an('ons;:iou>,' would betraj itself, and subject 
Ihe maker of it to inch immediate indignities m 
awaited the bird in the jwacock'a plumee of Ihe 
fable. 
Some instinct of a tmlh like this baa lerred 

garda the account to which the really great works 
of Beethoven might be Inmed. They have been 
resorted to as quickeneni of the fancy, not as 
models of academical study. lie would be a 
poor and meagre-minded architect who could 
gather no atrenjith, nor food for future daring, 
under the sharlow of the pyramids; but these 
would assuredly not take the form of a little 
pyramid. 



I^Qsiil&t ^oi[iits$onAtn^t. 



Trom ITEW yORK. 
Apbil 18. — Wiltikra Tell is certainlya great opeiK. 
There is no donbt of it Bnt then it ahanld no more 
be called an Italian opera than Halbvt'b operaa con 
b« called Ocnnan, becaose he happens to hare been 
bnm in Germany. It belongs to the German or 
French school*. The first two acts are very fine. 
The third act is maeh poorer and contains a quantity 
of dance music. In the fonnb act, again, there ia a 
great falling off. BM, take it all in all, it ia one of 
Ihe few operas to which yoa cam listen four hoars 
without tiring. In many passages it reminds one of 
Semimmidt, but partly the libretto, and mainly the 
music, makeitinfinitely more interesting. And if it 
pleases so much with Mabbtzkk as condoctor, 
what must it be with a flrstrate Eapellmeisier to 
bring out all ths points and to really directand man- 
age the orchestra. Of the overture I conld not well 
Jndge, at, from ths opera beginning earlier than 
udbI, there was much noise tmai the belated comers. 
It slmck me, however, as far aa I could hear, as be- 
ing ancammonly fine. Tbe solo perfcrmers and 
obomsea, on the whole, did remarkably well. One 
portloB of Che opera, wbleh could he mnefa bet- 
ter is the scene in the third act where 'Tall' la 
ordered to shoot the apple from hii son's head, and 
after having done ao, drope another arrow (intended 
for * Gcasler') froia his boiom, Keither the mosio ex- 
pressing the fear and suppUcalioi] before the aet, or 
thaimeasa joy antf then dancing aAar k, wae strong 
or signtBcant enoagh. If Boatini had only stttdied 
JMeJi'a a tittle, he BBight have been initpb^ by that 
opera. (No adjective in the dictionary can express 
ita merit, so I use none.] Front tbe point where 
' Leonore ' sCepa between ' Plxarro ' tni ' FloresCaa ' 
with commaad ' ZnrUck I ' to the ead of ibe tnie- 
qualled doet: O aamtnlme fHudt, I know of nothing 
■t the same time more musical or more dramatic. 
Aye, neverwill I fi>rget ths IStfa of March, len, 
when I heard Jobahna Waorik as ' Leonot«. ' I 
am noi eawly carried away by acting, I know bow 
hollow it generally is, but when that glorious TWts 
ant wHi aeibl soanAed fcrth so nobly, so spiritedly, 
M tnily, as if all bar passtoD, her love, her inteiMe 
•offering were cooMntraled « k, I iairiy shewed 



with entbaatasm. And not only I, bnt die whole 
faoase. Johanna Wagner is Ihe greatest dramatic 
aingcrand the greatest actreia in the world. 

But, to leiam to William Tell ; it has been given 
again on Wednesday, Friday and last night, each 
lime to crowded houses. 

At Niblo's, on Tuesday, QgraltOi t Mimttcdd 
was given to a good house. The performance was 
better than I expected. Hme, Sikdenbubo made 
a very good ' Juliet. * Bcr voice is nther pattf, but 
she uses it to the best advantage. Cabolikb Lbh- 
KANN sang finely. Her acting {a very essential 
thing in opera,) was like that of an automaton. It 
was all aisumcd, so that when the scene happened to 
last a few moments longer than she had anticipated, 
she stood there like a statue, not knowing what to 
do. She has lost mad) in the estlmatloa of the New 
Tork public since she left Ihe concert room. I place 
her acting much below Makio's. On Thursday 
AUuandTB Stmddia was given to a good honae. The 
tenor part of &radelia wss to have been taken by 
Mme- D'Obmt, (a eontralio,) bnt this lady having 
become 'suddenly indispoeed' (toeing) Mr. Libb- 
KATI, of the chorus, took the part at short notice. 
This gentleman has a weak, bnt pleasing voice, and 
no doubt, when snffidently accustomed to solo parts, 
will sing very acceptably to the public Mme. Sieden- 
barg did very well aa ' Leonora. ' Bnt the gema of 
the evening were the dueta between the aMaseins. 
Heasra. Qoiirr and MnLi.BB, who sang and acted 
their parta capitally. It conld not have been done 
better. The plot of the opera is as follows: 



for tbe musical e 
- ■ .nltaliai 



>obl(!man,fui 



d Bsssi, e 



der attachment for hhn. They , , 
raged at this, and determined to be rerenfted, hires 
ossasains to sle; Stradella. They evrttakc tbe fusil 
St Slrodella'a country seat, where, while watchin) 
an opportunity to cany out the foul deed, they 
'■'— -' ' — ohsnaed to a feeling of pity fo- ' 



, . indon thei 

ten to see wbetber hi* will 
_ resbiiword. Theaa*assiBs,b, 
ed theii hire, and plad Co lie releued 



s. joi 



a the re 



isi, wl 
> been executed, fo 
LDg previftuoly re< 



bsppy t( 



pro- 



In tbe first act occurs a etmiical scsne, in which a 
very eomic and well executed 'Pierrat Dance' was 
introduced, by eighteen 'New York children a la 

'Buckley's Minstrels' are realty doing very much 
for the cauee of music in New York. Yoa may 
langh at thi* aasertiQU, bat it is true nevertheless. 
They were the first Co sabslitate arias, etc., trota 
Italian operas fbr Ihe eonmon negro melodies, and 
also ftrat Introduced Ihe bariesquea on popular opens 
which retaJoed the mnstc. Chough they horlesqued 
And DOW they have commenced giving 



comic operas mtk vhlu fivxa, and, as I have 
retdly do it welL I kqow that eevcml of the mem- 
beia of Ibe compssiy are excellent inatrumenial and 
vocal pei foi uers, and some indeed I believe to be 
Irue mvtieiaai ; and I contend tint they are doing as 
much for the elevation of musical taste among Ibe 
people as the FhHharmoDic Society is doing in a 
higher sphere. 

Quiie a curions Mienade catne off last Wedaesday 
night. It was inteaded tor a newly married couple, 
and ctMisisled of six powerful grinding organs, all 
playing different cones at the same dme. Urst yea 
would hear 'Pop goea tbe weasel' predominating; then 
after* Aort straggle, 'Wait for the wagon' would 
cenqner it ; again ' Jetdan ' waold goiii the mattery 
to be overpawered kt iu tursby the 'Prima Daima 
Walb,' tbe ' Maiaeillaiae,' tu^adinfiiattat. This 
'concourse af sweet sonnds' continiud mere tbaa an 
hoar, end occasioned many an awakened sleeper ta 
exclum, in a tes^ voice, 'List, 'tis music stealing.' 
Myself, it reminded ationgly of an almost foigottea 
opera, I had once heard in Germany. There are 
rumors of difflicnlties among the German troupe. 
I* it possible fi*r an open compaay to exist witbaat 



qaaneHng aad HdMringt It moim n*L TStM 
winter, I have naaon to believe, wo sfaall hai 
new and fltst rate German troupe. 

To-night we have O^nfeftt' a Mtittetdd, as tbe 
last perfi>rmance of die present company. I 

Atbil 18. — ^SFXUt'a Qoortet Soirfe, die last ef 
the season, look place last night. The programme 
was less attractive than usual, snd the whole, — as a 
friend remarked, — was like ' EamleC with the part of 
Hamlet left out;' as, thoagh it was 'Eisfeld's Claa 
sical Quintette Soir^' there was no Mr. EisfUd, 
no Qaartel, and no Mozabt, or BsBTUOTBlf, ( 
other strictly classical compoacr. first came a Ni 
netto by Sfohb, a qnila pleasing eompoaition, in 
which the combination of inatruments is peculiarly 
happy. Two numbers wrae filled by the two halves 
of Hommbl'b Septet in D mintn-, the piano part 
to be phsyed by Miss Eliza Bmowv. The initialed 
knew that Miss Eliia Brown is a yoang amateur 
pianist, a pupil of Mr. Tim, who can be seel 
every concert, plays very well, and takes a vivid in- 
terest in music generally. And, indeed, report bad 
not sud too mscb of the young lady'a powers; per- 
^tly calm end self-poasessed, she really played re- 
markably (rail, combining great fluency and accnracy 
with a degree of force very unusual in a young lady. 
There might have been more light and shade, but on 
Uie whole there was a truth of conception of the 
music, and an entering into its spirit, which was 
very creditable botta tbe yoang pianiat heiself, and to 
Che master who guides her. 

The performances were vesy maeh shortened by 
Che omission of Mr. liooT'l vocal QaaneC, on ac- 
conul of die sudden illness of one of Ihe singers. 
We cousequcDlly were deprived of a Quartet by Mr. 
Eisfeld, which I have heud very highly spoken of, 
and MendelsBobn's beanlifal Honcing song, 

Tbis was almost the last of evr regnkr eoncerta. 
They end with Che fourth Philharmonic next Sator- 
day. Was there ever a finer programme than is 
promised na fbr that 1 If one conld only enjoy the 
rehearsals more. But they are getting more and 
mora to be merely an occasion of rendcsrons, 
that there i* hardly a place In which one is noc 
Curbed by the shameless talking aad flirting by 
which most of the aadieocei amuse themselves, 
is a real nnisanee : would that something conld be 
Ame CO abolisb it. BtMNOXia. 

Trom 'WABEXKOTON, D.O. 

Apbil Id. — After having for soan time, "Winter 
lingering la the lap of Spring" (a thing mnch n 
poetic in the saying than the experience,) the wel- 
come eeBson seems Co hare come at last It is i 
delightTal to lake a stroll. The mornings sparkle, 
and with such a river as the Potomac roshing past 
ns, wlch snch beighCs as surronod our dty, with sodl 
grand public hoildlngB, — Wsahington is worth liv- 
ing in. 

It would be much more so )f we had more goad 
raasic But, alas I most people here are in tlie 
phoid smie on thai subject. X adriae all the Boato- 
nians who ever coMemplala the poaubility of leav- 
ing their city, to et^age a perpetual seat at the Hone 
Hall, for dieyll find Chemselves when they go away 
banting about atiar masio like Diagenes after a 
honest toan. 

We have however the next best thing to good 
maBlc,L SLagood maaieelare. Messre, Bilbnsand 
Hiti have located themselves in a moat favorable 
place «o PenaeylvaBia Avenne, wtiere with neatly 
arranged mnsic, flne instraments, beat masic, basts 
ef the great composers, etc., cbey await the " good 
time eeming." Somctimea, too, in loafing there one 
picks vp some tonne hatiAt in the way of mnsic. ~ 
instance, no longer than this morning, whilst I was 
sitting about Sva minutes there, I heard a bow drawn 
with a flourish acrasa die slifags of a vteleooello 



BOSTON, APRIL 21, 1855. 



21 



with k rigiht bTKTs hu^d, sod looking sp, beheld two 
good-kK^iag GenMB fricBdi, — oae at tba piano, the 
otber witli fioloneello, — ud in another mamenl 
Toand nifielf ghdiag along tb« Uqaid iweetneu of 
Sodbist's Are Mtrial ntrfedt Cidl Adil It 
wa* good, m Tm ■ heretic. One sboBld have a (boa- 
sand ean here, bj vajof csmpenlation for the little 
to ba heard i ai the Bomao cried : What a pit; one 
hain't a tfaoniaDd litei la give for one's countr;. 
( After the air of Sebnbert we had perfbtmed ekilfnl- 
Ij tin Srmaurile i^of Smoa.) 

I lalelj stepped lata tb» copfrighl barun in the 
State Department, and examined the collection of 
muic then. I came away fullj conrinced of the 
Initb of cb« Amerkan PrDTerb which sajs — 

Tbcinatwt uUon 
In *U anitltii. 

Here an eoRected abonl 150 Tolnmes of mosic, 
all Innoeent of foreign hands -, such as the moat pat- 
riotic K. H. m^ht conacientloasl^f hear. And what 
it ItT Have we here intricate operatic aira, or pnz- 
iling " Bln-fnnn;!" Ban we Bonataa that pat 
one'i teeth on edgef or any other of jonr flddle- 
tniiog piece* 1 I answer, Ko I We bare here mntic 
tor the million, — mssic dear to the national heart. 
We hare avsic hero, (F^thagoricall; ipesking) the 
fiotiviK^ of the TO not. That la the music of 
the (aa Lowdl Hanslalea it) gnat Ke. That which 
Ibe great Americaa toe hath polked aid waltied and 
danced OTery wa; ii here. These daeoe pieces are 
poaltlTel; inflnite, and imbibing Ae spirit of oar 
CDnntr; constantly expanding. We haye Fairy, 
Fairybell-detl-ytill Polkaa, Bines, Oreyi, fGre«a) 
Qnickstepi; Miller'a Uaid, Ben Bolt (and otbefa 
bolting) Scbottisch. Bnt the great central Tolcanic 
Ore in the National Musical Heart wonld appear to 
be these: Fern Daft, Jtnitm, md Ftp gat* tie Wiw 
ad J The last of these eapeeiatl; is teutd in erer; 
Tarict;. The Weaiet papa forth in quick step, 
walla, palka song — always the tan* etinaing and 
limat. One piece oa a hasty gtance 
pathetic; perhaps we shall one da; 
■bed tears at the funeral march «f Apjocs (le Weo' 

wd. . 

/''^e people ef Bichmond, Va., bare been regaled 
/' by a Hasieal CtmTentiaD ; sneh perhaps as we shall 
ban here MaySih. Tbe RichmoBd people ara fimd 
«r good mttiic sad aan«n tba o|»eta well. j 

The Mmda «f Mrs. BtrcaiK (bnnerl]' Mr*. 
Mowin) in yaw dty may ba glad to learn that she 
is la the midst of man; kind and apptvclating fiieads 
in Biefamood. I do not sappase that I transgreis 
the proprieties at prirale aonrcee when I state, that 
lately the has been deUgbiing a circle of Mendi by 
reading the text of celebi«ted soeiM* (taken from 
"The Corsair," "Bride of Lammennoor," etc) 
aprap«t of accompanyiag T'oMaoax FTsttntt repre- 
•eaimg them. Her sode^ It in Ihi* at la many 
waft as an acqaisiilm t* that dij. c 






gmijght'fl Jomtnal oj ^mk. 



BOSTON. APBII. ai. 1866. 



CONCERTS. 

L Hs. Sattex's Thixd Comoxkt drew a 
much larger aadiemce. Indeed the Chk^ering 
nlooB wu nearly filled ; and a mora eBthnnaitic 
audience it teldom found at a piano concert. 
The pn^Tvnme was of a somewhat lighter and 
more beterogeneout quality than before ; yet it 
contained tome very choice and admirable pieces. 
It ooDunenoed with the Qaaft«t in B minor, for 
jnano and strings, by HxintBLSOOaN, a work 
iiTutin g all die peculiar channt of tJw compoeer^t 



genius, and one to test both the mechanical and 
genial qualities of the interpreters. It was finely 
rendered, the members of the Quintette Club 
diMOg their part in their happiest manner. The 
[Maniit played it at if be lored and felt it, which, 
conndering the infallible neatness, fresh nets, 
strength and delicate shading of his touch, and 
the ease and elegance of hia execution always, 
leaves little more that could be desired, Wc be- 
lieve this is an early work of Mundclssohn. In 
tbe delicate, tightly running ttaeeato of the 
Scherio, one seemed to trace the genesis, as it 
were, of his peculiar, ^ry, UidBummer Night's 
Dream vein. Here it was Bomethiiig, on the one 
hand, aa romantic and &nciful as that, and on 
the other as abitraclly musical as Bach ; showing 
how what is most poetic and original, most ot the 
fury world with Mendelssohn springs in a direct 
and vital manner from what is most abstract and 
learned in his severe musical studies. 

Nest, Mr. Batter played a brace of pieces too 
entirely heterogeneous for c-ontrafit One was 
the little happy, tranquil, June-like nunuetto 
from Mozart's £ flat Sympbohy, which charmed 
everybody this time, as it did in the first concert 
The other was more of the hacknied " prodigious 
school," — LisztTs transcription of the Lucia Sex- 
tet, an imponrtg piece, however, and superbly 
played.— Min Locibb Hsnbler next claimed 
the attention of the audience and held it la a 
charm, through all the tender catitabUe intro- 
duction and the long and florid development of 
Cbm' i btUo from Lucmia Borgia. The deli- 
cious. Spring-like, richly ribrwing qualj^ o( this 
young voice, wint steadily upon all sympathiee ; 
aitd we were more than ever surprised at Ike de- 
gree of skilful, tastethl ezecuikm, at the tnithfiil 
feeling asd conception of such music, shown by 
so youthful a dAulanU. It gives one the pleas- 
ant thrill we always feel in rect^niring a rare 
promise. 

Mr. Satter closed the first part with one of the 
lighter and earliest Sonatas of Beethoven, that 
in F minor, from hit second oput, embracing the 
three Sonalat dedicated to Haydn. We have 
never heard it [Jayed so elegantly and to ex- 
preaavely. The uni^ of the work was com- 
pletely preeerved in the rvndeiing. The im- 
panioMed, but graceful; self-pOMessed Allegro; 
the flowing, Mozart^ike melody of the Adapo; 
the delicate, piquant humor of the Minuet and 
Trio, and the swift, fiery ]ElnBle, irith its tong- 
like episode, were all broaght out with the ut- 
most truth of rhythm and of cdoring. We can- 
not oonc^ve why a Sonata of Beethoven, really 
well pUyed, should not always prove the most 
attractive thing that can be presented to an ao- 
dience at all culdvaled and intellectual in its 
twt«. 

We were obliged to leave after the first part, 
thereby loaing the Scherso and Finale fitm 
CBBKOBDti'a Quartet in B flat, by the Mendels- 
tohn Qiuntette Club; another song by hfiss 
Hensler ; some Hendelnohn " Songs iritbout 
Words," (Number one of part one and the 
Duet,) a Lisxtian artangement ot Rossnn's 
TarantdU (which we hear made quite t, furore), 
a Nocturne and March of Mr. Batter's own com- 
pontion. His Catia Diva, "for the left hand," 
we can scarcely imagine to have been a kiss ; 
surely sui'h a concert could not be made any 
more oosnplote l^ introducing Nortna I 



2. MiiNDEi.ssoHit Chokai. SociaTT. — The 
Complimentary Concert for the Ladies of the So- 
ciety passed off quite tuccetsflilly on Saturday 
evening. In spite of the wet, warm day there 
may have been some twelve hundred or more 
people in the Music HalL The first part con- 
tained the principal "pith and moment" of the 
programme, connsting simply of Bbkthoven's 
Seventh Symphony, in A. All tbe other eighl 
Symphonies had been played in tbe Muaic Hall 
this winter, either by tlic Orchestral Union or tbe 
Iituucal Fund Soiiety; the Ninth stands by it- 
self, and to our ahame we have not bad it since , 
tbe dayt (^ BBBaMANM, which argues a sad 
nnkii^; of the tide of muacal aspiration bera 
ance that lime. The Seventh stands next in 
grandeur and fUUness to the Ninth, and we canw 
to it with an appetite after so long an interval. 
The orchestra of for^ instruments, under the 
firm and energetic lead of Mr. Eckbardt, 
played it on the whole about aa well aa we have 
ever heard it. We only questioned the taking 
of the grand and solemn introduction so very 
adagio. The third and fourth movements wer« 
particularly well played ; and throughout the 
whole we felt buoyed up and sustained at a height 
of ttrong, bannontous, all-alive and all-related 
consciousness, of which few things in Art or 
Poetry pve one such full experience as this divine, 
grand music. One lioet itMch in listening to such 
a symphony ! 

It was rather hard to come down to the miscel- 
laneous remainder of the entertainment, good as 
much of it was. Young Mr. Groves played a 
s(do on the viola, written by £ckhardt, with the 
tenor air Ihxu FrejncitUs for its theme, and played 
it very clearly and truly, with a fine rich body of 
tone. BiBHOp'a well-known Glee Quintet: 
BUtit, gtnlit gtUes, was sung in good s^le by 
Miss BoTHAM LY, MIss TwiCHRix, and Heesrt. 
Adahb, Gilbbkt and Uoeart. The contralto 
was particularly rich and telling. Thia Glee was 
given with the anthor's orchestral aocompaaituento, 
wUch, after listening to Beetboven's orchestralion, 
sounded rather tame ; and indeed a Glee seems 
woTK complete in and by itsdf, than in such in- 
complete attempt to enlarge its sphere. A ow- 
net solo, by Mr. Elaeser; a florid Cathdie 
trio : Regna terrae, by Misses BoTHAifi.T and 
TinoHELL and Mra. Hbbtom, very pleariu^y 
anng; Mr. Eoxhabdt'b horn Quartet, ol which 
we tp(Ae last week ; the elaborate bam air : Sor- 
geU, &C., from Boaiini't Maomeito, sang remarka- 
bly well by Mr. Wetoxukx; and the ovei^ 
ture to MatoitUUo, played with immense fire and 
spirit, oooclnded the evening. 



Eagliih Opera. 

.He ^^e operv troupe began an engagement 
at tbe Boston Theatre on Monday last, and have 
peribimed C^derella through tbe whole week to 
large and delighted audiences. Tbe English 
operajBO called, it a queer beteropneons medley 
of beautiful music, (generally Italian,) imposing 
spectacle, and mediocre comedy degenerating 
invariably into Harleqoin bufliionery; the whole 
being by tnms delightful, amunng and ridio- 
ulons. When tuch a mnger as Miss Louisa 
Ptne assumes the principal rCU, the meet cap- 
tions and critical of critics must surrender at dis- 
cretion to die rare excellence of her performance. 
At an English singer, or rather a anger ot Eng> 



Uigitzed by V7V^*.^VIV^ 



'3' 



22 



DWIGHT'S JOURHAL OF MUSIC. 



lish, Ae has been equalled by few kh^ excelled 
by no one wbo has *ung here. Her voi'alizsdon 
u perfect; scales, runs, trilla, cadenzon, every 
thiog is ezecated with perfect finUh, in the purest 
style ;' no note ever eKapea her lips that is not 
sweet, fresh and pleasing in quality, in the whole 
compasa of her vmce. Her execalion i:ODStautly 
reminds one of Soatag, and (ben her voice too 
is not unlike. 

She wants life and wants pasxion ; she pleases 
and satisfies you as an executant, but never ex- 
cites or stirs you as an actress. The mudo of 
Cinderella she gires Uelightfnlly throughout, in- 
troducing Benedict's Siy-Lark, in the third acL 
Miss Ptnb and Mrs. W. H. Smith presented 
the sisters very satisfactorily, and Messrs. Bob- 
DAiti and H0BNCA8TLB gave all the music of 
Dandini and the Baron Pompolino exceedingly 
well. Mr. Horocastle is a valuable addition to 
this troupe, and nutde a very favorable impres- 
sion. Of Mr. Habrisok it is flattery to say he 
is " tolerable and not to be endured," bnt he is 
evidently an indispensable excrescence of this 
troupe. The orchestra gave the accompaniments 
very well, and the chonis, (especially the male) 
was largo and well drilled. The cbarming Mis. 
John Wood m^es as charming a fairy queen as 
one could wish to see, and Mr. Wood as nsual 
made a buffoon of the fiuthful Pedro. The spec- 
tacle was very fine, the scenery new and effec- 
tive, and the transformations and diablerU being 
done I'ery expeditiously and well. The opening 
scene was a very felicitous and happy effort of 
the scene-punter, and the appearance of the 
%'ision in the beautiful cascade elicited much ap- 
plause. When it is seen how impressive is the 
effect of beautiful sceneiy on a large scale, well 
conceived and well executed, we wonder that 
our theatres are content with the shabby, paltry 
daubs that are generally displayed bdbre our 
audiences. Where illusion is the object, the re- 
sources of Art cannot be too carefully employed. 
The sul^ect of scene-painting has received too 
little attention here, and we are glad to see that 
some steps are taken towards improvement at tite 
Boston Theatre, though very much remuns to be 
done. In London and Paris, there is no end to 
the pains taken in the matter, both as respects 
artistic, picturesque dengns and the most elabo- 
rate and pains-lakii^ execulimi. Eminent artists 
furnish the designs, (which are real pictures,) and 
the most skilful hands execute them. 

The scenery got up for this opera, is a decided 
improvement on any that we have yet seen at tlus 
Theatre, and so too, is that ptunted for the Priest- 
ess, recently played there, founded on the story 
of Norma. The altar scene (afier SlOTielienge) 
is an exceeedingly effective picture and would be 
a great addition to the attractions of an operatic 
I performance. The landicapa of the Boston 
I Theatre and tha exteriors are invariably good 
I and picturesque in their effecL The interiors, on 
the other band, are generally preposterous and 
impossible, both in perspective, and in architec- 
i turaJ plan, del^ and ornament Of the first, 
I the exterior cd' a castle, (used in the statue scene 
j of Don Giovanni) is an illustration ; oi ihe tecond, 
an apartment hi die Baron's chateau, and the 
Prince's saloon in Cinderella, where the splendor 
is almost grotesque, where it might and should be 
beauliful. We find in the New Yoi^ Tjibxine 
the following notice of the scenery trf' the Broad- 
way Theatre, which is a fair specimen of the ab- 



surdities and anachronisms which are palmed off 
upon American andiences in establishments that 

ought to do better : 

In ibe flrnt act of iba Glsdlator, whore it ii Intended 
to repment s street in Rncicnt Roma the side iccnn ax- 
hibit llie archiiectura of the fifteenth Centary, wiih the 
winf^i! lion of Si. Uiirlia on one of the ningr., whlia on 
tlie flat there is a view of adisMnI church iiaepie; tha 



if which 

of ■ modrrn eccl«<iasl'icai adlHca. If inch inconf[r^iIlB 
and ■olecismn rt.iw{j tha lejtlietlo require menti of a 
New. York sndienca, how liilia ciiu»« the actor liM to 
vHlne tiimielf upon (lie appiaiue which ha rec«iraa from 
saob eatil; giatiflad jadgas. 

And in another New York paper we find this 
criticism on the scenery of WiUiam Tell : 

All the world i< p>ing loies WiBiam Tell at tha Opera 
Hoiue. ■ The •cenery >• tplendid, but it is not Alpine. 
The dresses are showy, bat they are oot Swlia. 

We have begun with mu^c and got insensibly 
upon panting. But in the opera they are insep- 
arably connected, and the latter has had too little 
attentJOD paid to it. To return to our text — Cin- 
derella is put on the stage in a style superior to 
anything we have had in Boston, very creditable to 
the management of the Theatre, and will doubtless 
be seen and heard with delight by Urge audi- 
ences. We have not learned what other operas 
this troupe will perform during their engagement 



Hnaioal Fond Bodetr- 

We iball, we trust, appear before our city and 
snburlxui subscribers in ample season 10 induce tiiem 
to attend the Concert of the Musical Fchd So- 
ciETT, which wilt be given this evening at the Mnsic 
Hall. After a disastmos season, this society, which 
has now become an eslablished institution among us, 
appeals to its subscribers and friends to show their 
good will once more, and endeavor to make up, in 
some degree, for the small receipts of the previous 
concerts of this series, wbich the society has been 
compelled to bring to an abrupt close, without giv- 
ing the fall number of concerts promised in its an- 
nouncemenl, at the opening of the geason. TIm 
circumBiunces under which the series began were 
apparently untuusiiy auspicious. The initrumental 
concerts of the preriuui season had been attended 
by large and remonerative andiences. The tide of 
fashion seemed to have set strongly that way, and 
there seemed no doubt but that popular favor would 
reward similar eflbrts this year. The UosicalFund 
Society had Ihe coast clear, withonC a rival la inter- 
fere with its SDCcess ; it bad been tborongbly re- 
organised; incompetent members had been replaced 
by others, equal in their several departments to 
any artists among us; a new President bad taken 
the cbur, a gentleman widely known in our com- 
mauity as a liberal patron of the Fine Arts, himself 
an accomplished and thoroughly educated musician, 
and an untiring friend of mosical artists and of the 
interests of the Art among us. 

Bnt for some reason or other all the expectations 
fbnnded upon these elements from wliich it was not 
unreasonable to hope for a brilliant sncceas have 
proved empty, and the society finds itself, with a 
considerable deficit in its treasury and nnable to ful- 
fil the promises it had made. lis chums on the pnth 
lic, aside from the great merit of its performances, 
are therefore very strong ; and we most earnestly 
hope to see the Music Hall crowded to-night with an 
audience that shall pajr. and relieve the society from 
the pressure of the embarrassments Ibat have pur- 
sued it through this season. 

It ts unnecessary now to speculate upon Ihe prob- 
able cause* of this bad fortune. Hai4 times, the 
caprice of the ever changing public, strongly enticed 
at one time by the potent bait of the Italian Opera ; 



perhaps an unwise Judgment in the formation of die 
programmes — all these elements may have conspired, 
some more, some less, to bring it about. We will 
not pursue the sulgeet, but hope the Society may 
bave its bnrden somewhat lightened by the concert 
to-night, and look forward with good coniage to 
more prosperous fortunes another year. 

The prognmme offered is certainly an inviting 
one. Though there is no Symphony, yet we have 
the E flat Concerto of Beethoven, with Mr. Sarm 
for pianist, which will go far to make good the 
omission. A mannsciipt overture of Mr. J. C. D. 
pARKEB will also be performed for the fint time. 
Mrs. J, H. LoRo and Mrs. Sosi GaxciA Da Ribaa 
will assist the Society as vocalistB. 



" WiLLiiH Tell," Our New York correspondent 
gireg some account of the performance of this opera 
in New York- We shall, next week, give 10 our 
readers at greater length, onr own impressions of 
Ibis opera, and of the manner of its performance. 
We shall act as our own correspondent, and write of 
such thiugi as we shall have the good fonnne to 
hear in a short visit to the Metropolis. 



IToTdlo't Korical Ubruy. 

The Organ and ilt Oonttnution ; a systematic Head- 
book forOrganistsandOrgan-baildert,&c. Trans- 



The object of this woik, as expressed in the pt«- 
face, is, it seems to ni, but quite indifferently at- 
tained. The author ssjs : 

* The design of Ibe book is two-fbld:— 1. To ac- 
quaint onraiiisia, etc, with the mechanism lA the 
Organ, and to enable them thereby to discover end 
remedy any Utile faults that may arise; to prevent 
greater ones ; to give due information to the respect- 
ive authorities In case of a repair bein£ necessary, 
and to keep the instrument in good mailition. — 3. 
To warn those who undertake the erection of an 
Or^n against errors, and to famish those who su- 



The short history of the Organ is twry short and 
very meagre. The description of Ihe constnirtion 
of the instrument is of cHgani of Qerman manufoo- 
ture only, and theae are so unlike the Ametiraa in- 
struments, that a novice woald not gather much in- 
formation from this work. Oigaaists wbo live at a 
distance from manufactories, however, may learn 
something uaeful from it, and may find it of some 
service. The book is also designed for tha use of 
organ b\uldfrt, but for snch persons it is entirely too 
meagre and superficial. An ingenious carpenter, or 
a misguided plumber smitten by an ambition to build 
an organ, (and some of our builders are no better 
than such) might, perhaps, get some glimmering of 
an idea how the thing could be accomplished from 
the plates and text of this book ) hut we can hardly 
imagine that any well edacaied builder could derive 
much information from it The methods of con- 
struction described are dd-fsshioned and ante- 
diluvian, and we are sure that no Yankee need look 
to Germany for anything new in the department of 
ingenious mechanical contrivance. 



Tine Arte. 

The AisnADii Gallbbt is open' again for the 
sesBon. We have not jet visited It and have not 
heard of any novel feature of the collection. We 
understand, however, that a room will be set apart 
this year for the exhibition of the worb of oar Bos- 
ton artists, where they may be seen bj theroseives. 
The Bonaparte pictures which were added to the 
gallery in the l^t sesson, and attracted mnch 
actenlion, still form a part of the Athenseum col- 
lection. 

At FaiDixio Pabkih'b, In Comhlll, The April 



BOSTON, APRIL 21, 1855. 



Shnetr hu been lor Maa time on ashiMtran. "thlt 
pictoni rapreaenU ft group (life tiie) of tbree yoang 
laJiea, eacaping tram a mddea ihower from vhich 
thej are in adequately protected by ■ single nmbrelU. 
The inl^ecl ii a (nrlal one, bit the pictare hai rery 
considerable UGriti of drawing and coloring and ii 
well worth a visit. In the Mine room a a winter 
landacape of CiiAHriiBT, which f^rlj divide* the 
altentioD of risiiori with Mr. Hall's April Shower, 
and la to oar mind a much more intesting picture. 
It is a Ticw of ML Washiaglon fram North Conwaj, 
wbidt. often ai it hae been treated by onr ertiita, we 
do not ever recollect to have teen before repreiented 
in its mid'Winler grandeur. Tbe froun stream in 
the roreground, with iti banks corcred deep with 
■now, the (all bare elms standing out naked against 
tbe skj, contrast flnel; with the darker middle 
ground of pine cotered hills, and the grand monn- 
tatn gloiring in the distance, in the rosj light of a 
winter (anrise. llr. Cbampne; has in hand, we 
hear, a companion to this picinie, gicing the Sum- 
mer scene from the same point of view. 



IRiisiiial Jnt^ttigenite. 



Uk. SATTBIt performs for the last time, we beliave, at 
the Musical Fund Society's Concert, ,snd tbose of our 
readers who liave not yet heard him play should not lose 
tim last opportunity. Ha irill perfonn Bbcthovbu's 
gi«nd Concerto in E flst, with full onheetial aocempaui- 
VMnts by tbe Society. 

If B. E. BBcoBTa Conceit at tha TranuMit Temple, on 
Thondiy aveoing, was attended by a lai^ audience, 
and gave mneh satisrsction. Hsydu'a Mass fa was 
performed by a large chonu, with organ ■ecompanlment 
by Hr. 3. H. Vilumx. 

Tbb DotiannBit Hdsioal Asscciatiok lost week 
gavs a reiy excellent concert fa preHnca of a large sn- 
dlence. Tha pieces were mostly telectlana from the 
standard oratorios, rendemd by a chonis of amatenra, 
nnder the direction of Mr. Chakles Ahbobsi, who Is 
esartlnghinuelf with good eStel in treating a taste In 
Dorchester (br really gaed music We learn that other 
eoocerts of a similar oharacter are to follow. 

The Cambbcdoe Hdbical Abbocutioi) gire a sec- 
ond Concert on Thursday erening at the Athenanm. 
Haydn's Sixteenth Mass was tha prfuclpal feature of the 
Concert. Some choruses by the Society, tc^ther with 
some fonr part songs oT UiuDKLaaoHH, made up the re- 
mainder of tbe piogiamme, with an Allegretto and Uio- 
uetto by Haydn, snd other pfaoea by an amateur orchea- 

It Is truly refreshing to see our amateur masioal suo- 
ciations giving their andleiicei on their programmes such 
tntulc as the Muses itf Haydn and Uourt These com- 
positkmsara entirely within tbe mesna of such sooieties, 
and (here can be no surer way oF developing a sound 
taste for what is really good and groat In the Art, than 
to nuka people l^mlllar with such works as these. A 
cboms of tortj or fifty voices, such as we heard at Cam- 
bridge, is IsTge enough to give each music with sll proper 
effect, and we venture to say, that in any ohoms of such 
t, number there will be foand voices eqnsl to a auaclent- 
ly satlshotoiy reDdariog af tha sokia, in moat oases. 
Some, Indeed, aueh aa tbe aolos of Mosart's Masses, de- 
mand voices of a somewhat extended compass and tax 
the nsaaTcea of tha smatear ahiger not a little; but, in 
the present state of mu^oal cultivation, are by no mama 
impractkabte. At Ike concert leArred to, the female 
voleea wen quite up to tbe raqitiiementa of the sears, 
and gave the music with spirit and expression. The 
love of tbtsmuMC incresaea immensely with locreased 
thmilisnly. Tbe asms compositioa should be heanj re- 
peatedly, IIH the hearer tskea in aad really nndentsnda 
tbe eolemn religlooa chsrictBr of the text, and thus ia led 
to appreciate the fitness snd take in Ihe fuil bSkI of tbe 
mosic that ia (ha medinm la which tbe tremeodons im- 
port of tb words is to Snd a voice. When the hearer 



haa oume to Ihli pirial of cnltlvatiou and attained this 
familiarity, {which he can do, nor will It take long;) he 
will find nothing in tbe whole range of Art more mo- 
ving, more deeply penetrating the sonl than this sublime 
aarvioe of the Bomsn Gathollo Chnrch. There is more 
religlou In one good Mass than in a doien dull sermons- 
Then ia DO word that la not tail of tha bigheet religious 
sealiment,— and no tone (hat does not give point to tbe 
written word and carry It right straight to the heart. 

The Held opened to snch assoclalions to select from, 
Is almost boundless, and we hope to see many gleaoers 
fa this harvest. " Haydn's Symphonies, " says the Lon- 
don JUmsmJ World, "are just the thing for Amateniv. 
Fine and spirited music, without being difficult, full of 
variety andmaateriyelaboialion, together with a general 
cleameaa and simplldty of style, that place them wlUila 
tha reach of universal appreoiatloo — nothing can tw bet- 
tar snlled to bring up gentlemen- eiculanu in the way 
tbej sbouU go." The Cambridge AssociatloD (from coa- 
dlKlor down) is strictly amatear, and wa can therefore 
only speak in general commendstlou of its perTormaace, 
which both In tbe vocal and Inatmmental departments, 
was » moat satlsbctory specimen of home-made muiio. 

PHoviDwrcB.— A fHend (be is every body's friend) 
writes us from this city: " We have two musical men 
here, Abbsb and Wsibe, late of the Genoaoiaoa, and 
there Is some ipsamodio mu^eal enthusiasm." Wilb 
any ei-GermsDlans we cannot but feel sure that the Prov- 



thlng better than spasmodic or intermittent. 



A New Itauah Ofeka Cohpakt.— Ou the toth 
April there will be a new Italian Upera Company al 
Niblo's. From Ihe proapectas of the managumeut we 
make the following extract: 

" In conclnaion, the Managers beg to ssy that they 
do not anticipate a fuil house on the opening nigb: of Ihe 
season, for experience haa nnfortunaiely shown, that 
without bavins recourae to, or bowing tiefure the omnipo- 
tence of ' puffing,' no matter how exalted tbe ranli of [be 
artist, and nnaurpaued as may be the talent wliich gsve 

influence' la required to awskao the curiosiiy of ' the 
maates.' Owing to the auddernieis of her engagement, 
Madame de Lagrange cannot have the benedt of tliis 
oenoe,' which oonaists of praparina tlie way 
advertliements, portraltii, critlcaT nutiees, 
sketches, early and cocitmlisa* •nnoonca- 
-'- -" ^- ■' BM,*ic., during tha 






B the c 



with Jenny Lini 



Madame Sontag, Madame QritI, Signer Mario. &c. But 
the mansgeTs are prepared for, and folly rely upon tlw 
attendance of one of tbe largest audiences that Las ever 
been collected in this country, on ttie second olgbt of 
Madame de Lagrange's appearance, when the pubUc will 
flnd in this cantntrice tbe m fhiM iJtra {A modern vocali- 
sation — a singer equally great on tbe stags snd In the 
concert-room — in Ihe florid music of mo Rossinian 
school, the patiiouate bunts of Meyerbeer, tlie tender 
melancholy of BsUIni, snd tha classic aimplicity of Mo- 
lartor iteethoveni and, witlial. a woman of auch dis- 
tinguished Hpp-arance and lady-liko demeanor, that Ihe 
not only will compel the odmlrslion of Ihe public, hut is 
anre to enlist (heir nnanlmoDs aympathiea. And this the 
managers say, without the slightest fear of IhedisastTona 

d^fut of Madame de LeKtange shall Ihll below the great 
eipectalions they bold)y and uuheaitallngly eoU upon 
the public to enlertala." 



Phh.! inLTifiA.— We take tbe foUowiug bon the <% 
Jitn:- 

Pnop. Crouch, (formerly of Portland, Ha.) nve ano- 
ther Musical Eiiterlalnmeot at the Asiembly Buildings, 
on Tnesday evening. We ware pleased to notice a large 
and dlscriminaiing auditor; in attendance. The enlm^ 
talnment was eitremoly daji^thtfnl. Mr. Crouch is one 
of the flnest ballsd-slngers living, and hia eiecutloo of 
several familiar airs charmed all present. Mr. C. will 
give another entertainment on Tuesday evening nest 

Habhokii Sacred Music SociErr.— Tbe Thursday 

eveiifng rehentsals of this popular sociely are now eiclo- 

slvely devoted to the prepHnition of the chorus parts of 

the new Oratorio called ■ The Cities of the Plain,' by 

ik Darley. which will shortly be produced with the 

,.,. ., 1._.._. ■_ xbiagr— 



BOSTON MUSICAL FVND SOCIETY. 

TlM OoTcrniaant of this Bncist; hav* Mis boner to snmimea 
to tha pablk of Boiloa sod vicinity, [hat Ibshr 

IsABT OONOERS OF THE BXIABCOf 

This (Saturday) Broaing, April Slat, 

BOSTON MUSIO HALL, 

OnuhkhiMukiiithnwIllbesisliiHlbt Hn.].H. LOHO, 

Hn. KOaX QARCIA DB KIBAS, aad 

MR. OU8TAV BATTER, 

Th»anilDmt- 




L. 0. EKEBBON, 


Btwitr at Oit Jlinte-fertt. ®ra«it, It Sliijlnj, 






JAuic Smm n'lr Uu Oairdi Raidimct, 13 huXuna B. 


BOSTON. 






iLsri.T«s?.s-^-2i's?.5.3s;;SiS„* 


lU Plane sad M«lalH<n tiwls, Is sn •uellsBt taiHr and »- 









la Biietonib^aiaaUsBS 



n lae, Womster, lUss. 



NEW COURSE OF HARMONY, 

BT I.. H. 90DTHARD. 

The Publlihsn call lbs aUsotlon of tbs muical protHslDn 
a this wnrk, ss oh (dIhoIIj cU:ulsled to llffaitii tlis tabus 

ii11;r a Pami'ciL work, nrrlDg boUi u a Maow.! af Iniirsc- 



TUcw and TalnaMe nnsic Books. 

TECHSICAL STUDIIS 
>or PJaiii>-Fena nla^lBR. Bt LoDia Puidt, ThcIw 1b tbs 
CoBSSTTStory of lluslD at Mpile, Translstsd thiDi tlia Osr- 
mso, bfJ. 0. S.FiBESa. Fries aa. 

THK VOCALIST'S COMPANION: 
Or Xsordsss ftir devslnplDa, alnngthanlng sad vqusltshic tha 
Talrs. Designed s> loUntucIorj la snd lo he ucd In ona- 
nvfltlDB elth ttis «latirsted Solffolo Kxsrelscaof Pauseion, 
Crivelll, Lablsctis sndolhni. BjXDWsan B. Ouvia. Pries 

Pablishwl bt OIlTer Dltsoa, IIC ITaiUiictM ft. 



W 



■s Orgaidst In BoetaB at vHnlt 



THOnAS BTAH, 

TEAOHCR OP MU8IC, 

RKSIDKKCK, No. IS OIZ PUCB. 



OTTO DBSBXI. 

QItbs InstieetlBii on Uia pisBO, aad bi^ be addr 
Biviai Honai. Tsnui — WO pw qnaHir or 
IWD a nak ; UO par qnartn of UlMSmiiOasa wi 



FIAHIffl AHD TEACHSR OT KITSIC, 

OrFBM hlsssrvkaasaBlaatnetnhitbsblfbtrbl 
of PUoa pUTlng. Mr H.mnbsaddcaasiJattb) 
atons of NsTBAH KicBiBDaoa, SSi W " 

KSU ft Oo. 17 TlSBIBBt Row. 

Kanaaxosa ;— Hn. a. W. Lorinf , 81 Ht. Te 

Ulsi NIcboLs, W ^ih St. 
Mia llivi i nukBB Plaea. 



F. P. MULLER, 



>. S IVlMter Flaee, Boat»>. 



Uigitzed by ViV^^^^' 



■a 



iC 



40 



DWIGHT'S JOURNAL OF MUSIC. 



HEW AESTHETIC JOUBNAL. 
THE CBATOM, 

L W«Ut P«i»r d«oW lo ART, offinlnalf tothf Bttmrtra 






•nk* oC »f 

Hnlptor^ Ho 



II. OeoooB, H»T 



d Huj'i left b/ Ibn «iiliuDl 



GmuvorflBi uld ta thg Ij 



fVomiJkt Chritliati InquinT, 
The AM «« nmnben of lbl« ptMolrfag [uia thM to pm- 
foimtu) Mper «■ now aol. We look fcr \U ■»tk1j Unit 
irtUihfahmdMtKillBppotntBlMinemlon- imetufenm 
iMrfol la B doobla xme-WBlghty wtlb Ibongbt u Btll u 
vUJi tjpocimpbkil dhUoeniMui. Tlwj oiiry mctil. "«"• 
iBKhlnenwl 'lib tta* gerianioMa ud InHracUTt tia of 
'■■ --i'--*-' — » ■»' — "--']• IJ In not to tlcfcl* the ear 



SUPERIOR TO ALL. 

U6HTE, HEWTOI mADBUETS PUI08. 

NATHAN RICHARDSON 

WoDid rwpKtfiilll Inftirro the publle thU ho bu teien (b» 
Agenrj tor Iho Neir Boglaud tiUIa, tor tbt lllc of llii iboT* 

■lutl; bo bpt mt htB 

MUSICAL EXCHANGE, 
282 Wuhington Street, Borton. 

TlMW Inttruiofnbi ere muTUilca In ill duel Mid ptt np In 
ncnn bont, free of eiprnw, Iter ti»DH»rt»tlon to mj dl^ 
lan«. ilM, NEW MUSIC ftnio •ll p"" of SnMp* ">n 



MASON &. HAMLIN. 

ri\a» ultHUbm of the mailal pabllo Is Inrltad to tbe nowlj 
X Impttned MODEI. ■ELOIIEOSS ni«d*bjD». Webolfcw 
ttaam te b« unniiituHd, Id ^1 Ibe cnHiitiid poiiU putalobic 
to k good Initrooioiit, cflp«ciiiLlj to rfgud to 
SaoklltT, Pow«T,' Bweetneu of Tons, Frampt> 



e fiaa Loinu 
1. B. B»i»»OK, 0«oMi f . Boot, L. H Sooivmn, 



or ptasH th< IkBQi bat tc 



• poor Tlrtmy— but la Iwrtng u 

Th* CnTOD hu, wo liDpe, ■ ipecUl mlulo: 
Dberbe tbe H;)* ef our JoDnuiKiloc. u nl 
901 pMpI* IB |i«t»L Tbe hMtcd, gmoiu, ind lolntlllulni 
ilrltofouipiihllcpnB>l>b«oiiilDg[Dtolenbl*. Tb> CnjDt 
IMI > oDiJ, quiet ud anobOiuIn n;l>, vblch ie linlf n 

feHtalDf. 

Aom U> Cmci'miari CoMfb. 
Ve hm almdr Mnngly » 

tToryiacHf " """" " — 

>f oIlnhB 



rabllihed by STILLUAN Jt DOBAND, No. 287 Bmidn;, 
Vtw York Tsmu, K per viiiiiid, In BdTuua. B«k nmn- 
ben mppUnl. 



NO. S LA OBAMOia PLAUB, BOSTON. 

id tUrtoon jeMt In Burop* wllh > Tiew of «d«p- 
- -Btofiof to tb. E "■ ' -' 



[t*lU*M7le of Bb 



|1u to tbe £ng' 



Ungllwlt 

UujubobnoipentfMnofiaTtnptadr Co (Rain muiln 
«MU«iH!*,>ftar>tninllD(io«nquomnMpiltim], nMl.o: 
o«h« nnpitanoC muisNlai, Mwuhm llie parnilihointtar'- 
IkfUiatlhnuooaistod wUb ■ iu(itraJdeIecUT«iw>:«1 
via a fnatbnl put ol th> ■ppUaUaii vblch thoj bHtoi 
-— -■ -abimiHdMorthMruiIilcialeamtlon.mDdwIth id 



i'Mko ptamm in botrini mj litUinDDj u lu riMlliiiH ; bi- 
ll(*tMU(sbaftrnnlanbleloHTD(hirni«bnd known tome. 
QBO. J. WKBB. 



B. X>. ALLEIV, 
TEACHEX or TBE PlAHO-TOnTE. 

Lrtt mJlM tod mn tt Niihu Biohudaui, Snn. Ha Wuta- 
ButBUiEM,— OttB Dread, B. Buiillon, I. L Harwood, Baqi. 



L. H. SOUTHARD. 
TEACHEB OP ISVTSIC, 



CHICKERING & SONS, 

MAHQiAtmnaRs or 

PATEITT AOTIOn 

GRAND AND SQUARE 

01 ariBT DIBOKIFTION. 

WABEBOOnS, 



or own publlculoni 
luiMj of Bhrot Mud 

U&talo£au Mnt V3 i 



Iht Tnde and Seoilauli 
Iot, ™ litttai 



UB. HABBIBON MILLARD, 

(TSNOBB,) 

TEACHEB OF TTAUAN TOCALIZATl 

Hv. TyUr St. Tanu UO pR qoartar 



PATENT AMERICAN ACTION 

PIANO-FORTE, 

Majta&otorr, 3>» WAahlDftna Btnot, 



, HASS. 



TOUK LADIES' TOCAL IDSIC SCHOOL 

B. R. Bt-AMCHABD, Tucker. 

Thlg Sebool U dfdcHd ftr Ibow wtao wbh to aeqnln t^ 
ability Id riad mnala nadUr at ilIEht,and li putlonlirl; adapt- 
ed to th* waste of llMH who itdn to flt tbamaelm w tnoh 
ringing Id sgboidt,oc tareoelra InicmeUon, from lb* beat nu*- 
len, In tbs CaltlTatlon at tb* Tilee, Style, tt 

Addi«i,anofQeo.J '-■-■■■■"- "'- " 



',., No. 8 W 



MR. J. C. D. PAEKER, 

BEOS to annonnn that b* ie pnpand to commiiiea Inatnie- 
tlon In PUno-ISru and Organ plajlng, Hamonj and 
CouBterpolnt, and will b* faippr to rwdn appllc«loBa at Bo. 
i Uirwaid Fl*«, on and after Oct In. 
Biruucn— B. k Apthorp, CCPerkloa, J.8. l>wl(bt,BBqi 
SoptiS ^ 



a. AHSR^ b OO.'B 

(East aide,) poiLADELFHU. 

O'A ntalofns of onr itoek of Fonlgn Hnalg, a) 



aadvf am 

«... ■ .-.„_„_ J , B aad Haila 

Bwka luporUd to ordB, ai hsnlolOr*, ftOB Ownuij, Italj, 



n PahlleaMona. baa ]nit bean pnbllahad. 



U jon vUi to learn to play In the ahoctaat time poulbl*, bnj 
RICHARDSON'S 

lODIEI SCHOOL FOE TIE FIUO-FOITI, 

which la acknowledged by Ibo moat eminent nnukdana of 
Ennpa and Amerlea to be tbe BB3T lutnutlon fiook thai 

bai Fier been publlnbed Prici Threa DoUui. 

[CrPBbllttatd at (b* MUSICAL KXCHAIiaB, Bonon, tiid 
fin aal* at all Mails Stona. 






SCHARFENBERG & LUIS. 
EHPOBTEB8 OF FOBEIGN ISU81C, 



WZLLIAK BEHaSR, 
FnNiaher and Importer of MaMc, 

Va. B2 TMt 4th Btnat, dndnutl, 0. 

KnCP8 oonatantlT on hand ■ l^rfi and Balael Stock of 
IMPOBtBD iniBIC, Mr «l> al Baatam prMa*. Hew 



Uat^mi 



lo Tnuhen. AIL oid*n pi 



!C^ CalalDgiiM Hnt grada by in 



A CARD. Ma 
Taadj torvcelT* 



&0. lor Tlnlln and ^Hio) br prlnla pardea. 



A OOOS TUBS lO SITBSOBXBEl 

DWIGHT'S JOURNAL OF MUSIC, 

% fsfti of Sit snt HUistati. 
FnUiihed ntrj Sktordaj, u 21 S«kMl St. Boitaa. 

Tiro DDllmra par uinom, Im adTitmev. 
Doti^t tb* thna jaara dne* it waa MtaMUad, Ihla Joonal 

haa mat with oontinnallj ineraahij IkiToi, and It anterad 
upon lla 8XTSNTH TOLUMB wilh U» nnmbar Ha Salurda;, 
April 7th. 

It! osnlanta rtlat* malnl; to tiM Ait of Ilinn;, bsl wHb 
glaaoe* al the whDl*WoiUotAMaBdo(PnUtaUt«ati»i 

iuulilillIiH.fluB II Ill I bin 1 OrlUal BaTt(wa<f OoBoat*, 

OntorloaiOpeiaa; vllfatlBial; AsaljMaaf tbanotaUaWoAa 
pwfDrmad, aooonnta of thdr Oompoaara, &«. 1 Hotleta of 
New Hoiio. t. Uualoal Newi bom all putt. t. Corraa- 
pondenoo fnnn muiical pn»n> and plana, t. Baurl «i 
nnaiea] alTlu, aobooU, paHnda, anthori, aoDpoaltloiu, iia- 



Mb. J. Q. WETHEBBEE, 



OARI. QARTNEB, 

TEACHES or MUSIC, 

IUt be fbnnd at No. 3D Dorar Straat, am; ftiianooB between 
Band 10. Oe 11 



C. BBEVSINO, 

IMPORTER OF FOReiQN MUSiO, 
701 BBOADWAT, NIW XOKK, 

Depot of Erard't Grand Pianot. 

OmCtlLATIHa MUSICAL LIBKART. 
0~ OobtWirtlJ OB band a eani|di 



ADOLPH BAUMBACH, 
T£A(7H£B OF THE FXAITO-FOBTE. 



J. TRENKI^, 

TEACHER OF THE PIANO-FORTE, 



Soolal, Mid Raligioiu baarlnesi on Mo^ li 
Chun:)), th* Concert-ioam, th* ThaUn, the Cbambtc 
the StiMt, As. 8. Ttmnalatloni from tha beat Oennan and 
rrsncb wiit«a npon Mnalo and Art. T. Oocadonal Hotleaa of 
Sonlptnra, painting, Ae. 8. Oriclnal and Belest*d Pnama, fc«. 
G7-Baak niunben, ftnm tbe sommenaaacnt, su bs hr- 
nldied. Addr*ai (poal-pald) 

J. 8. DWIOHT, t) atmoL St. BMkMT. 

WsmlAi Who Yurk Diabi Tranmu. 

Than la no belter mualMj crWe In the countrj than John 

a. Duight, or BoMoo, and few mfn an able lo eipiw what 

Shan to aaj aboni mmlo In a manner at onoe ao p«Ue 
pnelae. Ula arlldta an aure to pl«ai tbe IruHd in 
elWil lla lotm. W* eommaod hia Jowmal 
— »«.ii«i h^^j^A^ u a wort which will be 

_ _„ , , , -, intfeal awnla, eiuatllDg 

tram ash Ita algnlftaaneai TBUlag lu erttkial DOtlsca of mnale 

and mnBUaaDaTbotb new and old, with blognphkal and enlar. 

taiBiu iiMaiii : and alwaji true to «liat la meat IntanMng 

In Ibta DOblaat of Ibe Arte. 

I iloilon Smmimf IVaia irifl . 

■ plBDO-forta, Inli Jonmal on^ Mb* 



Wbemvr then ti 



ETbad, In lb* 1 



wttb, and an appiMlator o 



On* wbkh t*Ua Imlj- wl — - „. . . 

IMt UDTlctlona of tbe writer Mr. I>wl^t 

Uflcatlonl to hold th* Judged chair than anj 
iwhoaapowaiaweareacqualnlad. Blaganlal 

aiiendeml hls&mUiai 



TERMS OP ADVEBTISma. 



Sash nbatqiKnt Inaerthn. par lln 

Voro>Heirinmn,(llSUnaa)aiHlD 

Do do eeeh )at)a*qn*nt. . . .J6 (XI 

Spedal noUeaa (laaded), each IniartloD, p*i "" 



VKM. 

.'•12.00 



BDWABrTirBAligS MITBIO AHU JOg PBCTmrQ^mOB, Wo. 81 aCHOOI. BTBBa^_ 



% '$^tx d %xi m)i literature* 



Whole No. 163. 



BOSTON, SATURDAY, MAT 19, 1855. 



Vol Vn No. 7. 



Sttiijirt's Jmninal of ^^^ic 

PUBLISHED EVERY SATURDAY. 

TBEHB : Br Hall, 93 per Mmnm, In advuioa. 

When loft br OmnleT, S3,60 " 

J. S. DWIGHT. EDITOR AND PROPBIETOR. 

EDWARD L. BALCH, PBIMTER. 

DT' OVPIOB, No. al aohool Btr»«t, Boston. 

SUBSCRIPTIONS RECEIVED 

At Uw OrriOR OP PDBLIOITIOH n Befawt St. BmMh. 

Bt HATHAH KIuaARDSON, 283 Wiitilut«i Sb 
•> atOMKP. BIED k OO. ..ISTniniHiIRow, " 

" A.II. LBLAHD, Pmld*n», R. I. 

" a BREaaiNO, lOI BnadnT, Nm Tnt. 

" BOElAUBMBBfee A I.UIS, lantminj, 

" QKOROE DDTTOV, Ja Uocbxtcr, N. Y. 

" a. ANDRI A CO. . . .U Sooth Ninth St. PfallEdnlphU. 

■> JOHN H. HBLLOR. Phubun, Pl 

" IIILLB& A BUCHUI,,,lglB>ltlliu»Bt. Bidllnign. 

" COLBDRN ft riELD, dDdDBmll, O. 

" HOLBROOK A mm,. ClmUod.O. 

for DwlgtLft Jonmal or Hule. 

BeninucoicM of a Summer Tour. 
V. 



In aacending the Rhine ita beAutiet, u all tlie 
world koowB, end at MAjence. So fbmking the 
river At thii poiat, I went bj- ml, throng I^nn- 
Btadt Aud Ctdvnhe, to Kchl, puung b^ the 
CBStle-CTOwned heights of Baden on my left, And 
leaving, on the right, the aacient iinperiid dtiee 
of Worms and Spires. At Echl the spire of the 
Strasburg CAthedml, three or four miles diitAnt 
on the opposite bank of the Rhine, Men through 
the clear air, seems cIon at hand. 

It is Datonl to compare the Calhedral at Co- 
h^e with this at Strasborg. DrifiiDg on in 
the costomvf channeb of travel, they are visited 
in close connectiiMi. But in their effect upon the 
mind they differ essentially. The one strikes yon 
as a rain, leaving the imagination to play with ita 
nDfimshed parts — the other is complete, save in 
the absence of its twin tower, which after all is 
no blcnusb. The former is bolder in its design, 
as it is larger in scale, and in ita archiUctare is 
stem and grand — the lattor is all beauty and del- 
icacy and artistic feeling. There is a mystery 
about the Cologne structure which is in itself a 
charm. The very name of its architect is on- 
known. The Cathedral of tkrasbnrg is better 
placed, and shows for all that it is : "a mastei^ 
piece [^ airy open-work." The artist who de- 
signed it was Erwin of Steintiach, whose ]dans 
are still preserved in the tower. When he died 
in 1318, the work was continned by his son and 
afterwards by his danghter SabinA; in the sonlh 
transept, placed against Hm wall, is a statne <£ 
the amhitect, carved by lumselC The origin <^ 



the Cathedral of Coli^ne is a shadowy romance ; 
that of the Minster of Strasbnrg a fixed fact 
Aside {tmo the architecture of the Cathedral, 
and the curious clock innde, which partakes too 
much of the pnppct^how order to please one 
long, there is little else of interest in Strasborg. 

Of course I did not fail to mt Freybnrg, 
(Suuie), and hear the magnificent organ of the 
Church of St Nicholaa Concerning this ancient 
and picturesque town, the guide books will in- 
form yoo that the. HHeingt Ho/ close to the 
bridge, is good — the view, from the platform 
behind, of the two bridges is very striking : " Tea, 
1 fr." That on the pmial of the Church is a 
bas-relief representing the last judgment, and 
within an oi^an, built by Aloys Moosen, a na- 
tive of the place, on which the organist is allowed 
to play, for the gratification at ttavelleis only, at 
boors when the Mass is not gcing on,— fee, II 
ft., — that the perfbrmance will tenniuale with the 
imitation <£ a storm, introducing the bowling of 
the wind and the roaring of the thunder, inter- 
sperted with a few fiashes of lightning from Der 
FregichOlz ; all which is v^ trtie, but more 
spirited and concise than satisfactory. It is, 
indeed, a magnificent instrument, the wgan in 
the ChoTch of St Nicholas, whose shrine, for the 
fiune Uiereof, counts its pilgrims t^ thoasauda 

This, as is well known, b one of the largest 
organs in Europe, Ae largest, perhqis, if we ex- 
cept that now constracting for the Sydenham 
Palace by the HJessrs. Hill d' London. It has 
7600 pipes, several of wtuch are thirty-two feet 
in length. I was surprised at the general excel' 
lence of its registers, and at their staniUng so 
well in tune. The evenness (^ the climate, per- 
haps, may have something to do with this. But 
what gives to this instrument its worid-wide bme 
is the peculiar quality of ita vox-humana stop, 
the tones of which are more than human — are 
angelic. Musicians and artiasus have studied its 
effects and scrutinized its mechanism, and made 
many attempts at imitation, but never with suc- 
cess. The people have many a legend and su- 
pentitHin associated with it There are those 
who believe the voices of departed friends thus 
qkeak to them who are yet in the body. Both 
Hill of London and Walker of Ludwi^burg, 
widt whom I conversed on the solgect, bdieve its 
pecoliar iutenalioo is dependent, in some way, cm 
the acoustic qualities of the building in which it 
is placed. If one expects, however, to hear a 
good specimen of organ playing in these exhitn- 
tions, he will be sadly disappointed. Yon feel it 
is a show-game from beginning to end — an every 
day routine, soulless and mechanical. It is in 
^te of this, and through it all that the intriuvc 
excellence of the instrument stands fortli. 



Frctn this point I retrace my route to CarV 
ruhe, the capital of the Grand Duchy of Baden. 
Here I bespoke a place in die Eiiieagen ibr 
Stuttgart, eight hours distant The road winds, 
at first, through one of the' must Earlile diatricU 
in Germany. It is a district clothed with Tine- 
yards and flowing literally with oil and wine. 
Presently, the dark outline of the Kack Forest 
appears, fkr away to the south. Croaiing a 
broken range of hills, where the peasantry teg^ed 
out in cocked hats are seen at work by the road- 
side, we came down, in the edge of Um after- 
noon, among the pleasant Tallica of Wiirtembarg. 
StnUgart, the cajwtal of the kingdom et Wilr- 
temburg, rests snugly in the little valley of the 
Nesen brook, surrounded on all sides by vine- 
clad hills. 

I had been kindly favored by Mr. Lowell 
Masok (although a stranger to him) with a 
letter cf introduction to Herr Cohrad Koohas 
the celebrated organ pUyer of Stottgart. Of 
Kocber Mr. Mason quaintly remarked, in toe- 
warding me hw letter: "If 1 believed in the 
doctrine of the transmigration of muIs, I sbonM 
surely expect bis to take pwciwij lit his ftvoi^ 
ile instrument after death." My note was dis- 
patched to the rendence of Herr Kocber eariy 
in the morning after my arrival, with an intima- 
tion that, if agreeable to bim, I vrould present 
myself at soch hour as he would name. But no 
sooner did he receive it than, with characteristic 
German kindness and courtesy, he paid me a 
visit in penon, at my hotel. I had [nctured him, 
in my imaginalioo, after the manner of other 
artists I had met abroad, fbll of life and reatlen 
activity, "niere came, instead, a nuld and ven- 
erable old man of seventy years, who to(& me 
warmly by the hand and welcomed me to Ger- 
many. In person he was such as Ltmgfbllaw 
has described Danneckcr — "Of low stature, 
with a face like Franklin's, his white hur flowing 
over his shoulders, and a pale Uue eye." Indeed, 
the whole account a£ the veteran sculptor, as 
given in the last chapter of " Hyperion," with a 
decade of yean perhaps in favor of the latter, 
might apply to Eocher, word for word. Prom 
the first moment I saw him, he took possesrion of 
my whole heart Very soon we were off fbr the 
Stifttkvcht, where we found the bellows-blower 
sitting upon the steps and awaiting oor ctming. 
The church is a melancholy old structure of the 
fifteenth century, the interior of which was re- 
stored (as it is sacrilE^ously termed) in IMI. 
Enoogh, however, is left by the de&cer and de> 
stzi^er of modem times, to sbow that its archi- 
tectoie was once impodng and grand. A gilleTy 
sopported by maaave piUara now extends round 
three ndee of the boilding. On the eastern or 



Uigitzed by ViV^*.^Vl^^ 



'S' 



50 



DWIGHT'S JOURNAL OF MUSIC. 



end galleiy itAnds ha organ, built more tban ft 
centuiy once by Martyn of Hayengeo, who alio 
built tbo celebrated oi^n for the Benedictine 
Abbej of Zwie&lten. Quite' recently it ha« 
been repaired and improved by Walker of 
Ludwigsburg. It haa 68 effective registers, 4 
Dianuals, and 2 pedalcs, aod 4236 pipes Id all, 
including several of thirty-two feet in length. 
I had previously listened to the fine initmments 
in Dublin and at the Binningbam hall in Eng- 
land, and afterwardi three of the celebrated 
Silbcrman manu&cture in Dresden and else- 
where, as well as one <»' two of the mellow- vtnced 
organs to be found on the banks of the Danube — 
but none of tbem so impreased me at the time, or 
left such pleasant recolleciiona as this of Herr 
Eocher at Sluttgart Of course the Freybuig 
giant surpasses it tor vastness, and pomp and 
power of eonnd, and the be«t of the London in- 
struments are more ready of speech and prompt 
in action; but in mellow ri>;hneBs of tone, in 
beauty and affluence of exprcasion (not confined 
to certain registers only, but pervading the whole 
insUnunent) and in variety of reaonrces and 
telling effects, I think this Ibo finest specimen o[ 
its kind I have ever heard. The architecture 
itself of the instrument is peculiar, it being con- 
structed in two portions joined together by one 
arch at the top. Between these separated por- 
tions, through a window of stained glass, light is 
admitted into that end of the churrrh. Like 
moat of the organs I met with in South Germany, 
the key-boards are bronght forward so that the 
perfonner sits facing the audience. 

But what now of the organ-playing of the vet- 
eran artist himself? I might say, in general 
tenua, it was something surpasaag after ita kind. 
While it was evident, from his earnest entbusiaMU 
and ready manipulation of Us imtrument, that 
his natural forvie.bad not abated in one jot or 
tittle — be displayed that thorough knowledge 
and mastery of its hidden mysteries, that not 
genius alono can give, but the study of years and 
a life-time of patient toil superadded. For a 
couple of hours, 1 was enchained in willing slav- 
ery, moving only from my position, when beckoned 
by the phiyer to one nearer or more remote, for 
another phase of effect What he played I do 
not recall, and did not well know at the time. 
Sometimes it was a fragment of a Mass — some- 
times a solemn choral, or tbe finale of a snblmte 
old Ilandclian chorus. At one time, as I found 
by looking over his shoulder into a torn and ven- 
erable book, a Bach fugue ; at another an impro- 
visation which called into exercise all the powers 
of his instrument in each and every of its stops — 
singly and in all possible combinationa — now soft, 
now loud — breatbtng scarce audibly within the 
cloud swell, and, anon, shouting in thunder-tones 
from the sub-diapasons. The curious mechanism 
of the instrument, before alluded to, was not 
without its fituesB. From tbe window of stained 
glan behind came a stream of mellow light, itself 
laden with harmony, and rested tike a halo 
avound the cAd man's head. 

Ilerr Kocher might be called an organist of 
the old school, in contradistinction from the 
sduml of the kickers and swingers to and iro, 
as they have been aptly termed hy Chorley, 
whii-h BO much abounds at the present day. He 
regards his instrument with a feeling akin to 
adorabcm ; and, in the church, would even place 
it on equality with the preacher as a dispenser 



of tbe Gospel to the people — a medium through 
which, by the intervention of muiic (its highest 
office), the soul can hold cbnverse with its Maker. 
Hence all those attributes which pertain par tx- 
ctUenee to the organ, shine forth under his hands : 
dignity, profundity, solemnity, a power to engage 
the best feelings of tbe heart and prcaupt to high 
and holy purposes. Hence in his treatment of 
the keys he is always reverent, and his playing, 
though artistic and impassioned, is imbued with 
a religious sentiment which bears onward and 
upward the feelings of his listeners, in spite of 
themselves. Herr Kocher among the oi^anists 
is, to my mind, as Massillon among the preach- 
ers. But now this consummate organ-playing is 
brought abrupdy to a close. A trio of English 
tourists, Murray in hand, have come, shuffling 
^ng the aisles, and put a stopper on enjoyment 

On leaving tbe church. Heir Kocher remarked 
that he was preparing for publication a work on 
the organ, which he hoped he might live to com- 
plete. 

I was Sony 1 could not remmn over Sunday, 
and hear the mingling of three thousand voices 
in the grand old hymns of Martin Luther, 
which, I was told, formed a part of the service at 
the Siijmrcht. 

From tbe church we went to the manufactory 
of Carl Weigl, an organ-builder who learned his 
crafl in the &qk>us establishment d* Walker of 
Ludwigsbnrg. Though a young man he has al- 
ready gained srane celebrity in his calling. He 
bas recently prodticed some good instruments, 
which are to be found mostly in the parish 
churches in tbe virinity of Stuttgart One of 
these he took me to see and hear. For this pur- 
pose we chartered a conveyance to Eilegen, a 
quaint little town ten miles to the southward, an 
account ot my viat. to which I will defer to an- 
other chapter. ". 



BefltiiOTon'R Instrnmenta] Hntio. 

(OooUnned from lut weak ) 

The general musical public feel oppressed by 
the mighty genius of Beethoven; ihey try in 
vain to rebel against it. But the wise judges, 
looking around them with haughty mein, assure 
us: we may believe them,' as men of excellent 
sense and deep penetration, that the worthy 
Beethoven was not in the least wandng in rich, 
lively fancy, but that he had no control over it I 
That he never thought of assorting and shaping 
his ideas, but jotted down everything, after the 
method of so-called geniuses, just as he was in- 
spired at the moment by bis excited and glowing 
fancy ! But how, if it is only jour weak eye 
that cannot fathom the deep inner connection of 
every composition of Beethoven? If it is your 
fault alone that you cannot understand tbe mas- 
ter's language, that the gale of the holy of holies 
remains closed to you. 

In truth, the master, fully equal to Moeart 
or IIatdn in reflection, separates his Self en- 
tirely from the inner realm of tones, and reigns 
over it with unlimited sway. .Esthetic geome- 
tricians have frequently complained of/ an utter 
want of an inner unity, inner connection, in 
Shakbspeabe, while before the penetrating eye 
there arises a beauteous tree, sending forth 
leaves, blossoms, fruits, frtHU one genn. In 
like manner it is only by entering very deeply 



into Beethoven's instrumental music, that we can 
discern the high degree of the reflective Acuity, 
which is inseparable from true genius, and is 
nourished by the study of Art. What instru- 
mental woA confirms this more decidedly, than 
his Symphony, glorious and profound beyoiyl all 
expression, in C minor? How this wondrous 
composition leads the listener on, in a constantly 
progressing climax, into the spirit-world of the 
Infinite I Nothing can be more simple than the 
main idea, consisting only of two measures, of tbe 
Allegro, which, beginning in unison, at first does 
not even indicate the key. The character of 
anxious, restless longing, which pervades this 
movement, is only the more clearly defined by 
the melodious counter-lheme. It seems as if the 
bosom, oppressed and tortured by a vague sense 
of something vast and awful, threatening annihi- 
lation, were vehemently struggling, in thrill, pen- 
etrating tones, for relief; but soon a radiant form 
draws smilingly near, and illuuiines the deep, 
fearful night. (The lovely theme In G, which has 
already been touched upon by the horns in E 
flat). How ample — to say it once more — is the 
theme which the master makes the foundation of 
the whole ! But how wondnously are all tbe little 
episodical and accessory pusages connected with 
it by their rhythmic relation, in such a manner 
that they only serve to develop more and more 
the character of the Allegro movement, which 
the main theme only hinted at I All the pasii^ies 
are short, nearly all consisting only of two or 
three bar?, and these subdivided besides, by a 
constant change of the wind and stringed inslni- 
menls. One would think that from such ele- 
ments there could only arise something disjointed, 
incomprehensible; but instead of this it is just 
this arrangement of tbe whole, as well as the con- 
stant recurrence gf Iha different passages and 
chords, which increases the sense of inexpresnble 
longing to the highest degree. Quite independ- 
ent of the fact that the contrapuntal treatment 
bears witness to a deep study of the Art, the con- 
necting sentences too, and the continual allusions 
to the main theme, show plainly how the noble 
master conceived and worked over tbe whole in 

Like a sweet spirit-voice, filling our bosom with 
hope and consolation, sounds forth the lovely 
theme of tbe Andante con truiio in A flat. But 
here too, the eril genius which laid hold of and 
tormented the soul In the Allegro, peeps out 
threateningly from behind the dark thundei^ 
cloud In which he had disappeared, and his light- 
ning flashes quickly scatter the friendly forms 
which hover round ns. What shall 1 say of the 
Minueltof Listen to the strange modulations, 
the terminallons in the major chord of the domi- 
nant, which the base takes up in minor as the 
key-note of the following theme — the theme 
itself continually expanding by a few bars I 
Are you not again seised by that restless, name- 
less longing, that sense of tbe wondrous spirit- 
world in which the master reigns? 

But now, like dazzling sunshine, the glorious 
theme of the final movement shines out in the 
jubilant strains of the full orchestra. What 
wonderful contrapuntal complications are here 
Intertwined into a whole I To some ears, indeed, 
it may all rush past like a clever rhapsody ; but 
the soul of every thinking listener will surely be 
deeply and forcibly seized by a feeling which is 
just that nameless longing of which I have spoken ; 



Uigitzed by v^:iv>v..fv IV 



■a' 



BOSTON, MAY 19, 1865. 



51 



and to the Bnal chord, and even for a few mo- 
mentiafler, be will not be able to find his way out 
of that wondrous spirit-world where joy and Bor- 
row, moulded into tones, surrounded liini. The 
inner arrangement of ibe difierent pawages, Ibeir 
working np, their instrumentation, the order in 
which they succeed each other — all this lenda to 
one certain point ; but it is particularly the close 
affinity of the different themee to each other, 
that producea that unity which alone is capable 
of retaining the liatener in one mood. This re- 
lation oflen becomes clear to the listener when 
ke heara it in the connection of two passages, or 
discoaraea the same fundamental bass in the two 
different passages; but a closer relation, which 
does not manifest itself in this way, oAen speaks 
out only from the mind to the mind, and tbU it is 
which exists in the passages of the two Allegros 
and Minuetto, and gloriously bears witness to the 
thoughtful genius of the master. 

[Conchukm uit vnk.) 



For Ihrifht's JohtdbI of Hotk. 

The Sew Khmqiu in Beriin. 



The attractireness of the Egyptian Mnseuni, and 
its admirable amiDgemeut. (due to Prof. Lcpsius's 
well-known taste, skill and learning), adtted lo the 
fact that the parchsse of Dr. Abboic's excellent col- 
lection in New Tork ahowa the interest felt ia Ihe 
subject la oar country, bare aeemed lo juatify the 
minute description of it girea in our lasL We now 
pass again into the 

TaarFBEiHiiiB. 

(Stairway houae.) When the bnUding Is comple- 
ted, the grand entrance is to be at (hla point. At the 
right ia the Egyptian Moaeam, at the lell that of Nor- 
tfaem Antiquities, in front the staircase condacting to 
tbs main Soor. This Soor is supported, ia (he small 
Tettibule in whicb we stand, by four eolumna of Car- 
rara marble, two on each aide. In ascending the 
»tun we find on each side casts of small works of 
ancient Art. Tha upper row is a complete copy of 
the frieze of the celia of the Temple of Fhigaleia in 
Arcadia, arranged exactly as they were in the ori- 
ginal We look np lo the beautifully carved and 
gilded roof, riainghigh above Ihe rest of the building. 
From the second story ( the main story of the build- 
ing), a stairway leads on each aide to the tliird alory, 
having the lower atairway beHreen them, Ihe landing- 
place being a portico supported by Caryatides,— an 
imitation <rf' that of the Erechthelum in Athena, and 
of Ihe same siie. At the fbotof these,— one on each 
side, — stand Ihe coloaaal statnes of .the Dioscuri, 
17 feet S inches high, of which the originals are on 
tbe UonteCavallo at Home. On each wall are casts 
of works of Art, (he Metopes of the Parthenon, tha 
Theseium, ix. Behind the Dioscuri, and supporting 
a gallery corresponding to the Caryatides hall, are 
four Ionic colamns of Carrara marble. Under this 
gallery is ihe passage way on the right to the balls 
of Ancient Statuary, on the left to lliose of Modern. 
The Tieppenhana is atill incomplele. Wsgo up by the 
southern ataircsse, and stand in tbe hall of the Carya- 
tides. The whole aoathem wall ia covered with pain^ 
■ngsby Kaulbach, too full of beauty and signiScance to 
be included in this general description. We will mere. 
1y name the subjecls. The three great paintings on 
the south side represent "The Deatmciion of the 
Tower of Babel," " The Bioom of Greece," and 
" The Destmction of Jerusalem." On the northern 
side the historical lequence ia to be concinned in "The 
battle of the Huna," " Tbe Crusades," and " The Eo- 
fonnation." Tbeee are coniieetod wlib each other by 



smaller, hnlfhiatorica1,hslf allegorical groups sud fig- 
ures. At the comers are eight altegoHcalflgures; those 
over (he doora, (Nanh anil Soath) rapreacnting Myth, 
Hiaiory, Poelrv and Si iencc; those Essl and West be- 
ing tbe four Ana, — Architecture, Sculpture, Paint- 
ing and Engraving. Above these paintings a grace- 
ful frieze runs about the whole room, representing 
allegoricslly the whole course of tbe development of 
man. In the third story, lo Ihe Sonth, are tiie rooms 
designed to contain the cariosities now in the Art 
chamber (Kunat Kaiamer) in the Palace. At pres- 
ent they contain only tbe canoons for Eaalliack's 
paintings. To the North is tha Gallery of Engra- 
vings. 

We deacf nd again to tbe atatnes of the Dioscuri, and 
taming to the right, enter (on the aecond story,) 
Thb GasEK Kaix. 
t) oF this hall, tbe maatarpieeea of an-. 



Then 



those which have the greatest attrac- 
tion for the visitor. At tbe Northern end ia a raato- 
racion of the east fVont of tbe temple of .Xgina, 
colored in accordance with tbe views of some archn- 
ologiste, and with casta of the acnlptures of Ihe pedi- 
ment as restored by ThorwaMsen. Thoae of the 
Western end stand on a raised platform near by. 
Other woiks of thia archaic period of Greek Art 
stand in the neighborhood, and tbe real of the long hall 
is neariy Blled with Ihe sculptures of the Parthenon. 
Thus while the S^na marbles present us with no- 
ble specimens of early vigor and correctness in Art, 
those of the Pardienoo, at their side, give ua the most 
perfiKt remaiuB of its glory end triumph. The me- 
topes, we have already said, are in the Treppenhaus, 
but the sculptures of the pediments are placed on 
raised plaiforms, — thoae of the Western end, jnat at 
our right as we enter from the Treppenhaus ; the 
more complete and noble statuee of Ihe Eastern end, 
in lbs centre of the room. The friese is arranged 
abont llie room in such a manner as to praserre the 
connection and present good oppo'rlunlties far study. 
The walla of this room are painted with beautiful 
views in Greece, — the Acropolis of Athens as it 
looked in its glory, (he temples of .Xginaand mga- 
leia, the harbor of Syracuse, Ihe holy grave of Olym- 
pia, and other places. Leaving thia room, with re- 
gret, we wm (o the right, Into 

The Afollo Hall, 
Passing flrat through a amsll chamber containing the 
gronpa of Lsocoiin. This hall, occupying (he Nor- 
them end of the bnildiog, contains some of the 
most renowned single works of ancient Art The 
ApoUoBelvidere, from which it takes its name, stands 
on a niche on the Eastern side, and, corresponding 
to it, on the Western aide, the beautiful Diana of 
Versalles. The centre of the room ia filled with the 
great group of the Famesian Ball. Behind ia a 
cast of the comer of the Theseium in Athena, in- 
cluding one meloope, and enongb of the pediment, 
column and other parts to make it a perfect exam- 
ple of Doric architecture. At the other end of the 
room are three masterpiecea near tbe windowa — Ihe 
sleeping Endjmiun, the Venus of Capua, and Ihe 
unrivalled Venns of Uilo; near them the torso of 
Hercules. Smaller and lesa important atatnes stand 
in other parts of the room, among them the Apollo 
Lycina and the Venus di Medid. In Ihe Nottfa- 
westem part of the building is 

Tbb CnFOLa Hall, 
A small, high room, with elegant h«icoe» on the 
walls. Thia contains, amongolhen, the Minerva of 
Velletri, Baccbua aupponed by two Satyrs, the sleep- 
ing Faun, Menelsns with Ihe body of Patroclns, 
and, most beanlifnl of all, the Amazon, attributed lo 
Phidias. 

Thc Niobb Hill 
Takes its name from the well-known group wMch 
adems (he Western ride. Tbe dybg Gladiator the 



Qnoit-ihrawer, the Anlinona, the Achillea, (he love 
ly Ariadne, the majestic head of Juno, and othci 
statues ocCQpy tbe floor, and (he walta are covcrcf 
with imall medallion-abaped pictui-cs representing 
scenes Id Mythology. ' 

Thb Bacchds Hall 
la a small apartment containing two caUncts dcatin 
ed to receive atatnettea and other amall antiques 
mostly from Pompeii. A few are already placei 
there. 

Thb Bonab Hill 
b the last of ihose devoted to andent Art. Th< 
wall-paintings represent scenes in andent Italy, — thi 
ViUa of Hadrian, the Baths of Caracalla, &c A 
Ihe entrance are two coltmrns, imitations of thosi 
fbund*in PompeiL The s(anies of this room an 
numerous, — the Mhierva ^ustiani, Bypnos ani 
ThanatoB, tlie Boy with Ihe Dolphin, and man; 
others. We have thus in this snite of apartment 
easts of all Ihe most famous lem^ns of andeni 
scnlplure, representing it in every age and school 
and specimens of nearly every form of Greek aiH 
Roman architeelnre. Casts of the Lydan and As 
Syrian sculptures are found in the Inner space abovi 
the Egyptian court. The Southern end of (he hnild 
ing, including the halls which connect with the Oti 
Museum, is yet incomplete. We pass through the 

Hall or tbb Middlb-Agbs, 
Occupying the Southern end, and containing nothiu) 
at present except the frescoes on the walls, main); 
medallion portraits of Emperors and Bishops o 
Germany in the middle ages. The 

Hau. of MoDiRa Akt 
Extends lo the Treppenhaua, and is hardly mon 
complete than (he preceding. The paiutinga on lh< 
ceiling represent different branches of modem Indus 
try. Staines of Thorwaldaen, Scbinkel, and othei 
modem sculptors are already placed here, and a 
the Southern end is a csst of the famous door o 
the Baptistery in Florence. 

The New Museum wilT, when completed, form- 
as indeed it does now — the prlndpal attraction o 
Berlin. It will be a school nnaurpassed in its com 
pletcness and arrangement for the study of plasti 
Art Tbe history of painting is so wdl illustraiei 
in the Old Museum that its wanlia not felt here, aoi 
tbe modem German school finds its greatest triamphr 
in these frescoes of Kaulbach and others. Engravint 
too is well represented. But Architecture, wiib tb 
exception of Egyptian and Doric Greek, tas not re 
ceived its fair share of attention. It is to be hopei 
that Ihe portions of the bnilding yet nnfiniahed wil 
supply this want, although it on hardly be expectei 
lo rival in thia respect the Ciysta) Palace t^ Syden 
bam, which in other points it surpasses. A Cats 
logue is much needed. The Egyptian departmen 
alone is provided with a tatisfictory one by thi 
learned Egyptologist, Dr. Heinrich Bragacb. 

Why should not Dr. Abbott's Museum form Ih 
nucleus for some such instiiutioo as this t We cai 
have casts of all the finest statnes and models of an 
dent temples, and newly discovered vases may a 
well be bought for America, as for England, Bussis 
or Germany. We need such a Museum in Nei 
York or Boston. We have money eaoagb, and w< 
really wiab to be an educated people. For this noth 
ing is more necessary or more easily obtained thai 
Gopiesoflheseglorioas works of Art w. f. a. 



StuBiiial OJIiil-dfliat. 

We have already spoken of the casting of Craw 
roBc's statne of Beethoveh, at Munich, and of il 
inangunUon there with musical solemnities npol 
the Setbof March, tbeanniveraary of the great com 
poser's death. Oar readers may perhaps like U 
know the programme upon that occasion. Tbi 
Statue was erected in the hall of the Odeon by Her 



Uigitzed by V7V^*.^VIV^ 



'3' 



52 



DWIGHT'S JOURNAL OP MDSIC. 



Ton Mii-UK, inipector of ths Bojal Bronw Foan- 

dtj, Th« music, contacted by Fbame Lacbweii, 
conBUted wholly of BeethoTcn'a works : viz. bii Feitl- 
T«l OTcmn in C; Tcrzette from Fidtlio ; Horeh 
and choral from the "Ruins of Athens ;" Sinfinia 
Ermca, kc. Tba whole wu preceded bj a Prologue, 
wrillan by Dihoelstcdt, and recited by Mme. 
Dambock, of the Court theaire, in the chararter and 
costume of aBBXAtiTA. We trast we shall soon bo 
celebrating iti Bnal ioaugnratioQ in oar Boaton Untie 
Hall, for wliich it ii intended. 

The long* of Robikt Tmuie am among [ha 
fivsheit and purest prodncM of tnu mnaicat inipi- 
taiion which the prcaent cenlnry hat yielded. They 
•re reall; works of genimi, eTei7 one of them, — and 
they already connt abova a haodred, — each a per- 
fectly original, distinctly indridnal creation, — each, 
u it wem, a fpontaneoiu out-flowing into melody of 
tha ipirit of tttt gennine little poem which in every 
ease inspires hit Mnse. They have been for a year 
past the delight of our moit refined prtrale mnsical 
circles, and thera must always be something select in 
tbf* enjoyment, ilnce they require both a singer 
and an accompanist, who ie truly an artist and of no 
ordinary skill. Kot a few of our readers will be 
pleased to know that a new ict of six Franz songs 
haa ju*t been published, his op. ES, inscribed, too, to 
a musical lady who has made Boston and New Totk 
her home. Breuiing, of New York, has them. The 
Leipzig ^UTHoIa says : "They make one envy any 
one the gift of singing, for it must he a moment of 
real bliss in the singing of such loiigs to become their 
second craator." " Poetry and Music celebrate their 
marriage feitiral in l!ie*e soogt, and Beauty beitelf 
the onion." " To embody the true life of 
in Ibeir^eliTery should not be diScalt to 
an appreciative singer, since Bobeit Frani, one of the 
moat highly gifted of oar song-composers, haa fonnd 
his tones in the poetic truth of the poems [hemielvea : 
Poetry and Husic are here in song, like clear intel- 
ligence and truo fealing in a &ir human form, not to 
be mistaken, camprehenaible and ei^jable to every 
one." The subjects of the six an: Gleich unj 
G^icAfLikeandLike), by Goethe; VoriSKr da- Mai 
(Gone is the May)j Im Friiling (In Spring] ) Frait 
Sage (early lament) ; Im Mai (la May ;} aod So 
vat cm hitr (So &r away), by Bums. Fiaoz's 
songs never disappoint, that is after joa have once 
made acquaintance with bis peculiar genius ; and 
these laat are among hii. very Quest, and among the 
very finest of the world's song-literatnre. We must 
apeak more at length some day of the songs of 
Franx. Meanwhile we rejoice that a beginning haa 
been made of republishing them here with Qermsii 
and Engliuh words. Nathan Richardson (Musical 
Exchange) bos already iMoed tha AtK Maria, which, 
as a real Ave Maria, it even better than thai of ScBti- 

Virtuosos are nothing if they are not astonishing; 
so when civiliialion gets to be past wondering at 
anything, [hey most tteedago among aavagea. Mil- 
Kit Hadbes, the violinist, writes a letter to a Ger- 
man paper from the Sandwich Islands. He says: 
" Seldom haa a eoncer^givcr seen so ttrange a public 
gathered round him, as surrounded me in Tahiti oil 
the 6tb of October. 

" The place, now improvised into a concert hall, 
was formerly an idolatrous temple of die natives ; 
afterwatds the bite gods were bnmed here by the 
queen's command ; still later a Ficnch court martial 
here condemned to death the rebellious Indians ; and 
tbow on the fame spot stands a black-coated virtuoso 
as the Herold of dw lime, seeking with bow and 
fiddle to impart to theae abonginal children of na- 
ture some ideas of that modem European culture, 
from wboae acqnuntuice they have so for by a good 
Providence been spared. On the right, amid tropi- 
cal plants, sat the governor and his^poDie, inironnd- 



ed by many officere in brightly shining nniforma 
On the left wu the straw mat plattbrm of the bare- 
footed queen, with many-coioced woolen hangings, 
and tha rest of tha hall was filled by the strange 
figures of the natives, whose sense of heiring, until 
now sound and nnsopbtsticated, had gone into ecsta- 
cies about no other song then thai of the nighiingale. 
" I s[cpped forward, bowed before the bare-footed 
audience, and opened the concert Bcolly it took 
some time, to make this public comprehend that the 
main business at a concert was to hear ; which most 
of them seemed not to know, for they talked so loud, 
that several times 1 was interrapted and had to begin 

"Iplajed the 'Othello' ftntaiia by Ernst; but a 
cnuhing of trumpets with drams and cymbab obli- 
goto would certainly have given these tawny Islanders 
more pleasure than my poor fiddling; for, with the 
pxception of a few friendly European hands, not a 
finger stirred. So unapplanded have I never played 
before any public on the earth. 

" The Queen now appeared, leading a little bay 
by the hand, attended by her court ladies, who, bare- 
footed like their mistress, in fantastical toilet, tripped 
into the hdl and with cnrions wonder waited for the 
things that were to happen. 

" The first musical celebrity of Otahelte, Mona. 
Camienx, ehef of the French military chapel, a broad- 
shonldered giant, now appeared and played a piece 
upon the flnta. They said it was a cavatina from 
^moiii, and one might perhaps have recognized it as 
such, but that nnhappMy most of the tones refused 
to come Bt the breath of the corpulent blower, upon 
whose forehead drops of penpiiation stood from 
sheer exertion. The artist had moirover an original 
way, on coming out, of kissing his hand moat rev- 
erentially to the Isdy govemor-ees, a homage, which, 
although a alight to the bare-footed Fomara and her 
yellow ladies, was much mora pardonable than his 
flute-playing, which seemed as if it never would end, 
and in spite of my eloquent signs to him to leave Oft, 
be stili kept on whistling (qmmpnlirte). Already to 
my dismay I saw the yawning Pomare get up from 
her Beat; I saw the aboriginal children of nature, 
whose sense of hearing had been put to so severe a 
proof, desert the ball ; sU my alluring hopes of rav- 
ishing the bareTooted moDaroheaa by my playing, all 
the illusions of oideis. lame and immortality were 
gonel wretched flute-player, to whom all this 
never occarred i Pomare left the hall, without hav- 
ing beard me, driven away by the ungodly fluIisL 

"After tranqoilizing myself as much as possible, 
and after the nnhappy Frenchman had ceased to 
blow, I once more stepped before the public, I sum- 
moned up all my powers, played sentimental t^ve- 
songa and Faganini Witches' variations, but in vain ; 
no sign of being pleased ; the yellow Islanden re- 
mained as cold and ui^sym pathetic as before. 

" Then in my dire extremity, with the unavoidable 
jiatoa befbre my eyes, a bold resolulioa seized me. 
Help me, O legerdemain I I said to myself, and grim- 
ly tore tbe strings from my violin before the eyes of 
the gaping public and played the ' Cnmival' on the 
string alone. That worked i A marmar of sur- 
prise tan through the crowd, and I was soon beset on 
all sides by the yellow tiatnral enthusiasts, wbo at 
every passage, bnt particolarly at tbe flageolet tones, 
buret out into a yell of applause, such at could be 
drawn from no civilised public Always I played 
only the ' Camival,' always I improvised new varia- 
tions, and the mora stupid and baroque these sounded, 
the mora enthusiastically shouted my bare-footed ad- 
mirers, who would not leave tha hall until mj ami 
sank down exhausted to my side. 

"After the concert all Tahiti was in a state of ex- 
citement. All sorts of things were told of the for- 
eign fiddler, wbo bad come acroas so many seas, and 
wbo knew how to pipe npon the wood as well as any 
bird. The rarest frnits and floweis were sent to my 



hotel ; whenever I play, a wondmng crowd v gath- 
ered under my windows, and when I go out, evei; 
body greets and approaches me in the most friendly 
manner; in sborl, lam the hero of Tahiti. And all 
these miracles the ' Carnival' alone has worked I 
Tcrily, the violinists know not how much they bave 
to thank this piece for, whose wonder-working oper- 
ation like a syren aong often inflames the coldest 
public, and whkh t* me has often been the saviag 
ttroke, as it wa* this time. " 

The first one hundred representations of £' £(aA 
d» fiord in Paris have yielded MxianBlEB and 
ScBiBE 33,807 frencs each.— We see it sUted that 
the Italian Opera in Paris dottd its petformancea 
with Verdi's Tronalon. We should think it would 
close any opera. 

Some of the Ocrman critics, among othen Zeli.- 
itEB of tbe BiStta JSr Miaik, have set up tbe stand- 
ard of R[;Bi)TSTEiit and seem to r^ard the joung 
Titan as " another Beethoven just creeping from tbe 
egg." But Z^iPmis and others dismiss his claimBM 
a composer in the most summary manner. If any 
one desires to see and judge from the printed woiki, 
BaBrfliNii in New York has a great variety of them ; 
but yon must have a pair of virtuoso hands at yoni 
command. 

Fbahi ScaoBEiT's Symphony in C hai been ar- 
ranged for two pianns by Klihdworth — Nigeli in 
Zurich publishes a journal called the The Germa* 
OryoBUl. No. I contains a remarkable piece by J. S. 
BAcn, entitled " Little Labyrinth of Harmony," 
which consists of three movements : the firtt {In- 
fm'tu) is the labyrinth proper, full of enharmonic 
modulation; the middle piece (eentmrn) is a chro- 
matic Fughetla ; the list (^Ti'tus] forms the post- 
tude, again In labyrinthine styl*. 



!tusic ^bi[oad. 



RoTAL Italiar Opera,— The seaion opened Apifl 
11th wllh Rossini's It Cbtle Orj/, on opera much ad- 
mired by the Adunmm, wbieh grows melanctioly when 
it oontruts Its deltelons mutio <iritfa that of the new 
reigning Italian sebool. 

How manj- of the pieces may bekme to Signor Roni- 
ni's YtaggkioaJaiamiltmit to be to[d,-7but 



drwnatie tlmcture a 



>( patcbwork,and,its 
like free from weak 



alike free frai 
The IntroducdaD may 
iiBva been rorohown in the Introdnotlons to La Gaiaa 
and Cenerenlata, bat tbe air of tbe Preceptor. No. 3— the 
duet (No. 3) betwixt Connt and Pl^te, and the whole ^- 
nnjs to the Hist act,— have the fraahneas and sparkle of 
SlKDot Rossini's best time, and a Bnith and delicacy 
which his early works dn not exhibit. Farther, the ope- 
ra, rises as It proceeds. When was ever scene mora me- 
lodious, easy and graeeiU then the dnet and ebonu of 
ladies on which the curtain rises for the second act— pass- 
ing off Into tbe itorni, with the sweet ind hoi;, yet hyp- 
ocritical, pilgrims' cbannt heard without, by way of eon- 
traitl The diinkini bontof the enterprising Count and 
his compsnioD!, in their nnns' gear, Is u rafcishly chiv- 
Hlresqoe in Its jovial spirit, as the nlgbt-mnsio for tbe 
cloistered ladies is elegstitly noble. It is not needfbl to 
dwell on the trio (No- 11) a* perfect after Its kind,— that 
being one of the few portions of tbe opera which Is nnl- 
vsnaliy known, and as unlvertally relished. To fallow 
such a work throng, and then to think of what Italian 
music has sunk to since It was written,— to recollect tha 
gronpe of trite notes which must no* past fbr melody,— 
the screams drawn out under pretext of dramalio pas- 
ilan, — and the Myle of Irtstruroentation which ttow fllves 
trumpet a unisonal metody with the npnmn, and ^lots 

- !.-.:— I. ombllna Imu&HsdD by wa 

, ... sad an lilustratton of the " 

liJity of ihingi" as modern Art can fmnlih. 



the ioprniio, i.. _ 

its giumbUna Imu&HsdD by way of 
support, — It to receive as sad an lllustrslton of ' " 
Ubililyi 

Hme. Bono s!np the part of the heroine with great 

brilliancj, and looks u— --'-"- '- '- — '- ■- "-■- 

lady to consider 



It gracefully. Is It vain I 



oskthi 
oareflilly? Aso/fts- 
notaparl; and up to the present thne 
wa have not heard a word from her lips. Mdlle. Marai 
is satiufkctory an the psM) but more to our liking is 
Mme. NAJrmiR-DiDiEE. In the smaller part of Raj^nda. 
The quality of this lady's voice makes her eflbetive in 
concerted music Th«n Sii. Gardoni, as the second 
hand Don Juan wbo nivM Ills name to ths opera. Is well 
fitted for the oharacter, both by bis nriee and by hi* pe- 
" stuff well, he plays agreeably. 



Uigitzed by ViV.^'^^Vlv^ 



'3' 



BOSTON, MAT 19, 1855. 

ccmed, TkKBlRLlK.vbDiTU glsdlTncogDiKd onhii 

priiun pallet, wai laakin^ i little thinner prrbipi, but 
in cipltal *aul fmHrration, The luge pbruing *Dd 
the paitionMe vibraU ware welcomed with latiifutliiii 
by Uie regolar opera-goeri, «nd he gare the C in alt m 
a aort otttnpAaru to bis Burotmn repatttion. Hr. 
Co«Tt'« arflheatcu plajed the two OTetturei, eaproiaUr 
the LfOHOra, with evtu more Chan the uaual apiiit, 
decwion, and delicacy. The choms wh« neither in- 
eSectiTe not remarkable. The Pnaonen' cbonu went 
off withont a hand. 

Druut Lanb. — Italian and Oennan opeia for tli« 
million, at ordinary play-honac pricei, and without tha 
sonventional reitrictions of " Ml dreu," wai lo ibc- 
cenfsl at thia theatre lait year, that a new aeaaon wai 
eonunenced on the 18th nlL with the Sotaun^vla.— 
The Ltadtr i»j%: 

The Amina and the Rodolpho wen bx abore tha 
average, and the Elvino wa» at least agreeable. Hme. 
QAsaiEs.whowaaafaioriteatthe ICalianQperainParii 
last winter, ii a Spaniah lady, with a moat Caatillan 
countenance and moat A ndalueian eyebrows md laahea. 
She looka all enerRy and eonfldence, too abort in flgnre 
to be graceful, but itiU engaging and aCtiactiTe. Thia 
ia not exactly the pietureofAmina: andMme.OiBaiBS, 
we may aay at once, haa not the ur of an IngMui, But 
irith a piercing aoprano, flexible and powerful to an ea- 
traordinaty degree, sod attaining unheard-of altitudea 
with perfect nonchalance, ahe sxBg the Comaptr m* 
brUliantly, and with the flnale Ah mnjiuiut "carried 
away" the house. It ia, howercr, la the Buriitre iji 
Smglia, in which sheia announced to sing on Monday, 
that she ia seen andheatd to the beat advantage. Hon- 
aieur OaMIEB haa a clear, powerful, and amooth bari- 
tone voice, whieh he manases with excellent tatte, and 
hia acting ia amart and intelligent. 

Wewere agreeably disappointed st finding the Signoc 
Bnrrnfi nottbo 'tobuat tenor' of thatname.butaTonng 
man, apparently new to the atage, raw and awkward 
in hia geaturea, deatilate of any dbamatic pretcnaiona, 
bat gifted with a awe«t ai^fhcne voice, well tattgbt and 
jadicIoiMly nied. The cboma ia painatsking, and tha 
onheetta>, ably conducted by Hi. 1. H, Tdlli. 

I^ILH&XHOific SocTBTT. — The programme of the 
third concert, under HeiTRtCHAaD'WAaHB&, vaaa* 

Blnlbnla In A, ITo. 1 

Aite,"Taalir*Biaiido,"Kr, Welafhort) 

CoBcaito. Plaoofbrt*, In B Oat, Op. U, Mr. Slopar. 
Aria, «BallarhIi(ld[*AlMfal«dHeoD<lis" Hauaon 

Bodndorir. Ilg«it 

OTtTtBf*,"Bnrjantha *".......... W«b«r, 

MnttoBla la C minor, Ko, G BHIhoven, 

Rault , " Im W»lu(l tmrnerdar" I Ibduna Rndtr*- 1 s„v. 

Aria, '' Ja lob /Uhl'aa ( iorff [fault). . j "J™"" 

Onnart, Ua Dmi jDwaiai ClurebbiL 

The Daily JVnra never beard the aymphoniea go jo 
well, the AiHtiuKum and the ttutieat World never 
heard them go worae. Bat Wagner apart, they all 
agree about Mr. Hloper'a " maaterly" performance of 
that early Concerto of Beethoven ; and moat of them 
about the general excellence of the vocal muiic, par- 
tieularly thathy Mme. Eudendorff, whoae fint piece 
ia aaid to be a mosieal cnrioaity, written by Moiart ftir 
tha Zaabtrjatt, In the atyle of Hie two aira of the 
Queen of the Night, but never aung, because of ita dif- 
flcultiea, which this lady conqaered. The AtAtntami, 
however, aayi " ahe screami." 



53 



and he ts aapported with doe apirlt and anjoyment by 
MM. Taouapico and ZtuatA. It is lone, we repeat, 
alnoe a aeasoo has opeoad more anapiclonaly for the lov- 
ers of muaio. 

n Omit Off waa twioe repeated, and then came 
(Thnraday, l»th) Che grand exhibition night, when tha 
Emperor and Empnu of France vlalted tha opera In 
atate, and fabnloas somi were paid for aeata. Her Ma- 
jesty had the good tute fbr thia occasion lo command 
FidrSe sa tiie piee^ to be performed; allhongh, aa the 
Ltadtr aays, " the attention of the vast audience was so 
ihaorhed by Hie Imperial and Royal dramatit ptmma, 
tint tha republican Beefhovsh had no ahanoe of a hear- 
ing, even wilhft new prtea^Maaalbr hliftdallo." The 

It ma more than ten yaui alnee an Empeinr had been 
vlail>le In a London theatre; and the audience gazed and 
gascd as though they imagined tbst ench nn even^ would 
not oeenr again for as mnny more, If indeed In our time. 
The theatre looked vronderfhil; gay aiid brilliant la its 
new attire, which, like the shining coat of a bntterfiy. l>, 
we presume, to ha shortly oast aside for another. The 
hangings of wfaila calioo, with bro«da«tlii edges and gold 
ornaments, gave a light and ah^ appounDce to the tioxsa, 
adorned, nareover, with fastoons of flowera from top to 
bottom; aod there wai aa much propriety as elegance in 
tba banners that separated one box fVom another, with 
the initials " V" "N"' " E" '■ A," VBriouily distribntod in 
the midst of otrenlar wreaths— one initial an each ban- 
ner. Tba retiring rooms of the State box. which oom- 
priaad the saloon at the grand entry and a portion of the 
lobby on the grand Her, were arrsnEad with consummate 
taste and prodlga] magniflcence. Vaat rolrrors muitlplted 
ttie eStots of tha statnary, parterres of flowen, richiv 
adonied Aimilare, and endlus lustres which aimoat real- 
ised Hie Ideal of one of the palaces of the Arabian 
Nights. Foramoat among the manifhatatlons of the 
sculptor's art were statuettes of Her M^eaty Queen 
Victoria, tha Empress Eugenie, and the Emperor of the 

Tha iQnsttioas party did not make Ibelr appeannoe 
until after the Knt act of lbs opera was over. The in- 
terval was passed b; the audience— probably the moat 
briinant, If not Um most numerous, ever asMimbled with- 
in tba walls of a tbeati»— lather In a low sustained ban 
or mnnnOT of expectation than in sttention to the per- 
fbrraanca. Aboota quarter to ten Her Msjeaty entered 
the slats bos with Ibe Emperor Lonit Napclaon, mi the 
Empress En|«nle with hia Sural Hightwsa Prince Al- 
bert. Mr. Costa then waving his bAton, ParUrnt pour 
b BgrU wu Btmck np, and the acelaniatlona of the audi- 
ancB were grsobusly reapoadeA !• by repeated obeis- 
anees. The French naClanal air was succeeded by our 
ovn anthem, in which Mme. Boaio aang the first verm, 
and all the company of the Boyal Italian Open, except 
those engaged in the perfinwaiMM of Flddu>, took part. 
The cttieMe conSal thoa barmoniooaiy established, the 
cbeere and acclamations were renewed, until the iliuitri- 
oiM party resoraed their seats, and Ibe Lteaera overtnra, 
magnificent]; played bj the orchestra, obtained at least 
some degree or eoncideration fbr the ma^iicof Beetho- 
ven. AltsT the second and third aetsof the open, which 
were listened to with Comparatire attention, and bad a 
far belter chance of being appreciated than the first, the 
curtain rose, and tbe stage presented an nnnnual specta- 
cle. Behind the principal perfarmera and the cboraa 
were revealed a dense mass of ladiea and gentlemen in 



full dress, who, sooner than not be present on .__ __ 

caalon, bad pnrehased the privilege of standing before 
the botll^ta during tbe performance d tha national 
anthem and Pmtanlpowla Sgrii. 

Of the principal petformen moat of ths ccUloi inaeiiiQ 
then judgment; bat the Zeodsr laya : 

UUe. Jbkity Nn comes to us recommended hy a 
cDusidenble reputation in Germany, and by the name 
of JasNT, which ever aince the daya of the Lind has 
posseased a aingnlar bseination fbr the Britiah pvbUo. 
Mile. Nbt nuule her dtbsU under circutoatances most 
trying, but abe appeared nothing daunted, and from 
first to last performed with ease and sclf-posseaston, 
linping and acting with a perfect maatery of her * ~ 

. ..rallthaivilliant''dis° 

gladly forego !) of cxpei 



I "it! 



lies, and a perfect control over her emotiona, in tbe 

•.e of all thalTirilliarit distraction. Mile, Nar appar- 

enjoya the advantage (which so many would 

_ / forego!) of experience and maturity ia her ait. 

Powerfully constructed, and with adecidcd capacity for 
boots, irith a fair complexion and a very German 
countenance, she ireare a frank and pleasing aapest. 
Her voice, a tboroagbly-traincd and strong mssai to- 
prano, ia round and rich in tbe medium notes ; rather 
rough, it appeared to ua, in tbe lower ; and rather flat 
in the higher part of the reglater. She aang the long 
and difficult letna with austnined dignity and a finely- 



intonatlon that never failed. We tmsi i 
thatHlle.JBNiTTNiT, thoughnota JoANi 
fa a real acquisition to the theatre. Fob 
roughly at home, and always sntcJTU, in the part of 
the bio]]' bat kindly gaoler ; and Taoliapico Is always 
tha flnlsbed artist. Dn Thursday, however, he once or 
twice speared alittle absent, and aang beside the uota. 
It mnet be confessed that tbe music aacribed to nzarro 
Is almost as uogratetnl as the part, and seldom repays 
the most correct singing, so br as tha audience ia oon- 



gmtjjht'n Jou!inaI of Pusk. 



BOSTON, MAY 19, 1S56. 



IIqucbI dubs asd FErties. 
The unonnt of musical taste in a cammanitj' 
le not necessarily to be measured by the audiences 
it fumiahea in any given season to oratorios, 
operas and conceKs, good, bad, or indiBerent. 
The concert-giving experience in Boaton this 
past winter hu been somewhat discouraging to 
the mosiciani and societiea, and, contrasted irith 
the seemingly unbounded ^petite for classical 
perfonnancea id preceding winters, has even 
caosed the qacstion to be mooted, whether the 
perhaps too mnch boasted musical taste of our 
good city CAD have retrograded ? whether it may 
not have been not a real taste, bnt only a sham, 
a faduon of the hour, a superGcial, feverish, cqq. 
tagions Bicitement, of which the only woQ^^r 



was that it died oat no sooner ? These are rea- 
sonable enough questions at any time. Taste in 
the public at large, anywhere and in any age, b 
subject to it! variations, is liable to be'cormpted, 
sensualized, demoralized, in short to retrograde : 
— wituen even Vienna, the city of Mozart, 
Haydn, Beethoven, Hummel, Schubert, overrun 
even in the life-time ot Beethoven by the taking 
fiuhions of Italian opera and dance orchestns, 
and chiefly given up to theqi to this day. And 
there is alwayt itrgo aUowanoe to be made for 
bshion, imitation, and all kinds of ftctitioos in- 
fluences in the eagerness with which people flock 
to so-called clanical concerts. Bnt in our own 
experience this season we see nothing really dis- 
couraging. If the concert audiences have fallen 
off, it does not aSect onr conviction, we may say 
oar tnowUdge o( the Gict, that tbe number of 
persons in and about this city who enyoj and love 
the Bymphoniei and other great works of the 
masters, and who make them a matter of thought 
tmd study, a part of the earnest cnltnre and de- 
votion of thdr lives, has been very large for 
years past, aod is much larger at this moment 
than it has ever been before. 

Should several successive years pass williont 
good and fireqnent public performances of such 
mnsc, it would alter the case ; for the love of 
beauty must be continually reanimated hj the 
insjuring presence of beauty ; bnt we have not 
yet begun to feel the drought to any very dama- 
ging extent ; or, if we do not feel it, it is so &r 
an evidence that the desire is yet alive within ns ; 
that the ' hartstill panteth after the water-bra<^;' 
and meanwhile there are other encoura^ng signs 
of mnncal life, devotion and improving taste 
among us, which are perhaps even more worthy 
to be counted gain, than any. briilMilt measims 
of OUT concert halts which we have seen or hope 
to see. Think of the demand for mtisic-tcachers, 
and of teachf rs who have the spirit of Art in 
them. Think of " the panofbrte in every house," 
and of the enorntoug manufacture and sale of 
these and other musical instnuaenls. Think how 
many accomplished amateur players and mngers, 
of both sexes, now add an artistic grace to all our 
cultivated circles of society, lliink what shop- 
fulls of murac at« printed and circulated in our 
land, and, if the greater mass of it be trash, yet 
how large is the proportion of really cLismcal, 
enduring works, such as the Sonatas of Beet- 
hoven, Haydn, and Mozart, the best oratorios 
and Classes, tbe Songs, irithout Words and with 
words, of Mendelssohn, Schubert, Sk., the 
fitvorite operas, the eoUocfions of organ music, 
&e. Think how wide a sale the solid publications 
of the house of Novello in London arc acquiring 
in this country ; how many persons, even in the 
humbler walks of lifr, have their own copies of 
the " Messiah," the " Creation," the " Elrjah" and 
" St, Paul," and can lend a voice not ineffectually 
in the performance of these noble worka. 

But we have been unvrittingly betrayed into 
thia long introduction in nndertaking to call at- 
tention nmply to one manifestation of the pro- 
gress of musical taste among us, in spite of the 
BDCtnations of the concert bnnness. We alhde 
to the improvement both in quantity and qnality 
of private musical entertainments. It tnay al- 
most be B^d that there has been more of really 
good music, well perfenned, in private booses 
here this winter, than there has been in puUic, — 
\ excepting of coiirse oratoriM and orchestras. 



Uigitzed by V7V./V.7VlC 



54 



DWIGHT'S JOURNAL OF MUSIC. 



Many & time, in the deartb of freab or interesting 
public thentea for musical report or criticiuiL, 
b»ve ite niahed it were allowable to tell of the 
chcnce Bocial feasta of music which we have en- 
joyed in priTBte, and to a \Mrg/e extent from ama- 
teur performers. These may be regarded at in 
Kme sense the most legitimate and best fruits of 
the ins{Hriiig concerts to which oar young mume- 
lovere have been so fVeely exposed for several 
yean past They pjMve how genuine and deep 
has been the efficacy of so much good music 
heard in pnblic. They prove that it has not 
been listened to in vain ; that it has not left the 
listener content with passively enjoying, but hss 
stimulated him in his turn to Kone sort of musical 
activity. For the re-«ssuisnce of the desponding, 
and the confounding of the alway»-will-be skep- 
tical we may recount in general, without viola- 
tion of the rights d* privacy, what has been going 
on in lliis way. 

Pint, we have qlready alluded to the Seniles 
of Italian vocal music, given by onr excellent 
teacben Sig. Corblli and Sig. Bbkdelari, in 
which their pupils executed the most difficult 
operatic pieces in a style that would do credit to 
eminent profesnonal artists. These occasions, 
with the preparation for them, and the stimulus 
they give, naturally imply not a little of such 
practice going on in larger or smaller drcles in 
many private houses. 

Next, as the mott interesting and significant of 
all, perhaps, we may mention the various Clubs of 
amateur muacians, who meet periodically in one 
another's houses for the practice of certmn kinds 
cf music. Some of these have occasionally al- 
lowed a room-fidl of their friends to enjoy the 
fruits of their social study, and it has caused not a 
little pleasure -and surprise to find how much of 
the htgheit and chcucest kind of music has fbnned 
the material of tins club practice, how thoroughly 
and conscientiously the mu^c has been learned, 
and what an artistic and reGning element it con- 
tributes to the ordinary social resources and 
amusements. In one of these clubs, composed of 
a dozen of our finest amateur voices, spending an 
evening weekly under the most severe and yet 
inspiring driH of a thorough German artist, it has 
been our privilege this winter to become acquaint- 
ed with much fine German music never yet heard 
in our concerts. We can recall such cranpositions 
as the entire Lauda Sirm and the Fsalm : Ai the 
karl pant*, of Mendelssohn; all the "Mid- 
summer Night's Dream" music, many Giui^part 
songs, &C., by the same ; several motets by Bach ; 
a Psalm for four soprani by Franz Scbdbebt; 
portions of ScHrMAMN'e " Paradise and the 
Peri"; an exceedingly beaatiful Kyrie, and a 
Psalm by Roberi Franz, in the most pure, re- 
ligious style. These were learned and sung irith 
iwe perfection (fbr tieie parts) and, irith a mas- 
terly pianoforte accompaniment, produced a sen- 
sation BO unique and pure and fr^, that all felt 
th^ standard and ideal of true Art from that 
moment raised. Another Club, similarly conk- 
posed, to which we have been a frequent listener, 
a model in its way for loug-cimtinuing fidelity, has 
been more exclusively devoted to the practice of 
Manes, a form of music which is as convenient for 
to&al pnctice, and as fiwdnating, as it is intrinsi- 
cally good and elevating. During the winter we 
have heard in this way the Mass in C, by Beet- 
eoTiK, that in D by Cserubini, and the ii«- 
quian (rf MozABT, not to spe«k of more fiuniliar 



and easy Masses which have been from time to 
time revived. All these have been so thoroughly 
learned, as to convey to listening friends quite a 
conception of the mumc, so fkr as it is possible 
without orchestral accompaniment, large chimiB, 
and the local charm of the cathedral. By way 
of dessert alWr solid practice, it has not been nn- 
ctHnmon in both of these Clubs to hear some of 
the exquinte songs of Scbobbrt, Msnpelb- 
BOHN or Franz, a Sonata of Bbbtboven, or a 
four-hand performance of one of the fine Sym- 
phonies, in which we have amateurs who can bear 
thdr part with the profesrional artists. 

Clubs fbr Mas9 singing are not confined to 
Boston. In Salem, Lowell, Lawrence, Cam- 
bridge, Brooklinc, and other neighboring towns, 
there are or have been such, creating not a small 
demand for the cheap and convenient Novello 
editions of these works. — There is also a Club 
for the practice of Italian opera music under the 
direction of one of our most accomplished jnaeitri 
di canto : and it speaks well for the diapodtion to 
shun musical intolerance and one-sided taste, that 
both German and Italian Clubs are in not a few 
instances composed of the same members, striving 
to do full justice to each kind of music. These 
are some of the musscal Clubs which occur to us, 
and doubtless there are many more, of many 
kinds, among the amateurs of Boston and vi- 

So much fbr Clubs. Another sign of progress 
is the frequency of late of classical musical par- 
ties in the houses of our wealthier ama- 
teurs, who engage the Mendelssohn Quintette 
CInb, and other artists, to entertain their guests 
of an evening with choice prt^nmunes of string 
quartets, piano trioe, sonatas, comporations of 
Chopin, songs of Franz and Mendelssohn and 
Schubert and Mozart Really the choicest 
foaaCs of clas^cal chamber muuc have been 
heard in this way, and the stimulus they give to 
musical taste, if less wide 'in circumference, is 
perhaps deeper and truer in quality and as tar- 
reaching in the end, than that that usually pro- 
ceeds from concerts. Among the many pro- 
grammes of such occasions we may cite the fol- 
lowing, for a sample, and let this end our 
lambliug talk for this time, hoping that we have 
shown some reason for the belief that musical 
taste has not after all been dying out among us. 

TrkHB B fl.t, op. 11, BMihoTtn. 

Arta, "B«ndl>[icmM>i] 11(110," Hudel, 






. I fbr PSkaq,.... 






Hew Hiuie. 

Our table groans with the piles of newly pnbliBhed 
pieces or collections of music, reprnti of entEre 
works, manuals, methods, scientific text-booki, ta., 
which have been accumnlaling duriiif; ihe month past, 
uid for which the publishers collectively and singly 
have onr thanks. It is impossible publicly to notice, 
or even to read ihrouR;h them all as fast as they come 
along; and many of them, it must be confessed, aie 
scarcely worth the notice and And tlteir publics chief- 
ly through the absence of such features as may tie 
supposed to interest the readers of an Art journal. 
Bet many also are of various degrees of exccLence 
and real value, sndi as it is well that the right- 
minded student or amateur should know of. We do 
what we can to-day to reduce the pile of the unno- 
ticed, meaning to make repeated onslaughts on the 
same imtil it shall all be disposed of. 



Foremost as ever, and moat abounding in fwe can 
often say) good works, comes tlist in de&tigable pub- 
lisher, Olives Ditsoh, from whose many and mnl- 
tifariou) tendings we for the present single out the 
following: 

I. A New and Om^Jefe EdiHtm of tU Favariit 
Souji, Dueti and J'riei o/" Mozart. This is are- 
print of a Ijondon serial, consisting of some thirty 
or forty choice scleciions from Mozart's operas and 
occasional songs, with the orijcinsl Italian or German 
words and a new English version, the whole arrang- 
ed from the scores and adapted to the English by S- 
S. WssuT, Mns Doc. The list inclu'les all the 
heat things, for one, two or three voices, fiom Xe 
NoBt di Fit/aro. Don GioBonm, ZtubrrflBte, Idonimee, 
and La Clanaua di Tito, besides half a doien of hU 
simple little songs, like " Come, Lovely May," " For- 
get me not," &e. Among those already issued 
(which may tie had singly) are the daet: La d da- 
reni from LkM Gtooanai ; the baritone buffo long : 
Nan piu andnii, from the Figaro; and the duet : ChaU, 
perchi fitmra, tmta the tame. The music itself rs- 
qnites no [ecoTumenda^on ; every singer of course 
wants to have these pieces, when he can have them 
in correct, elegant and cheap copies, such as these 

a. Tlie Earpe/Itidg (Lira d Italia). Another 
serial Collsction of Vocal Extracts, from the popu- 
lar Italian operas, with Italian and English words. 
These are pieces to which the operatic amateur 
would make constant reference, if he had them by 
him, and here he has them in convenient and « 
tractive form. Those already received are: I. t) 
great Quintet, Cii mi frtna, from Lucia ; S. Ticmo 
a dii I'adora, quartet from H Giurannlo; 3. the 
tiio; Ah yuaitiitiitita,tti>m Noma; 4, Quol tWuBo, tr 
from I Lembardi; S. Di toati rtgi, the rich and 
stalely quartet from the first scene of Semtaaide; 
S. E rimatlo la intpittrato {" Like a statue wjthoui 
motion"), the humorsta* and exceedingly elT^CIive 
quartet from Don Paiqmk. There are many more 
in prospect. 

3. L' Art da Chant appUqvi an Piano, ftjr Tnai;. 
BEso. We have before spoken of die principal 
numbers of this very Bseful series of fntntaijilient of 
vocal pieces [from Moiart, Beethoven, Pergolese, 
Stradella, Rouini, Bellini, and others) for the piano, 
after the peculiar manner of Thalberg, who makes 
the voice-parts, solo or concerted, tin^ upon the In- 
snuments, with accompaniments above and below; 
the voice-part or melody being engimved in larger 
characters than the rest, to indicate that it is li 
thrown forward distinctly and prominently in the 
execution. We have now Nos. S and 9 of the series. 
These are a beautiful LarghMo ballad from Wibbb'b 
Pndoia, and the chorus of Conspirators from Mbt- 
EBBBBa's II Crodato. A song from ScRunEBT's 
MSnerin serit^s, the Duet from Der FrtyickSlz, and 
Mozabt's II mio tnoro are the remaining snhjecls. 
All the subjects are interesting, and the transcrip- 
tions faithful and effective, so that they afford capi- 
tal practice in the art of illustrating a melody, with 
great richness of accompaniment, through 6m me- 
dium of one pair of hands. The edldon is one of 
(ho most elegant ipecimens of music engraving , 
which we hare seen. The separate numbers cost 75 
cents each, but the whole series of twelve, bound, is { 
marked JS.OO. 

Natbah Richabdsoh fMusical Exchange), pub- 
lishes among other things the fallowing : 

1. Mauid de Mozabi, arranged for piano by 
BcHULBorv. This is that graceful and perfsct little 
Minuet and 'trio, from the E flat Symphony, which 
wassocbarminglf played by Mr. Sattbb. It proves 
that i/ood music may become extremely popular. 

3. As* Maria, ballad by Robbbt Fbahe. Those 
who remember Otto Dbebbl'b concerts and Hiss 
Lbbnakk'i ^nging, fend who can fbrget themt) . 



Uigitzed by v^:iv^v..fv iv^ 



■a' 



BOSTON, MAY 19, 1855. 



55 



wtll «ag«rly poMeu IhemMlvM of s copj of thla 
loftj, para and lovolj melody, which 'u not difflcnit, 
« far >■ mere «xeentioti ia eoaeerned. The English 
words m iingabie, and ft prettj don trnnilatioa of 
tb« QermaD of Qbibbl, which ia also giTsn. 

S. On fh Sta ; ballad by Fba<>z Schdbibt, Gei^ 
man and Gngliah worda. Charaeteriitic, wild and 
'fiudnatl <g. 

>. Tic Migwm Song, by Fkahz Sceubsht. This 
ia tin sad little long in " Wilhelm MeBter": iVitr 
wnJie iSeJauuiAi taint, ^., seated by Schubert in 
Tery mnch the aame manner in which BeelboTcn hai 
ted It in ona or two of hia fbor tettlnga of the 
•ante ; only Schubert derelopi the dmple and ipd 
in to greater length. 

. Sixty-Six Interlada m Ae mMt tuuul Major 
Keyi fir the Oryan, &ra[Mne or Btdodam, by J. 
BiLTOH Jdkbs. These are short strains, only a 
Una each in length, and all euentially of the lame 
character of expression, which is solid and church- 
tike. They an in tme oigan style, the fonr parts of 
ttie harmony baring each iti IndiTidnal mOTcment, 
and therefoni good to put Into the hands of yonng 
playen at chnrch organs, whom it is seldom «afb (D 
leave to the inspiration* of their own — fingers. But 
why aS in the major key t And why only two va- 
cs of measnre, the common, and the three-fonr? 
is this little book bnt the beginning of ■ series ? 



CONCERTS. 

Uixa. QiBBiKLLB Hm Lahottb's fonrth and 
last concert took place at Cbkkenng'i, on Thursday 
evening. A lai^ and highly rwpectable audience, 
ioclndiug many of the truest moBc-Iovcrs, were high- 
ly tatlsfled with the execution of the programme, 
which was dioiee and elassicaL For her own part, 
sb« had selected three very formidable compositions, 
a Trio, a Concerto and a Fogne. The well-known 
Trio by Ubhdvusobn, in D minor, was a large 
undertaking for a yonng lady, and we could only be 
astonished at the power and tKtMolj and firmness 
with which she went Ihiooch it, showing that she had 
studied caiefally the character of its nervous Alle- 
, its tranqnil and religions Andante, its light and 
sparkling Scheno, and iM impassioned Finale, — 
although the latter we thoaght taken hardly fast 
enough ; and one missed a ceitain vitalising and 
poetic something in the whole. Uore caution in the 
use of the pedals would obriata the blur felt in some 
passages. Yet the execution was highly creditable 
and showed progress. The Fugne of Bach, in A 
lOr, one of those Borid, deliote arabesques, was 
smoothly played, but rather lifelessly. The Qmetrt- 
Stack of Wbbbs seemed a leas anxions performance, 
CMue out with a freedom, grace and brilliancy 
; were qnile effective. It was mnch her happiest 
eSbrt. The Cmoert-Slikk had a Rne septet accom- 
paniment, by the Messrs. Fkies, Meisel, Eichleb, 
(atripgs), and Esbbb (flute), Rtak, (clarionet), and 
DaRiBAi (oboe). The brother* Fries did well their 

I part in the Trio. 

Thb Mbhdblmohk QniHTETTB Club contiib- 
nicd an Andante from Hatdh's Quartet in D, and 

I Qniniet arrangements of two piano pieces: *ii. 
BKKTHorBH's Aodoata Faeori and one of the Liedo' 
ohne Wiiri: Hrs- Wektwostb sang with her usual 
parity and sweetness a Latin hymn (Ecce Pants) by 
Chbrobiki, a Mocart-like lort of melody, not un- 
like the same composer's Atv Maria, and HtTim's 

I charming canzonet: "Hy mother bids me bind her 



The COBCSRT by the Ftxb and Habbibov 
troupe on Wednesday night of last week was a good 

I old-fashioned English concert, and gave such plea- 
lure that nearly every piece was called for twice 
and eren thrice. This was the case with each of 

I the Glees, which led to quite a series of ihem; and 



they were nicely sung, save that the anarcompanied 
voices did not fall into quite perfect tune the fitst 
time. Miss Louisa Pike's singing of "Cease your 
Funning," with variations, and of Beneijict's 
"Sky-I^rk," was in her most admirable style, and 
slie fed the appetite of the delighted audience with 
some charming ballads, accompanying herself Her 
also sang a ballad very sweellv. Mr. Hokn- 



comic hnmor. Tbe programme was exceedingly 
long, and everything had to be repeated, even to one 
of those everlasting sentimental ditties of the Balfe 
order, by Mr. Bokkani, whom a portion of the an- 
dience wuid compel to "sing timt (tedious) song 
again." Mr. Harbiboh was perhaps more fre- 
quently in tune than usual. 

The Farewell Conrvrt, Saturday afternoon, was 
equally successful. So perfect a singer as Miss 
IiODisA Fire will always be welcomed back to 
Boston. 

Mb. Sattbk had a crowded end delisted audi- 
ence, of some 30O penons, at his piano concert at 
the Norfolk Hoase, last week, and proposes soon to 
gite another. 

Itauak Opera.— The mere announcement of Roa- 
siBi'a " V^llsm Tell, " hli greatest open, at the Boston 
Thsatre, on Monday evening, will be anongh to call out 
io-loven. It is a rare chSDce, and a brief one. 



allot 



Uannwhlla Opera in New Yark Feems la a hopeless 
snsri of disagrsement*. The Laokanoe end Uirate 
(nmpe coalesced with the Academy, and sang there but 
one night, befora Ibere was a general fitlllng oaL What 
becomee of the new troope we do not leami the Acade- 
my Ueloaed egalnit themj they have loat the chance of 
Niblo'a, and tbe Academy party also pre-oecaiiy our Bea- 
ton Theatre. W* shall have nothing to oompUn <a. 



Clabsicai. Tkio Conckbt. The fourth and lost 
ooncert of those very able artists, Hesar*. aaBTHEX, 
Hacsb and Junonici^bl, wilt take place in the beaa- 
tifnl lalaon ot Measra. Hallet and Datis, this even- 
ing. ThoBS who go will hear mnch admirals moaio 
played by very skill jl hands. 



Hiss Eijse Hbnbleb- — The pspers have already sn- 
nonoced Iba probable retnm of our yonng prima donna 
to America. Her father's continued illness has mads It 
Impossible for her to continne in Europe wittaonl hi* pto- 
lecMon and under the constant anxiety which his condi- 
tio brought upon her. She ia endeavoring to bring him 
borne, and at last accounts hsd arrived in Paris after a 
painful jonmay- We may expect to'welooim her in 
BoctoD before many weeks. 




Oalld, Oca. T. 



CABX GARTNER, Tialinitt, ' 
CARL H ATTSE . Piaolat, and 

H. JUHQNICEEL, Vialoncelliit, 

FOTTBTH S1TBB0BIFTIOIT OOHOEBT 
This (Saturday) Evening, May 18, 



[. XCKHAHDT, U, RICIILBB, W. FEEKZEL and 
W. BTEIN. 

Ih, Ibr plinp end ftrlDia, — a 



O-Ttekiu 60 mbu.. . . 



>iDin«i>« It T>£ o'cloek. 



F. F. MULLER, 



BOSTOI THEiTR£r::ITALUI OFEBA. 

THB HuiHtn hu lbs hoDor at maeaantaf that hi hH 
«tiLR*d Into an artvDpDi4Dt wtih tbvCunDiltUvof Wan- 
■ffmsnt rpf the Aesdamv of Unirto of New T^rk, for Iba ^psr- 
SUM tic ■ fk* slchla ooij of Ih^r 

TAMSB ITALIAjr OPSU OOKPAHT. 

M that or tbi Aadamj, la- 



idlni & a 



^Oporai 



iH Huan will bo opnwd on UOHDAT EVSNINO, Ha; Hat, 

■ban Ibr tb* tn ttnalB Boalon, Baalnfa li^ifami tt 
WII.LIAM TELl- 



CBARACTKRA. 

Hatllda, thiitatwof Oeaaln Blpiam SuftuoiM 

OMilcr, On Amtrtan Oonmnr Vgnar Roen 

BodolfO, CapulD of hit aniKla M«ior4nia[a 

|G-b>.) 

■diil(*,<ha«ia(rfT>ll Stgnm Avofadn 

AltKrt, bar arm Slxnora Bfltnoo-lUrrtaek 

Anialdo.hi lov* irUh Msinda J 8wIh patriot* I Sbnor Boleliml 

Wsllrrronl ) ( Mcaai Oolritl 

Lmthalde ...Bwkv tTroue 

MtkitaUial,lb*tUlMF«rAnu>lda BIpiOT Malln 

AFlahan n a n StgDorBnltlK 

IB the anne oftba 0pm wtll tie clnB 
A Gnnd Pai MiUulin, by tb« nlira <»nH da Ballst. 

MbAaI IMraetor and Oondnotar HAS HARETZBK 

Bbifs tUaapr Aiusi Dsium. 

Tl» prlnia of admljidoD will ba •!.» and tl. aceordlsf la 
twatkni, tIb: Pariuet, Balconj, and rront ran In I^nnat 
CiRl>, and FIni Clmtt, «1.S0 ; baUioa of ParqnM and Ant 
Orel*, and (h« wlwl* of Ihi S«ond Clrcta. tl. Wlih tub 
one of (bo aboTo tlcheta a cbvck Till b« given Ibr a isaaiial 

AmphUbsatro, fiOcenM. 

Ttw TIrkM OSai «i11 ba npanad at the Usile Stan nT B. B. 
Wid«, 197 WBabington attM. Tkkati miv IIIuwIm bo pni- 
of tha TbaatTE do tlii atwiing of ths 

-tTXo-clotk. 

THE AMERICAN BARP: 

A TOUSOtioK Of Kiw iiiD oaionui 

CHURCH MTJSIC. 

BT OEARI.es ZEUTTEB. 

TSB above arellni nrk baa bHo the buti of > majority 
of Ibr populu- HlliKtioDi of SKrfd Kwdo Ibc the lait 
doxn ordrtMn jtara; and thou^b nvailj sqawttf of neaa- 
buiT bai eUpvit rinra Iri flrat Iwna, lb jat retelu en aeQuaa- 
tV«*d lu^rkirity ov*r all tlmllv vorbi, and 1< HBHmad by 

ama. It tau bHBfori aumberDfjeanoDtof print. Coplea 
toDld balwllh unudlfflcnlrjbFobulDsd; ind tha valoi tn 
whloli >bt hwtn befunnd mra bald, togaUiac wltb thautui 
uoiluaf thawnik, rapHlMlljAllndad to bf the beat JndM nf 
Cbunb Hoidii, Indand tba nndanlfaad to pnbllab it, and tha 
pDblla cnn now be anpplM at the followln( ra» : 

filD»la coplM 7S 

Pai davB trOO 

OUVEK BTISOir, lU Waahingtun Bt. 

BD. AIiIiBS dMlna a iltiullon u Onaniil 1b aonie 
. cbDieb Ib BoaCnn. Addrm Bai 188, llWwtac, Hua. 



OTTO DBESEXi 

etioo on the plena, and 



ikiUOpa 



Nellr Clyde, 

AHIff BTBIOPIAN HRLODr, §alD sBd Chonu, Air the 
PlaaD-Foru. Bj Bd. P. HmoiiiniiH. It eta. naL 
Publbhsd by KETEB & TKETBAB, BcrrALO, N. T. 

JOHN SBWABD WRIGHT, 

pianist, Organist inlt jBlrttlat of f&vgit 

AT TBB MUSIC HALL, (Riv. TatoDOKi PAa»a<B SoetanJ 
aiVSS INSTRUCTIOK ON THE PIANO. 

Betldasee, 18 Avery Btrset. 

JUST PUBLieHED, 
I^VIiLT CLTDB, Ethloplas Malodi, br Ka. P. 

il Horcnwsoa Keta.nat. 

JACK AND PEDOT POI.RA. bvHiaiog SCetanM. 

BBitTHA-KEDOWA, brHaaioa, , Kett.Bet. 

MBTXR A TRBTBAB, ecriTALO, N. T. 

1L TROTATORX. ..." BtrUa la Tampn," VbbBI. 
JuBt pabllahad. GBOBOE P. REED k CO. 

1L TEOTATORE. . . ." I>Herto ™:ia Tarm," TaaaL 
Joit pnbllahtd. OBOROK P. KBn> k 00. 

1L TIU)VATOBB...."Ahii beneileJ' TiaaL 
Juat paMiabed. OEOIiai P. BBBD t 00. 

ILTBOVATOM. ..."TMaaUNottB," Vibbi. 
JQW pnbUahad. OBOKOB P. B1P> k CO- 

IL TROTATORB. . . .•• D'Aunr anl' alll roa^," Tsam. 
Just pnbliehed. OBOUas p. ttBRD ft 00. 



Uigitzed by V7V^*.^Vl^^ 



'3' 



DWIGHT'S JOURNAL OP MUS 



IC 
^^ 

MASON & HAMLIN. 

rrUK Utcptlon of tfaa niulul psUle li tnilUd W tb* MO))' 
X Impnnd MODEL MELODBO^IS i»ila bj ui. Wc bclten 
Iban to b* ■murpiiiiiia, ta ill Um hhoIU fatalt rattlnlnc 
to ■ tood InttnustDC, hvkWIj Id ngat la 
BqnsUtr, Power, Bweetneaa of Tons, Prompt- 

aew of Aouon wad Style of nnlsh. 
Oar prltM ni7 from HO to tlTB, Ksiirllci W Ifaa An lail 
HiuH, Wm. B. Bkadichi, 0»ui >. Root, h. B. SnnHiu, 

(ij^*] DiDxIdwu, bt'Im (KB U «n nufroonM. 

BT'I^ Dplnlruiiaf Uh ibim ivBllinMii glnibtB ■ dacMtd 
pnAnon to lU sUiai IktadioBs. 
Binn uHi. I MAflOR A HAMLIN, 

UMiura aiMUM. I amAtUf m. (ur. if Oartti.) BDUim, lb. 

OetaS flu IMiHU/lnfMarofthtJilL) 

SCHARFENBERG & LUIS, 
UIPOBTKBS OF FOBEISN BlUSIC, 

Ho. 199 BBOASTAT, eoniar of Klntk St 

NEW TOBK. 

WILLIAK BEBaEH, 
PobUBlicr and Imponer of Maslc, 

Ho. M West 4th Btraet, CItLelimad, 0. 

KnPS mnrtutiT on hud m Uige ud SalHt Stack of 
IMPORTliD Ub'SIC, fiu Hlv It Euwm pn»i. Kt* 
HuleMnWed bjr BHUDtr u KKo u publMiKl. A Ubsnl 
dlieonnl gnatod K> Tmolntt. iU onUn pnioptl; MtoadHl 
to. Huifc nrrufHl Ig ardcr. 
DT* CatalgfUH ant |ntli b; nudl. AbcSS 

TEACHER OF HUSIC, 209 WMhington St- 

SSaiDENCE. . . .13 SHAWItUT STSKKT, BOSTON. 

A ooos Tno: to BtraeoBiBBi 

DWJGHT'S JOURNAL OF MUSIC, 

A ^xfii »i Sit anb liiiutuxt, 

Fnliliahed ererr Bttwday, at SI SeiLMl St. Bedoii, 

Tiro Dalliu* p«r —■ — , !■ UI**Mea, 

Dating the tbno imt itaua 11 na MtabUihad, ihb Jaanul 
hii nwt vlth coatlniuIlT limnulaf brar, ud U ntiKd 
npon lU BKTKNTB YOLDDII wlUi tba BOBta* ia Buu^, 
«prU Tth. 

lU cooWnti nliM miiliil/ to U» Ait of Mnio, but vltb 
(UncM U U» ■hatciruUorArtullof PoUMIJUntan) 
lii«lDd]Df,ftoiBtlB*tatliiio— 1, Critical Kirltn at Oonnrtji, 
Omtarids, Opmi i wlttatlB*lj AB^lTaHorthaDolablcWarfei 
rufcnud, hcoddU of thilr Conpoiwi*, IM. 1 Nodea of 
Ntv Miuie. S. MuHal Nt« from kU put*, f Corm- 
pciadcBH from Diiiilul penoBi ud pliui. E. Banji oa 
madul atjlH, KbooU, psriada, ■otbon, cmpoilttoni, In- 
nrnaeaa, thcoiln ; od M<uI«] Bdneitlan ; ao HiuId Id lU 
Mnni, godia, ud [Mliloal bnrlngs; as Holla Id tbo 
Ctaoich, (lu Coscvl'nnm, th< TbHtn, (b* CbubcTiUd 
tl» StntC, ta. a. TruuliUoDi trOB (h« ban Onaiu ud 
FraDcb ttIUh npoB Unite ud An. T. OccutoDit Notlnn of 
Scnlptun, PiintJD(, fca. g. Ori(in>l nod SelecUd Focmi, &c. 

dWuO. Addna (poM-potd) 

1. a. OWiaHT, 31 SiBoOL Ht. BonoH. 

Frrmi Ui Nn Ymk Bailt TrOiHtu. 
Tbtn !• DO iHHcc miulcml ciitls Id (1h Daaati; tluo Jofan 

Ib^ ban H> Hy abont mule ta % munor tx aa» n poetto 
udpnelK. Uti wtlFlM u« nn to piMW Uw l*u>cd iD 
Dnac, wd to dtllght Hi lom*. Wa commaDd hic }oorD>l 
narManvtUr (o onr uoilcal IHaadi ■■ a wotfe wbMi olll bo 
■n able ioddIiu eosuDaaUTf unm rnulcal anal^ axtraetlDt 
tma nab Ita ADlOuDn, tajtag hi ariOeil notkM of ddiIo 
ud BiDriaUBa, balb DC* ud oM, wlU UenpUcDl ad anNr- 
MdIdc dctilla ) ud Blwa]>a tnia la wbaila oioal iDteiiadDg 
ud aaBUsiadiDtlD tbi* Doblot of Uu Arta. 

From tka .SHfan AnuHf IVoiurr^. 

Whannr Uhi* li > ^uw-IDna, tbla Jonnal onckt lo ba 
iTlngonlt. ^ ^ 

Fttmilu BaiUH Attat, 

W* Bacd Joat toeb • vtgH. Ooa wblch la anbaarrtaDt U m 
putScDlar ellqaa vt book.BukarB, or aorMj acvnta, or BiaDa. 
■nW iBtDiala. Oa* trbkh talli tralr what U fSi^ ud vbat 

& bad, Id tba boaart aoniktlau of ibt irritar Ui. Dirlcht 

unlwa nor* qunlUcMloBa to bold ib* Jadia'a rbilr Ihas idt 
otbtr writer with wboaa pomn w* an acqailDiad. Hli (nW 
sanolb of bellng ll onltad (a u Hnta pamptlDn of tba 

of Iba grvat oomponen of Ib* world haa r* adand blm fbilllar 

TERMB OF ADTERTISma. 

IfaMlnMnkin, p«-)iiH 10 eta. 

Bacb aabaaqnmt tnacrtloa, »i lloa S eta. 

Do do aaoh tiilMFtBeDt HOO 

gpactal aoOcea (luded], wib luarttau, pcrUDe SOcta. 
PiyiiiaBK raqulrad iBidvucw: [orjeaHf adTtnlaomaBU, 
qoartarlj Lp advaDea. 

No^^ ai^C HOOlT^THEET: 

Uigttzed by V7V.^*.^VIV^ 



NOVELLO'8 LIBRARY 
MUSICAL KNOWLEDGE. 

TsL. I. Now Riui. 



_k BASS, HARMOHT, and COMPOarriO^ftt .__ 

Han. Tnnalated by Samiu NonLu, fRnn lb* or^iul Q<r- 
Ban. TtM BHuleal tsUBplea tailaBl br Tmcdtt Hdtiuo. 

Sgnoar prloe, ^.] Vol 1., HanwDT aad Tbereii|b-BiB, 
etLbroaUM. Tola. II. aad UI., Qidda lg OompoAloa, 



MOEART'S gDCCINCT THOHOUOR-BUS BCBOiOL. 
Traaalated fmn the Qar 

Du'leaJ exaniplea rcrliod bjj 

n Tb.] IB papit ttn«par 11 oU. bj bhU 38. 

TIBTIS' TRBATI3I CfS CHOIR AHO CHORUS BINaiNa. 
£ Tno^ndfrom theFraneb.bjtbaRar.THOiUBHiuiDU, 
.. (FonBarprloe, U> haBei] In papar wnppii B8 oti. 



m r«**blia aaJ LaarBan Ib ararj bnachaT Ma- 

'~ *' "ttta by Gioiai KiOBom, ttam ibe 

U tai NoTcUo'a Ubiarr Ibt lb* tWa- 
riPD of Haileal Knowladia. [I0raiarpilDg,Mn.1 BoDDdla 
clatb, price « SB, by mdl H T6. 

%■ or tUa woA flr* Inia aOUm ba«i baeD printed Ib 
GerniaB,bctldHbalB( reprlDtadln Bnglajid. II romprpbpnlB 
■lanleeiplaaaileBaof tmrj nnalc^ matter, rnm cbacbn- 
pUat nidliB*Dta, thnncb Ih* lariOM riaboratlaui of rbjthm, 
ooetriDa of MM*, iBatraaiaiitB, ri«ii*DlirT ud artMk (brma 



CHBRUBINTB TRBAnSB ON COimTEBPOINT AND 
PDODK. TiaoalaHd bj Mra. Oowdu Oubii, fmn tba 
Diiftaia] rrtsab, Tfaa uoidcal portloB haa alio baes aupar- 
TfMd by Mr. JoaUB FimiR, OrEinCit af Llnnila'i Inn.— 
[ronnat priea, tl SS.] Boiud In ololb, price (1 6S, bjr mail 

SOTXLLO'B UCBID nFBIO TABEHOUIE, 
aw BROADffAT, NXTT-TOXK, 



FIAHIBT Am) TEACHER OF WTSIC, 



OrFEBS blaaarrlccaaaaDlBitrDctorlBtliahlAnbniDebaa 
of PluD plajlDi. Mr H. Bu be addneaed at Uw made 
>a e( NtTBAif RiouiMKw, Kl WaablBiton BL or 0. P. 



Ru* fc Co. IT r^moat Raw. 



Ulaa K. K. Priiwa, Baliai. 
Hlia Nkbol*, ao Boutfa SI. 
una May, S rnaUlD Plaaa. 



THOMAS BTAN, 

TEAOHER OF M U S I O, 
BnmmiOB, No. u viz place. 



MEYER k TEETBAR, 

Srapntbni nnii -^iililislnii uf BInstr, 



B. D. ALLEN, 

TBAOBBR OF TBE BZANO-TORTB. 

UUua diraetod cam af NathaB RlcbardaoB, Eaq, 983 Waab- 
hwtoD Street. 
unuflcn — OtW Dnad, B. HaaUtDB 



L. H. SOUTHARD. 
TEACHEB OF HITSIC, 



CHICKERING & SONS, 

KANUrAOTUBEHB OP 

PATENT ACTION 
GRAND AND SQUARE 



Ot XTEBY DEBCBIPtlOH. 

ITABEBOOHS, 



SUPERIOR TO ALL. 

UGHTE, lEWTffl miBRnBys PUIOS. 

NATHAN RICHARDSON 

WoDld HpKSfDlly InUmi tbi pnblVi tbM be bw lakan tfaa 
Acancy Ibr iba Hew Ea^aDd i^lalaa, Cir th* aal* ol the aboR 
eeltbrated iDntruBHnlii, a fall aiaoriiBeBt of whkh wlU cob- 
etaotly ba kept at tala 

MUSICAL EXCHANGE, 

282 Wuhington Street, BoitoiL 

Tbeae laalnDieDliare wamated la all eann, ud pat Dp Id 
aacBia bou*. tta* of axpeini, ftr tnaaportaona tn aoy dia- 

tuce. Alao, NEW MUStO Ann aU laiia at KDrona aDd 

Amirtca McelTed la toOD a* pDblllbed. which, togMber wUb 
oar owa pabHeathma, Ibnaa the larfnat atonK aitd (icatest 
lailatTOf BbealllBriatobafcDad iBthaUBltedStalea. The 
moat liberal dtaeooBt aiada la th* Tnda and gaalnarti*. 

CaUlonM aaat to aair addreaa,CTalu..-3Bperlor HlLouon 
alwaya oo hand.— PIANOS TO LET, no lOiriil itrmi. 



VS. aABSisoN uhiIiArd, 

(TBNOXE,) 

TEACHER OF ITALIAN VOCALIZATION, 

Ho. 4t Tyler Bt Tamu tSO per quarter. 



PATENT AMERICAN ACTION 

PIANO-FORTE, 

■lDBiiik«tDi7, 370 WaaUMBtaB KUMt, 

BOSTON, II ASS. 



toug liins' mu mdsic school 

E. K. BIiAHCHARD. Teaclicr. 

Till* EchoDi la deilcDed fbr lb»e who wlsb ta acqnln tb« 
ibUltj lorfodmiutc ludllTalalKht.udiipiTltrDlarly adapt- 
ed to tba waata of Ihoee wbo dealre to flt ttHmnelTea Co teach 

wre, In the CulllTatlon oribeTiJi^, Bl}'lE,'Aa. 



MR. J. C. D. PARKER. 



I oaywan riaca.on aaq ail«r\ 
a«unm-B.kApltaorp,C. 



n plying, HarmoBy aBd 



. Fi^Jaa, I. B. Dwlcht, &v 



L. O. EHBRBON, 

OXQANIST AND DIRECTOR 01 HUBIfi AT 
BULTINCU STHZET CHURCH. 

Mwie KMmt u<br (^ ClKret Sitid«>a, 13 CuKtM ft 

BOBTOX. 

AppOcatknu mar alA be made al OUrei DHvo'i, HE Wath- 

iBCtoB BL, lo vhDBi ba la panalttad la raAir. 



IE yoQ wlah to leam to plv la the ahortaaB tlnic poaiible, bnj 

■OIEBI SCEMLFOB°m''nUO-roaTI, 

wbleh la acknowladfai by Iba naat aotliwDl mnaldaiu af 
ED»[ia and AnatW id be tba BEST iBttniellaB Book that 

hai OTor becD publlabid. Prlaa Tbree Dollan. 

O-Pnbllabad M tbe HUSIOAL KXCUAMOB, Boatoa,ud 



Mb. J. Q. WETHERBEE, 



(BASSO CAHTANTE,) 



OARX. OASTNEH. 

TBAOHEK or XOSIO, 

KaybafcoBd al No. 30 Dorer SDaat, OTery fcnDOOB betwaaa 



BaadlO. 



0*11 



C. BBEVSINO, 

IMPORTER OF FOREION MU8IO, 
101 BBOADWAT, NEW TORK, 

Depot of Srar£» Grand Piano*. 

CIBOnLATINa HDBICAL LIBBAEY. 
(tT" OoaMutly od band a eamplete aBorlneBt of *m«rifat 



ADOLPH BAUMBACH, 
TSA.CHEB OF THB PIAITO-FGBTB. 



J. TRENKLE. 

TEAOHER OP THE PIANO-PORTE, 
BeaMciUB Vo. BS Kaaelaiid •treat. 



BDWABD Ih BAIKJH, ICOHIO AJTD JOB PBINTIIfO OPB10B, 






Whole No. 164. 



BOSTON, SATURDAY, MAT 26, 1855. 



Vol. Vn. No. 8. 



PUBLISHED EVERT SATURDAY. 

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When left br Oarrier, sa,50 " 

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TniiililsA Ibr thli Joonnl. 

BeeQuma'i LutnunantsI Knuo. 



(OoDclnlad ftoei lut mek.} 

Bow deeply, moet noUe muter, hftTe tliy g^o- 
riom KaiHv-Forte canpodtions impressed tbem- 
Klvee npon mj mind I How shallow and in^gnifi- 
cant does everjiliiDg now appear to me, that does 
not belong to diee, to die genial Mozabt, or Ibe 
migfatj genius, Sebabtiak Baoh 1 — With wl»t 
delight did I receive thf Beventieth opta, those 
two glorious Trioa — for I knew Tetj well that 
after s short dme of practice, I sboiild have them 
rendered to perfectioD. And this bapfnoesa has 
indeed been mine this erening, so diat now, like 
one who, strolling about in tiie labyrinthine padis, 
lined with all kinds of rare trees, strange jjants, 
and exquisite flowers, of a tantastic park, becomea 
tuora and more eotao^^ed in them, I cannot find 
wj way out of tbe wondrous turns and compU- 
caticms of thy Trios. The Wely syren-voices 
of those pass^ee, resplendent in gay Tarietf, 
draw me in deeper and deeper. 

I have ever been of the opiniMi that the piano- 
forte is much more useful ia Harmony than in 
Melody. The moat delicate expreamon of which 
this mstranieDt is capable does not g^ve to melody 
the energetic Me, with its thousands of shadings, 
which the bow of the violinist, the breath d* the 
wind-instrument player is able to call forth. The 
performer cvmbals in vain with the insimnount- 
able difficult presented to him by a mechanism, 
which causes the strings to vibrate and resound 
by a blow. On the other hand there is no insbu- 
ment (with the exception c£ the harp, which it, 
however, much atan limited,) that, like the 
piano, takes in at once the whole realm of har- 
mony, and displays its treasures to the connoiB- 
tenr in the most woodrooa Ibnns and sl^ei. 



When the imagination of a composer has s^ed 
npon an entiro tone-picture, with rich groups, 
brilliant %hta, and deep shadows, he can call it 
into life at his piano, «o that it comes forth, in 
gay and daziling colore, from the inner world. 
A tuU aeore, the troe magic-book of music, which 
conceals beneath Its signs and Sguree, all the 
wonders of tone art, the myslerioos chorus of the 
most manifold instrument^ receives life under 
the hands of a master pianist, and a composition 
thus {^yed, correctly and in all its parts, frmn 
^B score, may be compared to a finely exe- 
cuted engraving from a large painting. The 
piano is therefore peculiarly adapted for impro- 
vising, Sai playing from the score, fiir ringle 
chords, for solo-Sonatas, etc., as also for Trios, 
Quartets, Quintets, etc., where the usual string- 
instruments join in, and which certainly belong 
to the order of piano compositionB, because, if 
they are correctly composed, that is, truly in 
fiior, five or more parts, eveiytbing de- 
poids on the harmonic working up, which of 
itself esclndes the display of single -nstroments 
in brilliant paseagee. 

I have a real avendon agunst all Concertos for 
the piano. (Those of Moxart and Beethoven 
are not so much Concertos, as Symphonies, with 
piano eUigalo.') They are intended to display 
the virtuosity of the solo^player in brilliant pes- 
tagee and in expressive melody; bit the best 
performer on the finest instrument s^ves in vtia 
for what the violinist, ftn- instance, attains vrith 
but litde difficulty. 

Each Solo sounds stiff and tame after the full 
tuUt of the violins and wind iBstraments, and we 
admire the execution, the flexilnlity of finger, 
without receiving any impression npon oar heart 
and mind. 

How adminbly has the master concaved the 
peculiar spirit of tins instrument (the piano) and 
provided for it in the most aiq>ropriate manner I 

A simple, but fruitful melodic theme, which 
is capable of the most various contrapuntal invo- 
IntioDt, abridgements, etc., lies at the fiiundation 
of eveiy movement; all the other motives and 
figures bear a close relation to the main theme, 
so that all the instrumeols are brought into re- 
quintion to cunbine and arrange the whole to 
the highest degree of unity. This is the stmc- 
tare of the whole ; but, in (Us skUAil edifice, the 
loveliest fnctures intermingle in restless flight, in 
which joy and pain, sadness and bliss, appear be- 
side and irilhin each other. Wieid forms jcnn in 
an ury dance, now fading away to a mere point 
of light, then disperriog in brilEant and dazzling 
lays, and chamng aqd pursuing each otlier in di- 
vers groups; and in the midst of diig un- 
locked spirit -world the soul listen*, enrap- 



tured, to the unknown language, and compre- 
hends all the most secret longing and presenti- 
meuts with which it has been seized. 

That composer alone has reaUy penetrated 
into the mysteries of Hannony, who, by it, can 
impress the soul of man ; to him the numerical 
proportions, which to the grammarian whhool 
genina are mere lifeless, uninteresting arithmetical 
calculations, are magic formulas, by means of 
which he conjures up an enchanted world. 

Notwithstanding the geniality which per- 
vades particularly the first Trio, not even ex- 
cepting the moumfid Largo, the genius of Beetr 
hoven still remains at all timte serioos and sol- 
emn. It seems as if the master were erf* apsaoa 
that deep, mysterious subjects, even when the 
mind, closely familiar with them, experiences a 
joyous and cheerful elevation, should never be 
spoken of in common-place, but only in gloriont, 
exalted words; the dance-munc of the priests of 
lids can be nothing but a hymn of lofty jubilee. 

Instromental munc, where it is intended to in-' 
fiuence only through itself, as Mu'U-, and not to 
serve, perhaps, for a peculiar dnuhBtic purpose, 
must avoid every thing trivid and jocose, all 
flippant lom. A deep nature se^ for the 
presentiments of joy which, more beautiful and 
glorious than here in this narrow world, have 
crane to us from an unknown land, and wakened 
an inner, blissful life within our bosom, a higher 
expression than fiaia words, which are peculiar 
only to ttte limited pleaauree of earth, can gjve. 

Tins seriousness, which pervades all the instru- 
mental and piano mu»c of Beethoven, nstuially 
banishes all the break-neck passages up and 
down with both bands, all the preposterous leaps, 
die ridiculoas (»prices, the escestively lugh 
notes, of the extra octaves, in wUch mod- 
em [uano compoaitions abound. In pmat of 
technical execution, the pano compositiMM of 
this master present no particular difficultieg, as 
every practised [uaniat vrill eerily conquer the 
few runs, triplet figures, etc. ; and yet their renr 
dcring is in moat respects exceedin^y difficuh. 
Many a so-called virtuoso objects to Beethoven's 
{oano munc, repeating the exquse : " Very dif- 
ficult, and very ungrateful to the listeners 1" 
As regards the difficulty, a correct, easy render- 
ing of Beethoven's comporittons requires noting 
IcM than that we should tboronghly understand 
bim, that vre should penetrate deep into his na- 
ture ; that, in the consciousness of our own con- 
secration we should bravely venture to step into 
the circle of magic apparitions which his nu^ty 
wand «>lla forth. He who does not feel this con- 
secration in himself, who cultivates the acqnunt- 
ance of the bidy Mnaica only as an amusement, 
[ as a psatime in leisure hours, as a roon>entary 



Uigitzed by V7V^*.^Vl^^ 



'3' 



58 



DWIGHT'S JOURNAL OF MUSIC. 



ticklmg of dulled ears, or for bis 
had better leave her endrely. It is only such a 
one who can offer the ezciue : " tbij an- 
graleful I " He biie artist lives oolj in the work 
which he haa conceived id the spirit of the mas- 
ter and now execales. He disdains to bring his 
owD person into play, and all his aapiiadous tend 
towards calliag into life, in a thousand dazzling 
colon, all the beauteous, enchaaliDg forms and 
pictures which the master, with magic power, 
has concealed in his work, so that they wreathe 
around the listener in bright, sparkling circles, 
and, infiaming bis imagination, his inuennost be- 
ing, bear him in rapid flight to the distant spirit- 
worid of tones. H. a. b. 



The BolKt-liiik. 



The happiest bird of our spring, and one that 
rivals the European lark, in my estimation, is the 
Bobollncon, or Bobolink, as he is commonly 
called. He arrives at that choice portion of our 
jear, which, in our latitude, answers to the des- 
cription so often given by our poet*. With us, it 
generally begins about the middle of May, and 
Usts until nearly the middle or the last of June. 
Earlier than this, winter is apt to return on its 
traces, and to blieht the opening beauties of the 
year; aod later tnan this, begins the parching, 
and dissolving heals of summer. But in this genial 
interval, nature is in all ber freshness and fra- 
grance ; " the rains are over and gone, the flowers 
appear upon the earth, the time of the nnging of 
birds is come, and the voice of the turtle is heard 
in the land." The trees are now in their fullest 
foliage and brightest verdure; the woods are gay 
with the clustering flowers of the laurels ; the ur 
is perfumed by the sweet brier and the wild rose ; 
the meadows are enamelled with clover blossoms ; 
while the young apple, the peach and the plum 
begin to swell and toe cherry to glow among the 
green leaves. 

This is the ohMen setson of revelr; of Bobolink. 
He come* amidst the pomp and fragrance of the 
season; his life seemsarl sensibility and enjoyment, 
all song and sunshine. He is lo be found in the 
sofl bosoms of the freshest and sweetest meadows ; 
and is most in sons when the clover is in blonom. 
He perches on the topmost twig of a tree, or od 
some long fiaunling weed, and as he rises and 
sinks with the breeze, pours forth a succession of 
rich tinkling notes; crowding one upon another, 
like the outpouring melody of the sky-lark, and 
[KMsessing the same rapturous character. Some- 
times he pitches from the summit of a tree, begins 
his song as soon as he gets upon the wing, and 
flutters tremulously down to the earth, as ifover- 
come with ecstscy at his onn music. Sometimes 
he is in pursuit of his paramour; always in full 
song, as if he would win her by his otelody, and 
always with the same appearance of intoiication 
and delight 

Of all the birds of our groves and meadows, the 
bob-o-link was the envy of my boyhood. He 
crossed my path in the sweetest weather, and the 



of the year, when all nature called 
lo the fields, and the rural feeling throbbed in 
every bosom; but when I, luckless urchin, was 
doomed to be shut up during the live-long day, in 
that purgatory of boyhood, the school-room. 

It seemed as if the little variet mocked at me, 
as he flew by in full song, lo taunt me with his 
happier lot O, how 1 envied him I No lessons, 
no task, no hateful school, nothing but holiday, 
frolic, fields and fine weather. Had I been then 
more versed in poetry, I might have addnased 
hira in those beautiful -wordi of Logan to the 

" Sweet bird I tliy bower is e>er green, 
Thy skjii ever cleir; 
Thou bMt uo Borrev in thr saaff. 

No winter in tbj jeir. 



on joyful wino, 
ut round the globe 

:of theSpriogl" 



Further observation and experience have given 
me a different idea of this little feathered volup- 
tuary, which I will venture to impart for the ben- 
efit of my Bchooltioy readen, who may regard blm 
with the same unqualified admiration which I once 
indulged. I have shown him only as I saw bim 
at first, in what I call the poetical part of bis 
career, when he in a manner devoted bimseir to 
elegant punuils and enjoyments, and was a bird 
of music and song, and taste and senubiliiy and 
refinement. While thiBlasted,he was sacred from 
injury ; the very schoolboy would not fling a stone 
at him, and tbe merest rustic would pause (o listen 
to his strain. 

But mark the difference. As the year advances, 
as the clover blossoms disappear, and the spring 
fades into summer, he gradually gives up his ele- 
cant tastes and hatnts; doffa his poetical suit of 
black, assumes a russet, dusty garb, and sinks Co 
the gross enjoyment of common vnl^ar birds. 
His notes no longer vibrate on the ear, he is stuff- 
ing himself with Ibe seeds of the tall weeds on 
which he latelyawungandcbantedso melodiously. 
He has become a"bon vlvantj" a "gourmand;" 
with him now there is nothing like Ibe "joys of 
the table;" and in a little time be grows tired of 
plain, homely fare, and is off on a gastronomical 
tour in quest of foreign luxuries. 

We ne^it hear of him with myriads of his kind, 
banquelting among the reeds of tbe Delaware, 
and grown corpulent with good feeding. Ha has 
changed bis name in travelling. Bobolincon no 
' ' the Beed-bird now ; tbe much^sought- 



pop ! pop ! pop ! every rusty firelock in tbe coun- 
try is blazing away. He sees bis companions 
falling by thousands around him. 

Dws he take warning and reform ? Alas I not 
he. Incorrigible epicure ! again he wings his 
fl^bt The rice fields of the South invite him. 
He gorges himself among them almost to hunting ; 
he can scarcely fly for corpulency. He has ouce 
more changed his name, and is now the famous 
Rice-bird of the Carolinas. 

Last stage of his career; behold him spitted, 
with doKCns of his corpulent companions, served 
up, a vaunted dish on the table of aome Southern 
gastronomer. 

Such is the story of the Bobolink ; once spi- 
ritual, muncal, admired, Ibe joy of tbe meadows, 
and the favorite bird of Spring; finally, a gross 
little sensualist, who expiates his sensuality in the 
larder.— Wolfert'i BaoiL 



[tno U» Vvw Toik Mnilcal OuMtc.] 

'^nncenzo Bellini, 
Of the three Italian composers, who are most 
known to the present generation of opera-goers, 
ViNCBNZO Brllini seems to enjoy public favor 
the most constant and the least interrupted. Ros- 
bin'i'b operas, with the exception of Guillawne 
Tell, are patronized only by such Italian troupes 
as prefer foreign countries to their own " mother 
of the arts. " Donizetti's works, it is true, are 
often performed ; bnt it must be remembered 
that Donizclti died only a few years since, while 
Bellini, not withstanding nearly twenty yeais have 
elapsed since bis death, is still, perhaps, the most 
necessary composer for all managers in all coun- 
tries ; and his rdlei, certain of ibem at least o""' 
form part of the repertory of every singer. We 
have often thought ibat the public woulil at last 
tire of Norma, 1 Purilani, Sonnambala, and / 
Cap^elti e Monfecehi ; but, no! every perform- 
ance of each of these operas is sure to call forth 
new proofs of tbe sympathy of the public. 
And why is this? Is there any thing especial in 
tbe plots, the scenery, the costumes, or the mere 
musical treatment of these operas ? Are there 
any of those accessories which play so great a 
rdfe in modem operas, and which often decide a 
success? Certwolynot; tbe costumer and the 
machinist, the lover of variety in plot, of wild and 
pasMonate scenes, or of romantic horrors, will 
find very little to suit their peculiar tastes, and as 
totbose qualities which are demanded especially 
by the musiciaD, it almost seems as if poor Bellini 



were quite ignorant of what they are. And yet 
we have all experienced, more or less, that hb 
operas do not fad even to impress those who look 
mainly to Ihe intellectuality of a dramatic woik. 
Even Waqnbb tells us that there was a time in 
his own history when he could not resist the 
charm of Bellini's melodies; when in them he 
found consolation and comfort for the troubles of 
life. This is, perhaps, tba greatest triumph abso- 
lute melody has ever attained. 

Bellini is the hero of absolute melody, of Ital- 
ian love music! ; here lie bis power, his strength, 
his genius. He had the gift of melody, and very 
little besides. And in this gift of melody we find 
the key to the continued success he has enjoyed. 
There will always come a time in every man's 
life when the sweet sounds of love and the volup- 
tuous abandon to sentiment will attract him and 
win his admiration ; there will always be a period 
of every one's history when Bellini's music will 
best reflect his own mind ; and this will be more 
especially (rue should he chance to belong to the 
numerous class of dilellanti, whose only desire 
from mueic Is to be moved, it matters not mnch 
bow. Bellini appeals to the young — young in 

Kara, young in experience, and, l«t us add it 
Idly, young in musical education. With Mgh- 
teen years, and a superficial knowledge of music, 
the duo of Norma and Adalgita, or ihe finale of 
Norma will be tbe utmost that heart, taste, or in- 
telligence will require. But if musical and intel- 
lectual development follows, there will come, 
sooner or later, tbe time when these beauties will 
Bufiice no longer; when the apjjetite will crave 
more solid, substantial, and nourishing food. To 
young ladies and beardless youth ibe sweet wines 
of Muscat may always prove refreshing ; but men 
will demand a heslthier, more vigorous product of 
the grape. Alas I for that musician who, in his 
tbirtielb year, will experience tbe same sensations 
in listening to Bellini's music that came upon him 
when a younger moo 1 He would surely prove by 
this that be bad no vocation for bis art 

It is not the abundance of melody alone which 
will make an opera succcMful. Schubbbt had 
tbe gift of melody as much as any one, and slill 
bis operas were a decided Aiilure; and almost all 
successors, in the path of song-composidon, have 
met with the same result in regard lo their operas. 
There must be something eSe to weigh down 
the balance of pnblic favor. The Italians seek 
this generally in the successive gradation of the 
motives, without having recourse to heavy means, 
such as over-laden orchestration or full harmoni- 
zation of tbe vocal masses. Here, in our opiaioD, 
may be found the principal secret of the auccesses 
of most Italian operas. Bellini followed tbe same 
palh, popularizing his ideas; and as be, for tbe 
most part, nunposed only to such libretti as af- 
forded him abundant opportunity of satisfying bb 
sentimentality, and his love for tears and sorrow, 
his melodies often appear lo have a dramatic 
coloring, although tbe bigher chkimi of a dramatic 
work are totally neglected. His orchestration 
and bis modulations are as poor as they well 
could be ; and It is only in bis last work, / Puri- 
toni, that be has showed himself capable of im- 
provement, and given promise of tielter things. 
Still, tbe French art of instrumentation was not 
en appropriate acquirement for Bellini ; it placed 
him out o[ bis element ; he appears much greater, 
and far more natural, in such works as permitted 
him to let loose tbe full stream of his Italian mel- 
odies, and left him untrammeled by any other 
ixmsideratloa (ban an appeal to bis oeTer-ftuiing 
source — tears and lamentations. Norma, Son- 
nambida, and aome parts of I Capuleiti e Mon- 
(eccAiare, in our opinion, the brightest emanations 
of his genius. The purity and naturalness of bis 
melodies ; the prevalence of sentiment in tbem, 
and Che simplicity of his style; the fortunate cir- 
cumstance that be abandoned the style of Rossini, 
of which the operatic world had already become 
somewhat tired ; and, more than alt, the fact that 
the greatest singers of modem times, Bubihi, 
Tamhurini, Fasta, Malibran, and Gribi 
found in bis creations the means of displaying 
their powers and genius; ail Uiese, tocether with 
the fact, that tbe epoch during which be compos- 
ed, from 1820 to 1830, reflected to a strong de- 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, MAY 26, 1855. 



59 



ThU expression in his face took t^e place of the Ore 



ihHw 






gree hn peculiar chftracterbtic — th&t of general 
relaxation — maj be conrider«d as the sources of 
hb trinmptu and mccMMB ; Boarties which will 
be inexhauMible, so long Bi there ie a (tetnand for 
Italian prime donne, for opera in ita present form, 
and for appeals to the seoti men tali ties of youth. 

Bellini lived only thirty-three years. Bom in 
1602 in Catania, (Sicily,) be died in France in 
189G, at the proper time for the egtablishment of 
hia fame, in oor opinion. He died at a time when 
Heinrich Heine, one of the moet tpirituel of 
modem authors, waa in the habit of telling him 
that lie had attained the moat dan)(erouB itae for 
men of geniue, aa the period from thirty to thirty- 
four was generally considered. Poor Bellini I In 
consequence of this he waa almost afraid to ap- 
proach the tormenting Heine, who most assuredly 
had no idea that hit prophecy woold so soon be 
ftilGlled. 

As to the characteristics of the man, Bellini, 
hia personal app^rance and mannere, we can 
have no better delineator than Heine himself, who 
hat given one of the beat sketchei of the Italian 
raaalTO we have seen. We trsuslate from Heine 
as follows: 

" Bellini WBJ of a tall, np-shoodng, alender figure, 
which alwan moved gracefullj; coqucttiih, ever 
looklnK at though jntt emerged from a band-box } 
a reKular, bnt large, delicately rote-tinledfikce: light, 
olmOBt (TOlden hair, worn in wavy curls ; ahigh, very 
high, marble forehead, atraight note, light blue eyes, 
well-aiied mouth, and rounded chin. Hia features, 
bad Bometbin^ vsgue in them, a want of character, 
•oinethiiig lailk-lika; and in this milk-like face Bitted 

- piinful-pleasing expre" ' 

Ion in his face took the plac 
wanting ; but it was that of a i 
depth ; it glanced, bat ucpoeticatly, from hit 
eyet ; it played, but wiihont pastioo, upon his lips. 
It was this poutless, shallow sorrow that the young 
noettro seemed most willing 10 represent in his whole 
appearance. His hair was dressed so hncifully sad ; 
hit cloibei flitted so langolshingly round his delicate 
body ; he carried his cane so idyl-like, tlmt he re- 
miaded me of the young shepherds we find in our 
pastorals, with their crooks decorated with ribbons, 
and their nylj'coloicd jackets and pants. And 
then his walk was so inpocent, so airy, soseatimental. 
The whole man looked like a sigb, in pampa and 
silk tlocklnga. He baa met with much sympathy 
from women, but I doubt if he has ever produced a 
strong passion in any one. To me bis appearance 
had always sometbmg ludicrously distasteful, one 
cause of which may have been his French. Al- 
though Bclitiii had lived several years in Paris, he 
spoke the language as badly — as badly as it can not 
be heard even in England. I should not aay " bad- 
ly ; " this woid is raally loo good ; horrible, outra- 
KDS, eud-or-lhs- world -like, would better express 
idea. If one met him in society, treating the 
poor French words like a hangman, and conatactly 
displaying his monstrous blunders, he would think 
the world about to perish amidst ibnnderinss un- 
heard before. The utmost silence then pervaded the 
whole room j mortal fright waa painted upon every 
countenance^ the women seemed ancertain whether 
to fiiint or run awkj ; the men glanced confusedly at 
their habiliments, fearing lest some button had ^n 
forgotten ; and most horrible of all, this fright pto- 
daced a sort of convulsive desire to laugh which it 
was impossible to resist. For Ibis reason, in society 
a proximity lo Bellini always impreased yon with a 
sense of alarm, which, nevenbeleaa, bad in it a 
dreadful charm, and attracted as well as repelled. 
Sometimes his involantary pnns were only amusing, 
and reminded one by their funny inaipidity of the 
(satle of his coontrvman, the Prince Follagoni, 
which fioeihe describes iu hii pictures of Italian 
travels, as a mnaeum of fearful distortions, and in- 
congruously coupled deformitiM. Aa on such occa- 
sions Bellini waa always confident that be had said 
something quite harmless and very serious, the ex- 
presaion of nis face formed the strongest contrast 
with the sense of hia words. Tbal peculiarity, which 
displeased me in his face, was always most promi- 
□eni at auch times. Bnt still J will not say but that 
this very expression had some chsnn for tbe ladies. 
Bellini's face, as well as bis whole appearance, had 
that pliysical freshncaa, that Seah-bloom, that rose- 
color which invariably prodnces an unpleasant im- 
piesslon upon me. It was only at a later period, 
when 1 liad been aequaiuled with Bellini for some 
time,'tbat I felt any inclination toward him. This 
resalted from the diseoven that hia character was, 
thionghoat, noble and good. His mind had certain- 
ly remained pure and unsBllied by contact with evlL 



He waa endowed also with that harrale;:', (^od- 
namred, that child-like nature, which is never found 
wanting in men of genius, even if they do noiexpose 
it to Ihe gaxa of all mankind. " 



r« Dahht's JvnrnKl ot Unde. 

Has the Tute tor Cl&atical Horic in Boaton 
Betrogradedl 

The concerta of the Muucal Fund Society tbe 
past eeason have not succeeded ! Only five,of tbe 
eight concerts subscribed and paid for, were 
given ; and there ts a considerable deceit yet to 
be paid by the members of the socie^. "Hie 
choral societies alao, have not been stilScIently 
patronized. Even the teaem before the last, 
when there was naiher a new theatre nor opera, 
there was a falling off in the Germaiua concerta. 

But, notwithstanding these adverse &cts, it 
may still be possible that the taste for classical 
mnnc among ns has not declined, llie liulures 
of the concerts may be owing to other causes. 
We have now t«n pianista — many who excel in 
clasdcal compositions — where we bad one twenty 
years ago. We have young ladies, who join and 
readily take their parte in a Requiem, a Mass, 
etc.; amateurs who perform Beethoven's Quartets 
also ; S<nr^es, both in Boston and Its vit-inity, of the 
best clas^cal compo^tions, vocal and instrumenlaL 
The &cllities of traveling to and from Europe 
have also enabled many to hear music in perfeo- 
tion abroad, while witUn a iew years a VlEUX- 
TEUPS, a Leopold de Meter, and many 
others, not excepting Jullibn's Band, have 
given a new idea of what may be accomplished 
in instrumental mnnc. All this has tended to 
improve tbe public taste. People are better 
jndgea and will not now pnt up with impeifectjons 
which they did not notice several yeaisago. 

Another cause of the failure of clasrical con- 
certs n3ay be found in the want of means, under 
our system of low prices of admisnon, to render 
clasacal muac as it should be given — that is, on 
a sufficiently lai^ scale. For example, one of 
yonr correapoodents, speaking iu raptures of a 
concert given by the pnpils of the Conservatoire 
in Faris, says: "Only think of Beethoven's 
Kinth Symphony given by the orchestra of the 
Conservatoire I " We have heard Ihe Ninth Sym- 
phony here in Boston; but how was it done? 
(Not but that I felt grateful to obtain even a 
hom<Bopathic idea of it.) Instead of in a hall 
holding, as your correspondent says, when packed 
as cloeely as possible, 1300 persona, and with an 
ample and effident orcheetra, we bod it here in a 
hall (to say ^e least) not rgmariabl^ &vorable 
for BOond, and holding more than twice that 
nimiber, — done by four £rst violins (excellent 
ones to be sure,) two double basaes, etc., etc., 
against or along with a complete act of reeds, 
brass, lympani, etc. The whole of thia stupend- 
ous compoeition — particularly the opening of the 
chor^ Finale, which CMnmences with a solo re<n- 
tative by the double basses, sonnded " pigmyish," 
as was very aptly remarked by a mudcd person 
who had heard it in Vienna with the imposing 
effect c^ eighteen double basses. I have listened 
to the Handel and Haydn Socie^, with a cbcvns 
of two or three hnndred (whom no one will ac- 
cuse «^ snging too iiMued,') ^;aiast four first 
vioUoB, two baaees, etc. I could not help thinking 
that if each member of the stringed quartet had 
played in a different key, it would not have nwl^ 



Tbe modem oratorios are not like tbeae of 
Handel, where the ideas of the composer are 
principally in the vocal parts. In tbe later cotn- 
poaitionB of this class, by Hatdn, Beethoteh, 
Spohr, MENDELsaoHN, the effect is more in- 
tended to be produced by the eiuembU : that is, 
it depends neariy as much ufba tbe instrumental 
aa upon the vocal parts; and if they are not 
balanced, or if the string qaartet is so inefficient 
as not to be beard, and the voices too overpower- 
ing, it bectnnes a mere noise, a fi<ueo, and does 
not convey tbe composer's meaning. 

I happened to enter the hall one evening last 
winter, when one of our orchestras had com- 
menced tbe Snale to Mozart's Symphony in E 
flat, and were just at the passage fbr violins: 



not a note of which co)ihl be heard, but only 
drums and the rest of the nrasy inatniments.^ — 
Now I aak what gratification, or what ideas of 
maac can an audience derive fixan hearing noth- 
ing but YC y.-^^ ' \ - »", , [ to '^^ s"*** t* 
F^ tJ U I ^^- £^ 4 thepasaage? 
But how can a society afford to pay for an ef- 
ficient orchestra at present prices, unless tbe baU 
be entirely filled with paying subecriben? In 
London or Paris the prices of adnusaion are gen- 
erally half a guinea and ten francs; even in 
Germany, where mtmey circulates in less abund- 
ance, the prices for occasional concerts are 
one thaler, and two thalers for such as Uiose cf 
TiBDXTEMPe, LiBZT, &c. ; and nearer borne, 
the Philharmonic subscribeia in New To^ pay 
ten dollars for four concerts, and one dtJlar and 
fifty cents for single tickets. It it clear that we 
have balls constantly filled to make orche*. 



tral 



pay. 



How can this be brought about ? It is possible 
that there may have arisen a want of confidence 
in tbe public, compared irith ita reliance upon 
tbe conduct of the old Academy's concerts. 
Subscribets were then sure to get what was 
promised, and though tbe means at that time 
were litniled, yet symphonies were listened to 
and enjoyed in tbe old Odeon by full and intelU- 
gent andiences. 

How has it been lately 7 For several seasons 
past, it is confessed that there has been a want of 
unity in the Mosical Fund Society, <diich has 
greatly diminished tbe public confidence in it 
Tbe Germania procnised in their last list fbr sub- 
scribers that they would have an orchestra of fifty 
members ; — a number they were imable to pro- 
duce. Agun, the Music Hall ia not fkvorable to 
the performance of classical compodtions. Un- 
like moet lai^ balls, it resembles what the fash- 
ionable miUinera call a " trying cxAot ;" it brings 
the Bmallest imperfectionB into prominence ; its 
echoes appear to resonnd only to brass instru- 
menla, kettle drums, piccolo, etc. Good music 
in it is like Hamlet in the hands of a certain ooatae, 
vulgar " star " actor — anything but Uie refined, 
philosophical, melanchcdy and gentJeman'Jike 
Hamlet of Shakspeare. Bnt the hall may be im- 
proved, and it is hoped that tbe directors may be 
able to render it more (nited to its original 
purpose. 

In fine, we think any one who conaideTs these 
suggestions, will arrive at my coaclunon, tbat- 
mo^cal good tarie in Boston has not fetregraded, 



Uigitzed by ViV^^^^Vl^^ 



'3' 



60 



DWIGHT'S JOURNAL OF MUSIC. 



but been overpowered and kept under bf repeat- 
ed dieappotntments and want of jadiclous foster- 
ing. I cannot help thinking that there it more 
real liking for ami appreciation of classical music 
in BoAtOD than in anj, even lai^r, cities in the 
Union, and that if the wants of the musicfll pub- 
lic an properij catered for, the future wiU show 
the correctQess of my views. 

Ckinfidence must be re-anokened ; subscribers 
muBt be nire that the inducements held fbrth will 
be fall; realised. In Europe, Royalty and No- 
tnlity are the great supporteiB of the most refined 
public amoiementB ; eveu in Havana several of 
the moat wealthy citizens subtcribed five hundred 
dfdlars each for Sig. Marti, to enable liim to engage 
firat-rata talent for the opera. Here, in a repub- 
lican city, we must look to the public-spirited 
of our citizens, who occupy the fint position in 
our Ncietf . \Miy cannot from ten to one hun- 
dred of this class among as be found, who will 
sabscribe for a fund of, say one thousand dollars, 
and offer in this way, and in the choice of well- 
known directors, a guaranty for a aeries of clas- 
dcal concerts the coning season ? I think the 
thing might be managed without difficulty. In 
this way an efficient orchestra conld be eaaly 
engaged (fbr Boston can produce one,) and 
both artiats luid snbscribers feel an assurance of 
mutual benefit The mu^cal public would soon 
begin to loci forward to each concert, say every 
other Saturday, as a kaat in advance, and would 
soon show that the ci^ has taste enon^ to re- 
ward liberally good performances of the best 



When I came to Boston in '41, I was agreea- 
ably surprised to hear a symphony for the first 
time titer my departure from Europe. Now, as 
my departure (not for another continent or city, 
but for " that bourne whence no traveller re- 
tamj") it approaching rather faster than I could 
wish, I hope yet, before Wdding adieu to many 
kind and indulgent friends, to see Boston taking 
that pre-eminence in classical muac which has 
always been conceded to her in most other de- 
pttitments of intellectnal culture. 

W«. Keyzer. 
Mag It, ISM. 



Diaiy Abroad.-Ho. 16. 

Bbrur, Jpnl *.— Thb anenioaa beird Gkjldk'b T\d 
Jau (Deatb of Jesus) in the GarrisoQ church. I beard 
it four years aince in tht wrnie place and naa not might- 
ily carried away with it Thought perhaps the fanlt 
lay in the hearer. As compared with Ejll<DEi.'8.HArDii'B 
MntDEtMOHN's oratorios, I like It even lew tbna be- 
fore. The beat thln;^ in it to my oar, an so maah like 
Handel imiUled-<did Granti in ITMt know Hwidet's 
ocatorioa?) thnt they loanded Aeble. A owtuu dm- 
matio progreas, leading to a climai, seemi to me to be a 
necesaity In an Oratorio as well as in aa Opera. If It be 
said that Ible la ■ Cantata and not an Oratorio, why, 1 
like Oratorio much better. These long namtlvee In 
reeiUtite, eodlne often with "And Jeen* a\i," anolber 
voice singing what was aaid, I find nrj wearying. 
Haydn, having heard Handal In London, avoided this 
rock. UradelsM^n's "PbdI" always Kemad detteieni 
to me,becense written after Grann's pattern ;~" Elijah," 
a hundred fold better, becanse Handel-like. Though 
this was one of the few occaaions upon which 1 bavo 
ever seen an oratorio fill a bonaa here in Germany, still 
there did not eeem to be maeh real entbnaiaim In the 
aodionce,and the "muiifcrK**!*," "ocrtircjlub," and 
other epithets of bigh pralra aaemed to be ntleted be- 
cause it WM Grann's TtrfJiau— and Grann wu Fi«d- 
erto Second's KapeUmeister, and it Is the feshion to 
make a great ftus about his " Good Friday" music. 
I ban dten been toM bera that "Paul" Is greater than 



" Elijah,"— ft k more Uke 7M Jd>-and If that be dw 
itaodard— why, then ft ia. Paiwni Sir Hngfa" liked it 
not when an old 'ooiaa had a great peard " — I like It not 
when the andllor eipresaea all sorti of enthtulaam — and 
yawns in the midst of It I cannot count l\)d Jau 
among (he maaterplece*. What an Infinite, InRnite dis- 
tance eeporatei it from the Piuion mosio in the " Uea- 
alahl" 

Bbesliu (in Sileaia), JprH lath. Bring (mtlhe boll. 
Not Tanrus— I am no matador r«idy for abnilflght 
Brlngout the Roman Bull; for t am — a heretic! From 
my heart of hearts T rebel against the fVnidauisntal 
principle of Open. And yet if sothori^ it authority, 
there can l>e no mistake that I am wrong, for do not the 
North and Sonth poles in this matter agree and bamio- 
Dize? DonotFryand Dwight here ctrinclde? Yetl 
can Bof believe! Out with the ball! Last nlgbtl again 
heard Chekvbimi's "Water Carrier," (LuiJsbz Jbur- 
nia). Delightful! A« a d'lmma, beauUfnl exceedingly. 
The music always written with the actor In view, ao that 
delicioQS as It li, it is always tnbordinste, and aatisfied 
with adding to the joy or pathos of the play. It ia de- 
liciously expressive, and Its effects, ns Bhtakt aiya of 
Nature, are inch as sink Into the tonl " ere one ii aware." 
And herein 1 And by experience i« the greatness of the 
great mesteia of opera. They never aay, " Now Mlilw, 
1 am going to give yon an aris, a dnot, a trio— [4ok out 
for yonraelf.'" The musio grows out oT ths situation 
and the tears Q11 jonr eyes, yon koow not why. I 
was looking at agreatpictnra ths other dny— 1 forgot 
all about the painter — the picture Itself was all In all — it, 
not the artist, touched me. 

Well, like ' Der Frelscbilli,' ' Obeivn,' ■ Usgla Flnte,' 
' Fidelio,' ' Swiss Family," and other favorites, the ' Wstsr 
Carrier' is in great measurs spoken dialogue, and the 
moalc comes In, jost like blank vsne In Sbakstkabb, 
when the elevation of thought and sentiment reqnirea It 
I smile now to think how last evening, when the flnt 
words were ipojUn, a feeling of deUcioua relief went 
througfa DM, ss I ottered a mental "Thank GodI" that 
I was to be spaied the nbomtnable bore of recitative I 

Years ago 1 Brst beard redlatlva at the Handel and 
Hnydn Society. It grated on my feellDgs like the iUng 
of a saw, I have learned to like some recitatives — 

nobody bettei^-bot on the stage ! Give me Pop 

Emmons's eloquence, but don't compel me to liaten to 
half an hour's talk npon trivial mattera on the slllta of 
recitative, when three minutes of spoken dialogue Is 
BuiSclent 

icltativs— klsi the )Kck upon It, and am rmij 



Out with the bull I 

April I*.— I went this evaning with Prof. J to an 

Amateur Hnslcnl Clnb. The anbscribera to (hh are the 
mnslc-loving portion of the proffessora in the Unlverslly, 
and others of like rank and charactw. They meet Sat- 
urday evenings In a coDple of rooms at a leading piano- 
forte dealer's, ths men In one, tlieir wives and daughters 
in the other, and tha coal is only a division of the neces- 
sary expenses of heating, lights, and attendance. The 
programme this evening was this: 

Sonata Ibr Piano and Violin, E flat, Beethoven. 

Piano-forte 1'rio, E flat, Hummel (fine). 

Quarmt, B, Moiart 

All capitally played. Sucl^ music atsndi a coatt 

AprHK. -Clevo' tells with great glee a story irf tall 
George Bradbnrn — the manful advocate of freedom in 
the Masaachnsetts Leglelatars mme twenty yean ago- 
A little weaMn-faced, sanctlmonioua mau is the other 

Weaten-fatt. Brother B., have yon got iclfgion ? 

BnAer B. (being H lUUe deaf, bends down with band 
to ear.) Hey? 

W. (mising his voice.) Have you got religion ? 

B. None to speak of I 

This morning I went to the Dom to hear mau, and aa 
I sat llatenlng, in tbst crowd all still as heart oonld wish, 
to the ' Kyrie,' the ' Gloria,' and so on, and they sank 
each more deeply into my heart, the above odd anecdote 
popped into my mind, and the qnestion came np whether 
even one who bas no "religion to speak of," can be 
wholly unmoved by tones which breathe so full of the 

The choir and Orchestra are both small, but the voices 



are select, and aapeclally tonehlog was one of those ran, 
ftill, clear, ringing votcea, at tha saoM time powerful and 
melkiw. This iweet, noble voioe was felt thnmghout— 
without making Itself dlssgreaably prominent In tbe 
choraaea What a gtoty then Is in a pure, sustalnsd 
tone, swelling and dying away without the sligtatest per- 
ceirable waver or variatkm of pitch. How sneb a tone 
will flll one with music I Oh ys wiggle-voiced men and 
women, will ye never learu Ont one such tone touches 
the heart more than a whole evening of (micb, and that 
it Is only she who la capable of tbe pm* tone, who can 
tonoh yonr heart of hearts, when in ths depths of fteling 
tbe voice begins to waver and tremble wllb emotion? 

Tha contrast between the mass to-day end the boy- 
singing of the Berlin choir, was not In favor irf' the tatter. 
Huslo is cold without scqwano. Brass bands, t(io,aie 
abominable. We mnst have ths feminine — the wood 
Instruments. Onr Pnritan ancesloia banished poetry, 
palntlog, scnlptnrs, arcbltaoturs and music (him their 
Sunday services. So the^ went into a bam and snuffled 
and drawled out: " The Lbrd will ooma, and he will not" 
Their deacendents already erect dne churches, place 
good organs therein, and ^ow a reviving taste for paint- 
ing and scolptured oraamsnts ; will they oot by-and-bye 
Introduce JAistc f 



Rusli[al d^o^iifspjindjn^e. 



Ttom SVW TOBE. 

Hat so.— It was a sad aiA that the Fates played 
ns, when, after a week of dslldous Spring weather, 
they sent down npon n* on Saturday, ^e day of Mr. 
EiaraLD'a Complimentary Concert, a very deluge 
of rain, irtiich only increased during' the whole day. 
The natural consequence was a very, very thin hotise, 
so much so as to really pain any one interested In the 
success of an able and zealous musician, to whom 
New York owes iannmerahle musical odvaatages. 

To rae, this state of things considerably marred 
the exquisite pleasure which I could not hut derive 
from the concert i4self. It was a real treat to all lov- 
ers of good mwic ; hoA in point of material oBhred 
by the programme, and of execntktn, which, with a 
few trifling exceptions, was uniformly excellent 
The orchestra, particuhu'ly, I have never heard play 
better. Instead of being diiconraged by the small 
audience, they seemed to feel as if they mast do their 
best to make up for other disappointments, and do 
credit to the conductor, who, though hearing the too 
evident marks of severe illness in his appearance, 
was yet at the post which he has so long, so bitiitiil- 
1y filled. The opening piece was the fresh, graceful 
overture to Za deux JmimAs, by CHEsiiBiiti — 
a piece of solid light music {rather paradoxical I 
mnst confess) which one is always glad to bear. 
The other nnmbera of the first part were solo-pieces, 
Mr. EisfUd having introduced, in this concert, a fea- 
tora new, or at least rare, in this country, namely, to 
have the SymphoDy end the concert, iuitaad of be- 
gin it. I much prefer to have it so, particularly 
when a Symphony of Bbbthovxit, and mn partic- 
ularly when the Cminor is given. Nothing else Bounds 
well alter it, and, when you hear it last you go away 
with the full impression upon your mmd, and enjoy 
it modi mote in retrospect than when It is oonfnsed 
by the memory of several miscelUueous' pieces 
coming after. 

The solo petformera were Messrs. Kibfbb and 
ScHaxiBBB, on the clarinet and comet-k-piaton, 
Miss Leqkakh and Mr. HoffHjIRH. The first- 
named gentleman played, in a most admirable man- 
ner, a Concertino by Mr. Eisfeld, which we have al- 
ready beard this winter at the first Philharmonic 
concert A second hearing only heightened the plea- 
sing impression which I received at that time. It is 
finely instrumented and the two matift arc very ori- 
ginal and beautiftal. The Chamm d Amoir, abo by 
Mr. Eisfhld, for cornet k-pistons, did not seem to me 
to have as much character in it as the other. It 
was also rery well played. I regret to say that 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, MAY 26, 1855. 



61 



UIm LchDMBit did bM do henel/ joitic^ Th« 
gnuld mU rn>m Itdetio 'u exMMinlj difflcnlt — it 
presenu a tsik to which Hiu Lebmann did not Mem 
equal : nor WM ihs well (nitaincd bj the otehsatn, 
who, in this one cue, did not do tbtj well, probably 
from iaanfficient rehearsal oF the very diSlcalt muaic, 
with which ihcj were not fiuniUar. The " Erlking," 
(00, I bare heard much better tong bj Wis Leh- 
mitnn at a concert of her own. 

Hr. Hoffteann delighted hia hearen once more 
with the exqaisite Bomance and Rondo rirace from 
a Concerto of Chopin, which he had plajed at one 
of lait jeu'i Fhilhannonic concetti. It ii a moat 
beaatifnl compj^iion — flnt the di««nij, delicate, 
languishing Romance, then the bright, eparkling, 
peari-liLe Bondo—lhal intoxicalaa one like the wine 
which it resemble*. Mr. Hoffmann continues to im- 
prove, from jear to year. I well reiDember die time 
when, a mere wonder-child or boy, he aitonished 
people by hit alrength and brilliancy of execution, 
in picres of the " prodigiooi schooL" For some 
years he continacd more or Icsa in thii line. After 
a loll, he came ont last year so able an interpreter 
of Chopin, as to prove that he wna, eAer M, do 
mere trickater, bat had depth beneath the lorface; 
and (hit impreeilon bu only been eooflrmed by hi* 
peffbrtnancM in public, not too fteqnent, elnee that 
dma. I havo hardly ever enjoyed anything more 
than hia ehaie in the " Krentaar Sonata" of Beet- 
hoven, at a Qaartec Soirte thia winter. I am MHTf 
that there is still so much snperciQality in him as (o 
allow him to play, in answer to an means, on Satur- 
day, one of the shallowest, flattest pieces imaginable : 
" The Last Hope," by Gottschai.k. I should call 
it x/oiicm hope 1 Be played it admirably, though. 

The grand, glorious Fifth Symphony of " the 
Master," never made a deeper impression on me 
than on that evening. I had purposely not played 
or looked it over before, aceording to mynsnal wont, 
a«, not baring beard it for some time, I wanted it to 
break in npon me afteeh la all ia heaaty. Fn^ 
from HovFwuni'* wonderful analyiii of it, in your 
last aDmber, I follon^ it through in hit spirit, with- 
out, however, allowing his impi«suon« to dittnrb my 
own individaal ones.. Yet how Inie what he saye— 
the restless striving and working in the All^ro — 
the " sweet spirit-VQice " of lh« Andante, with the 
evil genius constantly peeping out from behind the 
thunder-clond, — and lastly, "the gloiloas theme o( 
the Finato, shining out like dazzling sunsbine in the 
jubilant strains of the full orchestral" Itwae in 
this symphony, particularly, that the orcbeitra sur- 
passed Ihemselvee; never has a like composition 
been played with more " Sda 
Germaii word if yon can — than this. 

I have been Idd that, as many who had 
tickets went prevented from attending, Mr. Eisfeld 
thinks of repeating the concert next Saturday aAer- 
noon. Let ni hope that the weather will be more 
propitious, and that not only those will be there who 
could not go last Saturday, but that also those who 
irere there were enough inierested to go again, of 
whkh number I mjrself shall certainly be one. 

BOBHOKIS. 



FjkJtKMAH TacxBxmv, Hns. Doo., who had 
JDSt arrived from England to enter npon hit duties as 
Diganist at '' rinity Church, New Tork, ia place of 
the veteran Dr. Hodoeb, who has removed to the 
new Trini^ Chapel, upon Twenty-fifth street. This 
appointment lo to important a position ii even a 
greater honor to our townsman thnn the dodonte of 
the Eoglish nnivenitf, and we tnut that it will g!re 
him fUl fkciliUes for carrying ont his Ugh ideas of 
what episcopal churefa mnsic ought to be- 
That always readable and raithful friend of the 
artisttc and the beautifnl, 1^ Crayon, hae a letter 
from a German gentleman, describing the festival at 
Munich la honor of the completion of Cbiwi^bd's 
statue of Bbbibotbh, the gift of our townsman, 
CaAtjJtt C. PXBSIHI to the Boston Music HalL 
The letter is dated Munich, March 39, aod La as fol- 

* * * "It wu a glorious, beautifnl festival, 
and I still ravel in the enjoyment of the delighifhl 
recollection. I wish yoa could have witnessed the 
nnivcrsal enlhusiaem. 

"The ardst's permission has been obtained lo place 
the Beethoven in the Concert Hall; but the general 
musical diroclor, Lachner, would not allow the statue 
to be placed in an oi^inary hall, but appointed an es- 
pecial concert for the !6Ih of March, the annivetsary 
of the'great master's death, sayiag, 'That day shall be 
marked by a_/efs of Art' 

"A pedeital of six feet in height was prepand, 
having a backgrtnind of dark green velvet, supported 
by gilt columns. It was a serious undertaking to get 
the Btatue up the high steps, but It was accompliehed 
without accident — and the statue was placed upon its 
pedestal, in the midst of a forest of flower* and cy- 
presses, tit by more than a bandied gs* lights : the 
tout auemble produced a most magical effect. The 
Concert Hall was filled lo overflowing with 



Insiiial (!iliit-c;iiat. 

Is there a Bobolink among composers! Read on 
another p^e Wxtrnvoto-n Isvixo'e charming de- 
I scription of that *ong«ter of oar meadows and corn- 
fields in June, and of the sad metamorphose* which 
! heistonndergo ; thencomparethegushinguMlody of 
I Ii Barbiere and Tanertdi with the Rosaini of these 
latter yeorsl — FnBDiif>xD H».lbk, being asked 
I what ho thought of UsTaRBBBB'* operas, repUed 
; evasively aad with some impatience: "Ahl let as 
j oottalkof poiilics/" 

We bad a call last mA. fivm our towniDaa Sui- 



a thousand 



whom King Max in 



L 



th« higbest standard of " Mntical Art." Hi* pro- 
gramme, above referred to, embraced the following 
excellent selections : 

"FabtL— 1. Symphony in B flat, (Piano, fonr 
hands,} Schumann— (Miss Bacon and B. D. Allen.) 
a. Foor Part Song, The Nightingale, Mendelssohn 
— (Hi*se* Fiske and Wright, and Messrs. Stocking 
and A. S. AUan.) 8. Sonata in A minor, Bkxart— 
(HissBocon.) 4. AveMaria,— Song.Frans— {Ml** 
Wright.) 

" Pi>KT II,— S. Hommage a Handel { Two Pisooo,) 
Moschcle*—{MiaaBaconandB.D. Allen.) e. Th« 
Erl King.— Song, Schubert— (Miu Fiske.) T. An- 
dante Spianata et Gi«ade Polonaise, Chopin: — {B. D. 
Allen.; 8. Four Port Song, The Gondolier'* Sere- 
nade, Wm. Mason — (Misses Fiske and Wright, and 
Meoin. Slocking and A. S. Alien.) 

" We may be permitted simply to allude to the lady 
pianist. Mis* Bacon — also a pupil of Mr, Dresel, ai>d 
a performer of rare merit — and to the excellent vo- 
caliils who contributed so admirably to the evening'* 



persons, among 
and the Queen were most conspicuous. And, now 
began the execution of Beethoven's beet compositions 
by more than three hnndred singers, mala and female, 
and musicians, in a manner that mode me wish Mr. 
FerUn* could have listened lo their magic tones. 

" The director of the theatre, Berr Dingelstadt, 
wrote a prologne in verse, which was finely recited 
by Madsjae DUmbock, the first actress : and, when 
the feU was ended — ' Such a Jite we liave never hod,' 
was the cry of hundreds of voice*. 

" Sing Maximilian remarked to a gentleman pres- 
ent, ' I only regiet that this master-piece of Art should 
not remainin Munich:' the reply was, ' The artist who 
created it still lives,' atwhicb his Majesty smiled, and 
said, ' Not easily does a work of Art please me a* does 
this statne.' 

" Ex-King Zionis wa* tuiable lo leave the palace on 
the eraning of thtjtu, as the weather was very bad; 
and, still suffering as be is, he has not made any ar- 
tistic visit. But, bearing that the Beethoven must 
be tent off, he went y«*terd*y, in the midst of the mow 
and rain, to tee it. The statue was once more placed 
on it* pedestal for him — he was delighted with it ; 
and, a* be intends visiting Rome tbii summer, said 
that he would tell the artist, in penoa, how much the 
statne bad pleased him." 

A laite for better things is certainly spreading in 
onr musically benighted town* end diies. We have 
already told oF what has been achieved in Bangor. 
A correspondent from Worcester, Ua**., commeikds 
to the notice of the Maticdl World a programme of 
choice music performed there at a piivale Solrte a 
few weeks since. He writes : 

" Mr. B. D. Allbn — an artist of eminent meril end 
of equal modesty — apnpll in every respect worthy of 
his distingnished teacher and ^iend, Otio Dsbsel, 
and one of our own dUMns, has eetablished for him- 
self a highly honorable repntatloii ia our moeicsd 
oommnnity, diMonnging ell trash, and coUTBti^ 



Uestts. Geo. P. Reed & Co. have Just published a 
new " Courae of Harmony," quite a formidable oc- 
tavo volume, by Hr. L. B. Soothxkd of this city, 
and forming but the porch or Fropylsa, wa believe, 
to a complete course of Counterpoint and Fugue, 
which has been long shaping ileelf in the brahi of the 
some thoughtful and profband musical scholar. The 
volume Is modest in its pretensioo*, but from what 
we know of its antecedents, and from what ire gather 
flrom a very cnnory glance at its eontenti, we •ntpact 
it to be a work of remarfcahls value ; indeed wa shall 
be disappointed If it does not prove lo be the beet 
treatise that exist* In English on the subject; not 
taking into account of conrte the traoslaiions from 
MjtBX, and other German theorists We shall re- 
port more fully of It ere long. Mr, Southard i* 
one of our most Indefatigable and successful com- 
posers too of music Su is at present engaged, with 
a genial literary gentleman who furnishes the libretto, 
upon an opera, the plot of which is based upon Htw- 

THOBHx'e " Scarlet Iietter." The annual Fesd- 

ral of the Oermsn JAitaercAAv, Ludtrlraiite, Ac., 
from all part* of the country, will take place in Hew 
roiknextmonth. CaxlBkboxuth has accepted aa 

invitation to conduct iL Mr. Joov P. Qbotbb, 

the young violinist of this city, sailed last Satardfqr 
for Ennipe, to pursue his musical studio* in Dresden 

and Leipsig. Mis* Elibb HsitSLES still remain* 

in Paris, and the slightly improved state of her fa- 
ther's health renders her future movements jetimcer- 
tain. We hope she may come at once, and eing to 
us in one of the two Italian opera troupes now divi- 
ding public attention. 

The universal " free fight' between each and all 
concerned, which followed the attempted coalition of 
the two opera companies under the auspices of the 
Academy of Music, is sharply summed up by the N. Y. 
JTmes: 
" Mr. Jacobsohn has » difficulty with the Manage- 

"Mr. Jocobeohn has a second difficulty with Mr. 
Ullman." 

"Mr. Ullman has difficulty with everybody on 
general prlndplee of policy." 

" Signer Mirote fa singer not known here) bo* a 
difficulty witb Slgndr Badiali." 

" Signor Mirott ho* a second difficulty with the 
Management." 

" Signer Mirate baa a third difficolty with Ut. Ma- 

" Signor Arditi has also a difficnitj with Mr. Mir 

'• Signor Arditi'* cfaom* ha* a difficulty ^ith Mr. 
Haretzek's chorus." 

" Signor Ardltt's orchestra fau a similar difflcnbr 
whh MantMk** on:beMca.'' 



Uigitzed by ViV^*.^Vl^^ 



'S' 



DWIGHT'S JOURNAL OF MUSIC. 



" Mr. HarBtiek hw » difflcnlCf with the ' gentlemMi 
irho manages the pRis,' and general!; with trtrj 
one who hai the miarortane to be Dnder the Intter'B 
foflneDce and control." 

"And last and moit serioui of all, 

" Uadame Anna Lagrange hsi a difficnlt; In her 
Ibroat which preTcnti her ainging." 

Wa irodamand that then was no ground for tb« 
ttatemmt ao far ai Signon Baciali and Mikati 
wen concened. Meanwhile Mr. Prai.en bai retired 
from Ihe Banagetnent of the Academy, in favM of 
Mr. F*m, another of the coniiriittee of the itock.- 
holden, and the; bare bad compauion on the bonse- 
leu LAattAVOB tronpe, and agreed lo term whereb; 
m^d troupe occapiei the Academj lo long a* the 
ngnlar Academj troope remain in Boston, The; 
made their first appearance there on Monda; eve- 
ning In Lucia di Lamntermo'x; Hme. IiAORAHaB, 
Sig. MiHATk and Sig. Mobki.i.t, that ie, all the new 
■tan, wen to t«ke the leading role*. 



gnri^M's Jour^nal of ^um. 

BOBTOir, HAY 26, 1865. 



Italian Opera. 

"WiUiam Tell,"— really BossiNi'a greatest 
work, as eacli aucceanve beuitig and perusal of 
the acore hat more and more convinced ns, — wu 
^Ten at the Boston Theatre on Monday and on 
Wedtteadaj eTening, to large audiences and with 
very great tucceM, especially the eecoad time. 
Tt ma produced on Ae mne liberal scale and in 
the nmo eflective style ae at the Academy in 
New Tco'k; tbe same mngers and supemumer- 
atiea, to the nionber of wme 150 persons on the 
stage at one time ; the same orchestral force, 
under the Tigoroos baton of tlie same conductor. 
Max Mabbtzes, in obom all have confidence ; 
the same coatumes and properties, and scenery, 
if aomewhat different, yet quite as artistic and 
as picturesque, it seemed to us, as that of Sig. 
Ai.i.kqri'b punting, at the Academy. 

The inordinate length of the opera, requiring 
more than four hours in performance, necessitated 
lai^ omissions in New York, and it has been 
very much lartlier shortened here. The whole 
of the ballet, connected with the wedding scene 
in the first Act, and with the Fur in the second 
Act, a good half hour of it in all, and for which 
Boesini has written some of the finest dance 
music in existence, was cut ouL Entire cborusea 
and songs in every Act were left out, and others 
much abridged. The only important female r61e, 
that of Mathilda, was reduced to less than one- 
half of the music which the composer and libret^ 
tists have aamgned to her. The fourth Act, melo- 
dramatic enough at best, was made stiU more so, 
by the (Huisaion of at least two-thirds of the 
music. And yet the papers cry out for still fur- 
tlier " cuttings," not considering that the omisBiona 
already made are of themselves sufficient to ac- 
count for mnch of the apparent wanti^ unity, 
and therefore the actual tedioasnees of the last 
acta, — suppoting llie entire work to have a unity. 
But it is indeed true that tkis opera has not much 
dramatic unity or progress; lliat the mu^cal cli- 
max is past with the second Act, and thedranialic 
climax with the third; so that some excisions 
could be made withoat touclung any vital part. 
And it was quit« important that it ahotild be 
shortened somewhat. We have stated the above 
&cla not to find iault, but fiv the infimaation of 



thoee who heard " William Tell," that they might 
know what allovrance was to be made on that 
score. The parts omitted were, in the main, 
those which could best be spared. 

The musical performance, as a whole, impressed 
us as an improvement upon either that we 
heard in New YoHt. The exceedingly rich or- 
chestmion throughout, from the well-known 
overture, which was vehemently applauded, to 
the ifos^ in £j7i(to-like accompaniment of the 
jubilant final quartet and chorus, — and abounding 
everywhere with exquisite and piqnont melodic 
figuree, as well as with subtle harmonies and 
mighty c<xnbinationa, — was rendered very effect- 
ively. Yet we must complain i^ the " over- 
muchness "of the brass instruments in die/or- 
litnimoi, which often covered np the really elabo- 
rate and ^vid violin figures so that the ear 
caught nothing of them even while the eye read 
the notes. If this was in a great measure owing 
to the acoustic nature of the room (as the con- 
fused and dull soand of the opening string pa»- 
sages in the overture led us to suspect) then 
there is one reason the more for &voring the 
stringed band at the expense of drums and 
tnanbones. The choruses, than which there are 
none finer in any opera ever heard here, 
— none so individual and varions in expresrion, 
or wron^t up wHh so sttperb a background of 
insbumental harmony, were generally sung with 
spirit and precision and a good musical blending 
of the voices — numerous beyond the measure of 
our operas hitherto. 

Coming now to the principal angers, the musi- 
cal and dramatic interest can scarcely be said 
to be concentrated upon any one leading part 
Tell (baritone) is the patriotic centre. Bnt Ar- 
nold Melchthal (tenor) nnites the patriot and 
the lover, and thus becomes the fixms in which 
the prime and seccmdary motives of the drama 
meet. To kirn are assigned more passages which 
" bring the house down," and which stamp them- 
selves upon the memoty ; his songs are the most 
dramatic, of the kind in which each note is frmghl- 
ed with its separate weight at passion ; berides, is 
not his of all t«nor parts tlie most arduous, in both 
senses of the word ; does not his music repeated- 
ly run up to the C above the staff, and have not 
NouRRiT imd DuFRE2 immortalized him, the 
latter bj the ftmous Ul de poiiritie, which sent 
all Paris into ecstacies 7 Sig. Bolciohi lacks the 
heroic and coomianding presence, and is bnt a 
feeble and antomaton-like actin*, ever confined 
to one conventional round of looks and starts and 
geetnTes. Bnt his tenor is sweet and musical and 
Sexible, and takes those highest notes with a rare 
and satisfying power ; indeed his most effective 
tones appear to lie above the staff. He sings 
conscientiously, earnestly, with good stj'Ie and 
expression, and in his first duet, with Tell : 
Malhilde, (which demands a high B flat with fuU 
strength the first lime, and a tone higher when 
the melody recurs), although he may have trans- 
posed it half a tone, produced a great impresidon. 
Admirable, too, was his delivery ct those passion- 
ate syllatnc phrases in the great Trio of the sec- 
ond act: Sei jovr» qu' il» otU oti proterire, &c^ 
contrasting with the Sowing thirds of the two 
basses, TeU and Walter. In the love dnet m& 
Mathilda, just preceding, attd in that delicious 
bit exquisitely accompanied, at the beginning of 
the last act: A»yle h&^iUaire, his nn^ng was 
fiill of tenderness and sweetness. But his strength 



held not out for the last, most trying air of aD, 
the war song: \Suiveg moi, which also climbs by 
emphatic half-tones to the C and dwells there 
with all possible power and volume ; this trial was 
evaded, wisely too, by a great abridgment of the 
song. The other tenor parts also are written high. 
The pictureeque little fiiibennan, who steps for- 
ward from Ids boat in the first scene, and nngs his 
little ^ng i^MUt his little loves, while earnest, 
anxious Tell is brooding on his country's wrongs, 
has to sing up to C, which Herr Beutixbr Qt 
was ViETTi in New York) achieved by the fcl- 
setto, rendering with his light, sw^ not over- 
much pinched German vmce, the wbde of his 
music cleverly enough. Sig. QuiIfTO (the Herr 
Quint of the late German opera), both in voice 
and action filled the part of Rudolph, capltun of 
the Austrian soldiers, better than sudi parts have 
been often filled here, and indeed be lent his 
vfHce effectually to some of the concerted pieces. 

Sig. BADiALi'i TeU, so &r as viMce and ^ng- 
ing, and expreasive, vigorous parlando went, alike 
in passages of heroic indignation and defiance, or 
of tenderness aitd grief, and in scrupnlous fidelity 
to all the reqnirements of his part, was much the 
finest impersonation of the whole, — save only in 
the matter at looks, (which it of conrse lies not 
in bis power to adapt to any one's preconceived 
notion of the character,) and in a tendency, 
habitual with him, to occasional grotesque over- 
acting. But he was the same ever reliable, art- 
istic Badiali, with the solid, ripe and ringing bari- 
tone, which seemed as if Rossini's music here 
were written for it and for no other. — Signor 
CoLBTTi (basso) sustained well his part in die 
trio of patriot leaders, and throughout the whole 
of that grand scene of the conspiracy at GriitlL 
— ^. Bosco vakes a very Blue-Beard of a 
GeMler, as melodramatically fierce a tyrant as 
the composer in his fiinniest mood could wish, 
nis costume, we are told, was historical. 

But place aux damei I — and we may add aax 
garfotu, for Jemmy Tell is cert^nly the leading 
soprano throughout the chief part of the opers, at 
least where the prima doima'a scenes are reduced 
down to one or two. We can but cmnpllment 
Mme. Bebtucca-Marbtzek, upon her imper- 
sonation of Tell's dutiful, brave boy. She looked 
and acted the part charmingly, and mingled in 
the fray between villagers and soldiers as valiant- 
ly as a young Tell should. Never before (it ia 
Btnne years nnce she has sung here), have we 
found her vdce so pure and clear and murieal, 
and her sin^ng so entirely satisfactory. On the 
the top of those strong choruses, her soprano 
floated with a silvery clearness, and on the em- 
phatic phrases each note penetrated and crowned 
the great mass of sounds with effect. Bvcry- 
where, in the concerted pieces, except in the sec- 
ond act, her vtnce is paramount, and its chant 
wears not out. 

Therealwaysisa charm in STEFFANONE'swng- 
ing, in spite of all defects. Her voice is eridently 
the worse for wear in some respects ; it has grown 
husky in the lower tones, and there is an uncom- 
fortable amount of frei7io/o, or (as our friend the IK- 
arist calls it) of the " wiggle " in her upper tones. 
Yet these tones are always rich, sympathetic, pen- 
etrating and surcharged with feeling, eminently 
suited to dramatic pathos, and there is a whde- 
heartedness about her singing which grows upon 
you in spite of a certain seeming phy^cal noncha- 
lance at the beginning of each effort. Hie part 



Uigitzed by ViV^^^^Vlv^ 



'3' 



BOSTON, MAY 26, 1855. 



of Mathiida, to be rare, is not Teiy dramatic. 
Her loTo for Arnold ii bal an incident ia the 
plsjr. Lots is but a Kcondarj- notire in thia 
opera ; bere, u ia " Moses in Eg}-pt, " the main- 
apring is political, ia patriotism. Tet that is cer- 
tainly an admirable scene for her at the begin- 
tui^ of the Mcond act, and full of beaotiful, ori- 
gioal and touching mosic. HerGratreciUlive and 
the qniet, sweet, beart-felt mqlody : Sombre foret, 
10 which she (a princess) confides to the woods 
and to the evening star the secret of her love for 
ArtuM and for simple Swiss life, — a melodto gem 
indeed — were sung with true ezpreoion, she only 
substituting for the final cadenza (as prima donnas 
will) another of her own. So too the dialogne 
with Arnold, and'their duet, or rather two dn«t*. 
The part, if not dramatic, has musical importance, 
and would have mach more, if another equally 
long scene with Arnold, commencing the third 
act, were not left out, bendes a Trio, &c., with the 
wife and eon of Tell in tiie last act As if to 
•how her to belter advantage than in that awk- 
ward riding dress, she is allowed to intervene 
once, for a moment, to claim Tell's son from 
Gealer, and her few indignant notes were there 
uttered with great spiriL 

We have not rocm here to point out the musi- 
cal beauties or dramatic Kmlts of " William Tell ;" 
although we bava felt strongly templed to enter 
into a somewhat regular analysis of the opera, or 
at least to sketch oat a catalogue raisonne'e of its 
musical contents. This we may yet do. Suffice 
it now to say, as we begun, that its chaim grows 
upon us wonderfully. It is an eshausdess mine 
of happy musical inventions and eBecls. Even 
in point (^ melodic ideas, we had not half appre- 
ciated it, when we wrote our flrst impretnons, 
■MnB weeks unce. Whatever tlia draBatie &nlts 
of " Tell," there can be no doubt of its great 
mu^cal excellence, and that as a musical, a lyric 
compodtion it is br more imporlant, and more 
worth a hearing — many hearings — than any opera 
of Bbllini, Donizbtti, Mercasante, Vebdi, 
or (what is more significant) o( KossiNi him- 
self: 
" W9Uam Tell ■• b to be performed this after- 
ion for the iaii time, and let no lover of good 
iBC misa the i^iportDiii^. We plead, however, 
tiiat it may not be the last; and we could even 
wish we might have once a chance to hear Bos- 
nni's greatest opera, long as it is, entire. 

I'St evening, Vkbtvali, " the magniflcent," was 
I ^ to make her Boston dtbut as Onini, and Bbionoli, 
the yonng tenor admired of Ifew Torken, as Gen- 
I naro, in Laertaa Borpa. On Monday will com- 
mence the mn of II TrDoatore, mach to the jay, ws 
donbt not, of all who lore exciting, harrawing tni- 
I I gedy 'and Verdi, to wham we give the credit of be- 
, , ing almost ererywhere in the m^ority. The rednc- 
I I tion of prices for the two upper dtcles — which places 
I an for musical efftict perhaps the best, — places the 
I ' opera now within the reach of almost all wbo wsnt 



I What roa as OitcntBTBA rext WiirrBR} Te 

pnblish to-day a cinnmnnication finn oor old friend 

I Ki[TzBB,eT«r alive to the iatemts of classical mnsb 

' in Ibis hi* cho*«n homa. He gives m some good ideas, 

j as nsaal ; and be has known too long the mosjcal tamper 

and matsrial ot Boston to take ttw concert eiperlenca 

j of the past wjnl«r a* an evidenea that moiicai taste l« 

on the decline among ns. We are oniy torTy.lbatln 

I seeklog other explanations of the winter's fuiora be 

' conid not help gravitating bacic again to his old hobfaj 



of abusing tba Mnsia Hall, io which be will Had little 
sympstby, at leait ftom yninget enri. But every 
maaio-iover says Ani«n to his idea that Ibr so large a hall 
them sbaoid be a Urge orchealra, and particalariy a 
large body of string instrnments. Tbis ia n prims do- 
alderatnin ; at the same time that we ire boand to re- 
member, what is beyond diapnta, that the ntmi etTbeOvs, 
moat enjoyed, and moat ■oooaaaral Sfmphcmy concerts 
everyvsy, ever yet heard in Bottan, were Ibou of Ibe 
Germanin Orcbeatra in the Boston Hnalc Hall. As to 
the Hail, the qoeation Is not if it be a perfict mom for 
maiical ttttet, but if it tie the beat that onnld be fiv a 
room fa farjTC ; and we see no cause yet to dcnbt that 
among all aiiating haila of the iargaaC aiie It is nnri- 
valted. The Pbnsdslphia hail referred to ia but half as 
large. 

Bnt tbis inpaiManL Tbe main drift of onr fViend's 
article la to ahow what may be done next winter; to 
bint some practical meaanrea towards placing clasalcal 
orctestml concerts upon a fonndalion of certainty and 
pmnaiiHiey in thia music-loving city. And bera we are 
bappy to agree vitfa his sni^estion, and donbt not it Is 
practical, and that the money will resdliy and ehMrTnliy 
flow towards the object, the moment thst aabseribers 
■ball aee that something solid and reliable Is sbout to be 
done. We only think bis demand too modest, ntd that 
he miglit Mfely strike for a mnch bfgher anm. 

We have not rooio now, but we propoae aooa to 
discnat al'length, and with a view to some prsctial 
movwnent, the whole matter of a permanent organisa- 
tion of great classical concerts In oar city. 



Nbw Hitbic.— From the New York agency, (389 
Broadway,) of J. Alfred NotcUo. London, we have re- 
ceived a number of standard classical wi^ka, io the 
elegant editiana of that famous bouse. We mentioa 
for the present : 

1. SAorl if eioditt for tKt Organ, prwurifoily for Soft 
Stopi, by VrecBNT Novslio. Thia is quite a large 
and very varied collection of organ pieces, voluntaries, 
Ac, already extending throagb three Boohs, euh of 
six numtierm, which are famiahed separately, and a 
ocntinuation is still promised. £ach number, of eight 

them composed by Kavn.i.o, arranged from his 
masses, oSertoriea, Ac, of wbich there is a great 
variety, and all good ; many drawn from ancient 
sanrcee, Gregorian hymna, Ac; and many adapted 
from pianolbrte Sonataa and other works of Biwi- 

HOVBN, CftAlIIB, PLSTEI., CKKKCBIHI, HbSSB, PuS- 

onUi, and a»ny others. We have an iTeraloa to Beet- 
hoven altered, aa he most be to anit the organ, aa in 
the case of a certain piano Andante which Is not itself 
if it be not staccato. But othera are lea* objectionable ; 
and the coUeotion abonnda in really excellent and use- 
ful pieces for the organist. 

2. Satil; an Oratorio, by HAirDBi-~-This is an- 
other of Novello's cheap and oonvenient octavo edi- 
tioDS of the OrBtorioa, and now that copiea can be hod 
so easily, we hope that aome of our aodeties will b^in 
to think of bringing out the " Saul. " 



Boaton Theatre. — Tanday and Thnmltv arealncs 
Ult are att BparC for the benaflta mpeetlnly ot tba Door 
leapsim ud lb* Dabn*, to vtiaH obllglBfDHa and aaarlHj all 



JtdD^ri is founts. 



noBical Notice. 

. .. . __tltloiial BcTS an •silled ail ... 
.x1 CliarchiB tbtsdly. Bclary.flftr dollsraprraaDnD 
Apiillanta abonld not be above 14 yearv of iff*, uidninat pa 
ttm • Tnbla or Alto votH oranaicrpUaubl' qiulJly. Fattlu 
pu-Ucalara mar ba otitalDtd by >ddr<silBg a eooininntealle 
IO ■■ H. B. C," TnTellar oOea, and (ItIiic name and naldMW 



F. F. MULLEB, 



n D. ALI.B1I dHlns a tttnUbxi aa Onpmlrt bi •mna 
Ksnanrns—eBBner HHI, 1. HibIUdd, i. B. WlOeoi^ Esq*. 



63 

mva leuTBC-iuiui opesT 

Tba Mananr at Uw Boaton Tbsetn iMfa laave to latum the 
pabiie tbat,1n ordar U aaord all elaiaea an oppomallj to 
wltneas (heas nnrinlled Opende PailbnnanHB. h* baadv- 
eldad to adopt lb* avis ofpricea of tlia Saw York Acadsmyot 

Parqnat, Pininet Clnl*, Balcony and Tint 

CIrel nsitnawifla 

BHODd Clfcla, „ CO 

Ampliltheatre, U 

DAY PERFORMANCE. 

By nalnnal dealre, the Splendid Opsia tt 

' WILLIAM TELL, 

Beaslvsd wltb sliniti of appbuia*, vUl be (tTaa ll>r Uw loaf 

This (Saturday) Afternoon, May 29. 

AT Tmtn O'CLOCK. 

UST VIIK OF m nUIU OFEBll 

IT'OpanRWits— Hondv, IfedMedvaadFrMay. 

On KOTTDAY EVUmiTG, Hay SSth, 

nist ippaanlK* of tba renowned BaiUasa, 

Sia. AJIODIO, 

In Tardl'a lAit and Qnataat Open, 

For Ite flrst Uma bi . 

Connt dl Lona. . 

I.aDqan Slisnin BI 

Unarm Vaatnll. 

HnorSr^Boli. 

. . . Blcoor Xaeso. 

..MAX MARnXMK 
- ■ ■ AkUi Doaaam^ 

TbaTlakatOfltoawUlbecpaaad at tba Hasle B«(n ef B. H. 
Wada, 19T Waahbifton itrHt. Tkkats may Ukawlit ba put- 
ebaaad at the Bei-oOca of the TtHaIn an tba maSaf of tba 

Tbe only corract Open Booka an aa-Mle atWada'aKaA 
aiora, and tadda of the Tbeatn. 
ST-DoonopanatTi Opara to aoBUDaaiee at TX e'ebiak. 

THE AMERICAN HARP: 

CHURCH MUSIC. 
BT ohabi;e8 zeutusr. 

rnax ebon ■DVOeBt weak kaa baan lb* basts of a B^oelly 
X of M w^pop ulst eoUaetfOBS of B^rad Mod* Rn tba lat 

twT ha* aliqMed slaoa It* flnt laao*, li y*t iwalas an BBonaa- 
ikiMd anpariarity over all alBiUar works, and kaaMiaad by 
mnalealBinaUanaaUwebidaaaC volaai* lowblab >b«y Iw* 
aanaaa. It liaabaenlbTaniimbaFofyiaiaaniafprtat. Cnilaa 
eoDld bat wltb craat dfBealiy be obtaload ; and Uw vain* In 
whIebtliElMrtalwflnnd wan bald, tofatber wltb IbaaBtnal 

"byi 



Unci* raplM. ,. 




OUTEB DITSOir, lU WatUoctM St. 



OTTO BBBBEIi 



ak;Saip( 



-«0 



X p«r qnartar of M la 



JOHN SEWARD WRIGHT, 

pimlEt, ®is«ii[st anb jBlitttoi «t ^lult 

AX TBI HOBIC HAU., [Bar. Toomas Plain's Soom, 
QirsS IKSTItVCTIOlt ON THS FIANO. 

BMldnoa, 11 kfvrj Btntt. 



NEW COURSE OF HARMONY, 

BT I.. H. BOCTHARD. 

Tba PnblUien caU tb* aHentlsD of the m 
W Ibis work, aa out Hstnently iia~ 
af (he letter, and rapidly adraj 
aUj aPaiOtuul wt-"- " 



with tha my Uiie nambir DTcundaasaad aiaapiaa, prtaanU 
pnt advanMna, to bolh aaholaf and liaBbai, ever any SInBai 
'nrkyalpobllabtd. Price •!«). 

eEO. p. RKKD * 00>, U TnBonI Bt. 



WIIiIiIAH BESOER, 
PvMlstaer and Importer of Hiutc, 

ITo. 8S WMt 4th Btraat, Ooeluiati, 0. 

REEFS omatuUy od band ■ lAige and SalaM Stock of 
lUPOBTKD kinfllC, tor aai* at RastsB paleea. New 
Hoaki nnind by ataunar is anm ai pnblMiMl. A Ubenl 
dlanmnt granWd to Caaohara. All ardes pKaaptly atMndad 
to. Kiiale arranied to oriar. 
ItT-CatahifiiaaaaiiliiallabyBalL Aa|M 



Uigitzed by ViV^OQlC 



64 



DWIGHT'S JOURKAL OF MUS 



IC. 
OKGAN-HARMONItJMS, 

lunmomui 11 
MASON &. HAMLIN. 

THE Otiu-Humnnliiiii li u tnUn-lj pew tpUmt) mntlal 
iDWniBwnt of thi md (JikIh, tayiag two uinnala, or 
nm of kajl, ud dgbl Mdik, h ftillowi ;— 1. DtaiiiiBn ; 3. 
DuldiuiS. Frinripd; 1. fliito; B. Booidni : «. gtotbor; 
7.K]H i iii hu ;g. CwyWr. li H dido>d am «pMkll7 Ibr 
Ih* ON of obnnhM. iaetan-nioui, ud otbcr tugc pnblk 
uUi, kni>( »wtr sMdji^Btl l» • thsoud dallw orfu ! 
It tt «lw euibU of mujr H)o-(9MM, lAd ba nwi ntiriT Id 
tb* piopt K/ e* vialitT of Uih. It ta mpkCIIt adaptod U 
ttia OH of orcuk-Muhais uid nadntt, bdiig u ■dmliabl* 
•obitltiionnorim-pruUH, EiuDlnUiaDrnimiill IsUnatod 
I* MqMoMllj MlMtal. 

IbMD ft Hamlin'i Model Kelodecua t 

lUcomiuDdid bj Uia b«tt muilcliiu ud orguliu In U» 

lb* Mloabw: LomU Huoo, Wm. B. findbwr, Ooow '■ 
Root, 0. tr.Monn (lite atnnln to tlu Humiulii UdIdd, 
LoBdoB), B. A. Bwmanh, L. F. Hoiwr, L. U. SontbiTd, M. 
Bra?*, etc «U- 

PrlMB from UO t<T S17S. 
ICT- OnoUn mitianlDR > faU daeripUOD of tbt Uodol 
Helodmu huC U u; ■ddno, on appUculon to Um nndtr- 
riCMd. 
MniT BUOR. ) MABOS * HAHIiDT, 

IMMOBI UMLD.; Oontruln Si. ((Of. 8/ C*lirll.,) Buloil, 3fi. 

8CHABFENBERG & LUIS. 
ERIPOBTEBS OF FOBEIOR nVSIC, 

Vo. TB9 BBOASWAT, oornir «f Hlnth St. 
NSW TOBK. 

TEACHER OF KUSIC, 266 WMhinstui Bt 

BmDKNOK. ... 13 BHAWmiir STK^, BOSTON. 

A OOOD TIME TO BUBBORIBEt 

DWIGHT'S JOURNAL OF MUSIC, 

ft papti at Silt snb llttiatun, 
PablitlMd tmr Satsid«7, u 21 ttlwol SL Boitoa. 

DoriBi tho thno jiui rinoa K >» oitablUud, ttataJoantl 
bai mat wllk oontlniullr locnailBf lann, and It tnltred 
opeolta BITSNTHTOLmi wltb tlu nnmbar ftuSatanUy, 
April 7Ch. 

IIB soataati ralaU Bulalr to Ua Art of Umo, bat with 
(luoH at tha wliala Woildof Artuidat PaUtaUBantDn ; 
iDclndlng, bnni tlioc to Uma— 1. Critic^ Bnhwi of Connrtii, 
Oiatoitoa, Oparai i wllbtlDialT AnaJriaaDf IbanoIablaWeFka 
pwftrawd, ■SBOoota of tfaite Oonpaani, ka. 1. ModoH tf 
N)v MotK. S. Unrioal Nan ftom til p»ita. i. OHiaa- 
pondane* fnnn muiloal peiaoni uid pUeaa. A. Enaja od 
mnilul (tj^laa, lohaoli, parlodi, anthon, ootDpoaiUMu, In- 
itraamta, thaorlai ; on Hiulal BdncUkn ; od M ailo In tu 
Honl, SoeUI, and BaU(laiu baarinfi; on Uuilo Ib tha 
Otannh, tba Ooacan-nom, Uio TbaaOa, tha Cbambar, and 
tba Stmt.fto. 6. TnoilUloBi from tha bMI Oansuiud 
Ynneh vittan opos Unils and Act. T. OneaalODal Notloea of 
B0iilphu«,PalBllB(,fts. e. OiiglBl md gaUatad Piimb, fca. 

DT'BMk BOBben, from Uu aoBuummanl, eui ba far- 
nSdwl. AddnM (poat-paldj 

J. B. SWIOHT, 21 Sesaoi. Br. Bostor. 

From Ilu Nne Yofk Daily TiUnBU. 
Tbata ii no bttlar mndul crtUc In the hddUt than Jgha 

udpnolM. Hit uiklei art ion to pitaaa tba Itaraad in 
mnilc, ud to daU^I Iti tain*. Wa oomHMnd bit >>iuiial 

■n able raDDliit oomBHoUT npon mutoal araata, atiaotlng 
from laeh Iti ilnUouoa, nirhic lla eriUcal holleta of no^ 
and moiMui, both saw and old, with bloanpMal and mir- 
talBlDR delalla ) and almjii tn* to what la Boat IntanMlnc 
and eoBiaiainlliig In tbl> noblcat oT the ArU. 

Frm tlu Bsum Smiifif' Tnnampt. 

Wbaiaw then li ■ plana-lbrta, thia Joanal onAt to b* 
IjlDf on it. 

Frtm iSt Axltii AOat. 

W«MadJaatMch«pap«T. Ona wbicb la BBbaarrlut ta m 
partkalar aJIqoe of booh-makanj or aoelvtjr Ag.^nta, or masfe' 
imlal iBtarMK. 0» wblob lelU truly what la good mi what 

b bad, to tba honaat oosTleUani of tbi wrltrr Ur. Dwlfbi 

(inlla* mora qnaHlleatlooa to hold lb* Jodfi'i ehalr than aor 
ottaH wrilar wllb ■boaa powan m ua aciiualntad. Bligantal 
wannth of feellog fi onltad to an aca[« panaptlon of tba 

of tbi gitat oompcaiua of tha world baa nndand bim f Biillar 
wl[h, and an appiaclator of^ tbaii aobla worba. 

TEBJEB OF ASTERTIBINa. 

TliBtlnairtlaii, parlina IQctl. 

Bach iobiequeiit ImMrion, per Una G ola. 

IBi BS* aolDBU, (Ue Uaaal Biat intaMKo •13.00 

Do da aB<li»baa4Da>it....ffe(» 

Bpaolalnati«a(laadtd],aaehlnaartlon,parllna30cta. 
Pajinanti raqnlrad iBadtaaaa; tor raaiir Bdvar ' 
(BaRarli i n adnma. 

w^ar'soHaoir^BTSiiETr^^^ 
Uigitzed'by V7V^»^^V 



NOVELLO'8 LIBRARY 
MUSICAL KNOWLEDGE. 

ToL. T. Now RiiPT. 

ALBRBCHTSBBROBB'B mlleeled WrlUBga on THOROCOH 
BASa, BARMOHT, and COHPOSITIOtT; tir Mf-InalRW- 
doB. Traoalatad br Suoul Na»LI.O. tRm (ha orldnal Oar- 
■ Th* nia^Bil tijun 

d lU.i'onuia to'caapniiLioBl 



MOZART'S SUCCINCT THOBODaH-BASS SCBOOL. 
Tmulatad fraiB tb* OmiaB, bf BaMLU Notiuo. Thi 
msideal anmptaa rarlaad br JotuB Piitbii. [PonaMr prise 
•ITU.] Inpaparwnpparaleta.b;BuI12S. 



TWnS' TBEATISB ON CHOIR AND CHORDS BINOINO. 
C Tranalatadftom ihc Fcaueb, bjFtbcBiT.TBOBuHiumu, 
H. A. [Fonnar prka, Ifi fraooa j In papai wrapper 8S ota- 



MARXV, BR., OBNBBAL IfiraiOAI INSTBCCTION.— 
AnaMtaTeaeharaudlatnianlnaiaiybnDcbor Uu- 
daal kBowla^. Tnailalad in Gaaaoi Ujioiaon, from tha 
niglna] Ovnnui, avpnnty fbr Norena*! LlbniT for (he DHTu- 
atoBBfllBaloalKnawladga. IFnmarntaa.UTS] BoBBdlB 
elotta, prioa SI 88, bj mdl •! li. 

■(• Qit thk wait flta lua edltloai bare bno prtotvl in 
GiiDiaD, bvMei being rtprfiiC^ln EuElaod. It romprthnda 
vlnata aiplaoatloiK of ararj mBdcaT matter, from tba aim- 
pltat rudlmenta, tbnuch Iha tailoiia elaboridoiii of rhylhDi, 
doetrlBO of touei, InatraoieBta, alrmabtarj and arlli^tlD Ibnna 
of utBpeailliHi, attitth parf^rmuca, and mwiol adocAtlon la 

CHRRUBTNI'S TRBATIBB ON OOUITBRPOIHT AXD 
IDODk. Irualalad by Mra. Ctwsu Cuaia, from the 

[Formar prica, S7 SS.] BooDd In ^th, prIoa tl OB, by mall 

irOTXUO'B UCBED KUnO WABEHOVHI, 

m BROADITAT, HEW-IOBE, 

And at 6> Dtaa Mt«tt, Btiio Sqaafa, ud H Fonltry, LondoB. 



ILA.XTflCBI, 

FIABIST AND TEACEEB OF XVSIC, 

OnBRS hlaierTlcs**a*aBln(tiTwIwlalliahlgtierbraBobi 
of Piano playing. Mr H- may b« addnaaoa at tb* miwl 
atom of HxnAH KioBMOMa, 282 Waahli 
Bid fe Oo. 17 Tramont Bow, 
BmBDoia 1— Mra. 0. W. Loring, 28 Ht. T< 
Miia K. R. Prinu, Mam. 
Ulaa Hiebola, 30 Saath St. 
Htm May, G huklln Plaoa. 



THOKA9 BTABT, 

TEACHER OF MUSIC, 

KEBIDEHCE, Ne. U DIX PI.ACB. 



METER & TRETBAB, 

9iii|nidns aoli :!^iittlu^r9 nf %-m^ 

aUTT^LO, XT. T. 
I^AOBHTStMlbaPDblWilDgHMiNOfa. K. METKB, Ja. 



B. D. ALLEN. 

TEAamEB. or tbe piako-forte. 

Utt wi dlr» 8t*d an of Nattaw Rlofaardnu, bq. 382 Waah- 
BsruBCH. — Ott* Prml, fl. HamUkm, 1. 1. Harwoad, hQi. 



L. H. SOUTHARD. 
TEACHES OF ISUglG, 

BM -WHUBCtOM miMt, Bortam. 



CHICKERING & SONS, 



PATENT AOTXOjr 

QRAND AND SQUARE 

X*X^J»-0-JEX3Zt.TF£lSp 

OB ETZRT BIBGUPTION. 

IFABEBOOIKS, 



SUPERIOR TO ALL. 

mm, nwTOH miBBUiiT's fuios. 

NATHAK RICHARDSOIT 

Wonid rapcclfally InfOrai tha poblls that ha hti taken Ibl 
Aginry (H the New England HIatat, Ibr the aata of Iha aboi* 

•tanUy ba kept at bii 

MUSICAL EXCHANGE, 

282 WMhiagbm Street. Boaton. 

Tbeee TBBtmmai 



eeoore noiea, ireaor axprnaa, n 

tue>. Alao, NBW MDBIC 

Araerloa laeelTcd aa aoon aa pBbUahed, wu 
aar own pabllFatlont, Ibnn* tha largiat H 
TBrlaly of Sheet Unal* Is ba (bond iB tb* Ui 



n(*d Id in CBata, and pot ap In 
fbr tiBoaportatloB In uy die- 



ilMdSMe*. Tb* 



Ad.— PIANOS TO £kT, n 



Baparlor MnoBiOBi 



^OB FitlNTlNS neat ly dpninptlj mcnted ill this Q Hb. 



KB. HAEBIBON HHJiABI), 
{lENORB,] 

TEACHER OF ITALIUr VOCALIZATION, 

Ita. B tylar St. Tbmit #60 par qnartar. 



PATENT AMERICAN ACTION 
PIANO- FORTE, 

Uanmfkctarr, BtV WBaUB^toK Blnat, 

BOSTON, MASS. 



TOUIG UOKS' TOCAI IDSIC SCHOOL 

B. R. BIiANCHARS, Tuehar. 

Thli Bahool la derigiHd lot Ihoaa who wlab to aoon 
ablHtytan>Klmoaicrw.dllyBtllghl,«BdkpBrtloBlariy 
ed lo the wiola of thoae who dadra to flt tbtmaeln* u . 
BlBglnitlu aohoola,ortore*Hl*lnitrnetlan,ftnn Iha beat r 
tars. In the QiltlTaUon at tha Tdoe, Style, ke. 

Addrau, care otOeo. J. Webb k Gc., No. 8 Winter ilne 






MR. J. C. D. PARKER, 



L. O. EUEHBOIf. 

fStuifT «( at ¥C«tb-J»tU, fttfliTi, * Sfnglnf, 

0R9ANTST AND DIKKOTOK Of UUSIO AT 
BCLPINCH BTKEBT CHDBCIL 

UmiiRttmuHtlirAiaoink HMridaan, IS Adioaa JT. 

BOBTOS. 

ApplkaUoni uav alao be made at OllnrSHson'a, IK Waab- 






IB St., to whom ha Is pn 



to lean to pit? In tha ataortaat Hue psiriblt, ba/ 
RICHARDSON'S 

WDEBI SCHOOL FVB THE FUKhFORTE, 

by the mMt aadBant maddaBt of 



Mb. J. Q. WETEERBEE, 



OABZ. a&BTNEB. 
TEAOBEE or muaio, 

'bafbnnd at No. 20 Dont Street, areiT fcraaoon b*(**en 



C. BBEUSINQ, 

IMPORTER OF FOREIQN MUSIO, 
701 BROADWAY. NEW YORK, 

Dipot of Erard't Grand Piano$. 

OTRCCTLATlSa MUSICAL LIBRARY. 



ADOLPH BAUMBACH, 
T£AOHBB OF THB FIAITO-FOBTB. 

A>pllB*ltaiieu ba mada at Bad'a lIiMte«an, sf at tba 
NaCilk Hanaa, BAibniry. Sept fi 



J. TRENKLE. 

TEACHER CF THE PIANO-FCHTE. 



BI DWAB3) I,. B A I.CH. MP8I0 A H D JOB PB I irrnfO OBTIOB, 



ittighfs |0t«|nal jjfJKtt^t^, 



Whole No. 165. 



BOSTON, SATURDAY, JUNE 2, 1855. 



Vol. VU. No. 9. 



PUBLISHED EVERT SATURDAY. 

TBBKS : Br KtU, «a par anniim, la mIthim. 

Wlien l«lt by Ourler. 93,00 " 

J. 8. DWIGHT, EDITOB AND PBOPWETOE. 

EDWARD L. BALCH, PRINTER. 

117- orwiOB, So. ai Bohool Street, Bofton. 

SUBSCRIPTIONS RECEIVED 

At th* 0?nCB or PUBLIOATION 21 aohcol St. BsHnn. 

B} NATHAN BICHAHDSON, SSi WHtalodoii 8t. " 
« aaOROB p. RSBD k CO...UTnmantRnir, " 

" A.M. LFLANH, PnrldMKa.R.I. 

" 0. fiRBOaiNO, 701 BinwIinT, Nawrotk. 

" BCHARFBHBERa & LUIS, TWBrauliny, 

" GIOROB DCTTON, Jm , Bmbertw, If . Y. 

" G.ANDKE ft C0....1SSaaetiinnth8t. ShUidBl^k. 

" JOHN H. MELLOR, PHuburg, Ft 

" MILLER k BI!ACHA»,..lSlBiJUinanBl.BalilDi<>n. 

" COLBUKS it FIKLD, dnclnutl, 0. 

" HOLBROOK ft LONQ, Clnilud, 0. 

TruuMnl (n thl* Jouiml. 

Of Modern Inatnmieiitatioii. 

[Fnn tbaamiiuof A. B. KiBi.] 

Tbe new conrtnictioD of tha Mchestra has pen- 
etrated everywhere, eapwiallj- into the Opern, 
and has everywhere exerted ita influence, an 
influence of the most important kind. It hu 
fbnued itself grKdually, and without preconceived 
plan ; Berlioz is not its foonder, hut its com- 
pletor; be b tbe intelligence of this movement, 
of which Mktrrbbbr and Waonbr are the 
mott significant, and — if jou once admit the prin- 
ciple — tbe most inspired adherents. 

The first peculiar)^ which one remarks in tbe 
new orche«tration, is tbe greatly increased variety 
of instruments, espenally rf tbe wind band, 
thereby necessitating a strengthening of the mass 
of stringed instnunents. Hence there is opposed 
to the vocal parts (in Opera and Cantata) a mass 
of sound, which now forces the voices upward 
and to extravagant accentuation, and now stifles 
the voices and crowds even the chorus into violent 
outborsts, leading the CMuposer to employ an 
onbTorable cbince of instnimenta if he'wDold 
have a solo penetrate throngh so much ntnse. 
Thus Meyerbeer in a certain moumfiU 1ove«ong 
in G minor, (I think in Eeberl U DiaUe,) uses 
tbe :rampet for a pathetic cantilena ; the same 
thing might be ptunted out in Aubeb and others. 

The second feature is tbe unmanning of the 
trumpet and tbe French horn (tbey have even 
begun upon tbe trombone) by the introduction of 
the Tslve. So soon as one ceases to consult truth, 
the only chlractcristic quality that there is left 
becomes irrecogsizahle and unendurable ; for 
character is any nature faithful to itself and com- 
plete in itself, which cannot operate, cannot avail 
through any tiling other than itseIC Now in the 
whole series of tone-personifications there are 



no characters of a more decided stamp than the 
heroic trumpet, tbe dreamy Waid-horn in its 
natural state. Even the limitation and incom- 
pleteness of their scale of tones is gomething pe- 
culiar to thttr character and nature; Achilles 
wiA tbe eloquence and cunning of Clysses were 
no more Achilles ; the trusty, sturdy mount^ueer 
cannot have the many-sidedness of the polished, 
short-winded denizen of the dty ; just so little 
can the tnimpet have tbe fleiihility of the clari- 
net, or tbe horn the supple serviceahlenesa of the 
bassoon. Tbe character of those instruments, 
their very limitation as to the power of producing 
all tones of tbe scale, has constantly challenged 
tbe appreciative composer to invent character- 
istic passages, and has quite frequently rewarded 
his fidelity with the most happy inspirations. By 
the very £ict, that they have drawn these natural 
beings out of their native and appropriate tone- 
element, that they have tried to refaabion their 
a^ve peculiarity into an imitation (£ all sorts of 
creatnres, have the composers entangled them- 
selves in a mesh of half-ness and of felsehood. 
The use of valves and pistons has certainly ex- 
tended the domiun of tones; but the new tones 
are partially impure; tbe characteristic, pnre 
tone-color is entirely blurred and sophisticated, 
the power of tone entirely broken. 

The third trtut is the introduction of the so- 
called soft or mellow bran band — the Comets, 
Sax-boms, Tubas — as you may please to call 
them — into tbe orchestra. 

By no means do I declare war here against 
newly invented instruments, or dd inslmments 
restored; it wonid ill bectane me, who have 
found one such at least (tbe chromatic tenor 
bom, in my oratorio " Moses"} indispensable. 
If our masters down to Bbbthoven have done 
great things without it, it does not follow that we 
should despise means which they could not use, 
because they did not know of ihom, — any more 
than that lAey should have confined themselves 
to tbe more limited means of Bach and Bahdrl. 
Some of the new instruments have already found 
a really artistic application (as the bass clarinet 
in Wagner's Lohengrin, where its place could 
hardly be supplied in any other way); others 
may attain to like importance, who knows how 
soon and where ? Even tbe application of them 
in whole bands ix choirs may somehow or other 
become necessary. Every meditnn may poasbly, 
fiir KSD.B artistic moment, be both fit and indis- 
pensable — axiA then it is the right one. Never- 
theless the use of this new family of brass, as now 
employed, must appear queslionahle, nay, gener- 
ally speaking, a perrenion. For this, together 
with the introduction of the valve in horns and 
trumpets, obliterates the characteristic feature* of 



the orchestra, so that yon hardly recognize them. 
And this consideration outweighs any favtaing of 



In the old orchestra the quartet of strings uid 
the wind band, the Utter including the brass 
(horns, trumpets, trombones, with tbe ketde 
dnuus) and the reed band (clarinet, oboes, &c.), — 
fmrmed decided oppodt«s. Sjdendor, power, 
warlike appeal, and solemn pomp lay in the 
trumpets and trombones ; each band or fimiily, 
each instmment, had its distinguishable character. 
Was it required to mitigate the oppontion, or 
suspend it, instantly the French horns of them- 
selves stepped in between &e stem bran and the 
reeds ; the ioaght of the composer fimnd in 
covering the heavy voices by more mild ones, in 
veiling tbem by accessory parts, in a hundred 
turns, continually new and even genial means, 
which operated more elcitiDgly uptw his own and 
upon his hearers' mind, than would be poasible by 
any mere material increase (tf mass. 

And now stepped in the chmrof cornets and 
of tubas. Even to the eye their cooically wi- 
dened, speaking-tube-like, intestinally irinding 
bo<Ues, interrupted by the weight of thttr cast 
metal valves and chcdced in their vibration, sug- 
gested beforehand tbe idea of a chtAed and sud- 
denly outbursting, s muffled and yet violent 
sound ; just as the shape <^ trumpets, boms and 
trombones incUcates their quality of tone. This 
choir, particularly by tbe bastard nature d its 
sound, weakens tbe opposition of the brass and 
reeds. He comets, which are neither bom nor 
clarinet, and yet resemble both (as if a painter 
should combine blue, green and yeilow, and shade 
them into one another) ; the large tubas, half 
trombtHie, half horn-like, and neither altogether ; 
— sdd to which the chewing and muffling of the 
trumpets and the homa ; — all this veils and blunts 
the sharpness of the character, allows the signifi- 
cant diversities of the orchestra to melt into a 
homogeneous mass, and merely increases the full- 
ness, but not at all the power of sound. The 
drawn sword is mighty; in the scabbard it 'a 
thicker and heavier to be sure, but it has lost 
its conquering power of sharpness. 

Once increase the mass of tone, and you have 
changed all relations. We artists are " depend- 
ent on the creatures we have made." New vtHces 
once acknowledged, they are eager to take part ; 
when they have once sptAen out, their weight of 
sound hangs upon every Step; the masses with 
their swell and diminution (ftom a few inslm- 
ments to many, to tbe whole, and the reverse) 
beonne broader ; the finer execution of the shift- 
ing instrumental dialogue b crowded back ; the 
spiritual yields to the material; the orchestra 
^vee up its thoroughly sonl-.&aught dramatic 



Uigitzed by V7V.^*.^Vl^^ 



'^' 



DWIGHT'S JOURNAL OP MUSIC. 



character, that coitliest legacy of Hati>n aad 
Beethoven, in order lo resound like a maoy- 
votced, aublimely powerful lyre (oi^an, if that 
Bounds better.) Even in the choice of the prin- 
cipal voices care must be had, to mould them to 
the more sonoroiu, although ol1:en iaappropiiate 
iostnimenta ; or, in those grotesque May erbcer-isb 
alteraatioos of one or tvo solo tnatrumentB (it 
might even be the piccolo and contrabasso) to 
conaiHre with the most wide-moulbed massiie 
lulii. The banishment of certain important in- 
struments goee hand in hand with this. Thus the 
characteristic Basset-horn is crowded out by the 
more flat and meagre A!to Clarinet ; and 90 the 
not very sonoroua, but yet often deeply Impres- 
nve Contrafaicotto has had to give way to the bull- 
voiced Bass Tuba. 

Would you note these consequences of the new 
construction of the orchestra in a simpler body, 
consider the organization of Military Mime, so 
&,T as it can be learned from the Prussian, Aus- 
trian and Rtudan army- With the akilfulncss of 
our military bands and their directors, which 
seems greatly improved in comparison with earlier 
times, we are not now concerned. What from an 
artistic point of view now can and must be de- 
manded of military masic in general ? In the 
first place (as it seems to me) a warlike feeling; 
then a characteristic expres^on for the kind of 
troops to which each corps of muac belongs. 
Nowsuppomng this last requirement to be fulfilled 
out of the means of the old oivhestra, we should 
have for harnessed troops of heavy dragoons, 
trumpets (high and low), trombones and kettle- 
drums ; for light dragoons trumpets, (mostly high, 
the deep ones only as bass) ; for the Jagers, horns, 
(perhaps those old primitive forest signal horns, 
which howled so wildly in (he ears of the French 
in 1813, perhaps also the smaller ones, more 
tmmpet-like, of the French and Belgian votli- 
gevrt) \ — for the many-sided, far-stretching in- 
fantry, besides the drums, the full Janissary 
music, with the screaming clarinets at the head, 
but supported also and more highly colored by 
the brass. The cavalry muejc would present it- 
self far more simple and more poor in tones; but 
its very peculiarity would consist in those natu- 
ral tones and natural harmonies, in whith, accord- 
ing to the example of all natural singers and all 
masters, the simple, nadve, fresh, donaright 
Heroic ever finds its truest utterance; but that 
very poverty of tones would drive the composer 
to a strong marking of the rhythm, to the most 
peculiar expreswon of will and courage, of strong 
impetus and firm resistance, so far as any excita- 
ble spirit lives in him. 

I siep back out of that half-foreign sphere. 
Let any one enamina for himself, who feels con- 
cerned to know, and see how much of those re- 
quirements is fulfilled or given up, eintc the 
troop of valve instruments has placed itself at the 
head of all sorts of martial music and has trained 
the harnessed brass band to each opera aria and 
to all the chromatic ^ghs of sweetish sentimen- 
tality. In a long peace the brightest sword rusts ; 
the valves, brutal and tame, are the fit voices for 
our carrying on of w&r. 



HUe. FaradlM. 

Makia Thbreba Paradies, a remarkaUe 

cranposer and emin^t pianiste, was bom in 

Vienna, the 15th May, 1759. Stricken with 

blindness at the eariy age of five yean, she found 



in the study of music a consolation for her great 
misfortune. She evinced the most singular apti- 
tude for this art, and was moreover endowed 
with marvellous facility for the acquirement of 
languages and sciences. Mile. Paradies was 
equally familiar with Italian, German, French 
and Fnglish, well versed in the inductive sciences, 
a profitient in geography and history, danced 
with grace, and possessed such extraonlinary fa- 
cility of conception, and so tenacious a memory, 
thai she played at chess, regulating her own 
moves according to the play of her adversary, as 
if she could have seen the board herself. Koze- 
luch and Righini were her masters for the piano- 
forte and singing; and she learned composilion 
from the chapePmasler, Freiberl, receivjng the 
advice of Salieri in the dramatic department. 
She was only eleven years of age when the Em- 
press Maria Theresa gran ted her a pension of 250 
florins, after having heard her play some of the 
sonatas and fugues of Bach, with rare perfection. 
In 1784, Paradies eel out on her travels, visited 
Linz, Salzburg, Munich, Spire, Mannheim, 
Switzerland, and Paris, in which latter cily she 
played with extraordinary success at one of the 
Concerts Spirituels in 1785, From Paris she 
proceeded to London, where she achieved a de- 
cided triumph. The most celebrated artiales of 
the period.— among others, Abel, Fischer, and 
Salomon — considered it an honor to assist in her 
concerts. On her return from England, Para- 
dies went to Holland, then lo Brussels, Berlin, and 
Dresden, and was everywhere received with 
marked approbation at her public performances. 
In 1786, she returned to Vienna. She there ap- 
plied herself to composition and leaching, publish- 
ed a variety of instrumental pieces, and wrote 
several opersB, whith were favorably received at 
Vienna and Prague. Her house became the ren- 
dezvous of the most eminent and distinguished 
persons of Vienna; foreicnera solicited as the 
highest favor, to bo introduced to her ; and all 
were equally captivated by the charms of her con- 
versation and the amenity of her manners. This 
remarkable woman died at Vienna on the 1st of 
February, 1824, at (he age of sixty-five. In 1731, 
she produced at Vienna Ariadne at Naxos, an 
opera in two acts; and this was followed by Ari- 
adne and Bacchu», a duo^lrarna in one act, a con- 
tinuation of the foregoing opera. In 1792, Mme. 
Paradies gave at the Nalioual Theatre of Vienna, 
Le Candidal Insliluleur, an operetta in one act; 
and in 1797, a grand opera, entitled Riniddo and 
Armida, at Prague. A grand canlala of her 
composition, on the death of Louis XVI., whieh 
was printed with pianoforte accompaniment, was 
brought out at Vienna in 1794. She had already 
published her funeral canlala on the death of the 
Emperor Leopold. Among the other composi- 
tions of Paradies, may be mentioned Six Sonafw 
for the harpsichord. Op. 1 (Paris.Imbaull); Six 
Sonatas, Op. 2 (ditto) ; Twelve Italian Canzoneti, 
with accompaniment, for pianoforte (London, 
Bland) ; and Leonora de Burger (Lieder, Vi- 
enna). Fbtib. 



Emidee, the Negro Knddan. 

[Fiom Uh Antoblocnpbr of Jima Silk BocUDtfaun.] 

He was born in Guinea, on the west coast of 
Africa, sold into slavery to some Portuguese tra- 
ders, taken by them Co the Brazils when quite a 
boy, and ultimely came to Lisbon with his owner 
or master. Here he manifested such a love for 
music, that he was supplied with a violin and a 
teacher ; and in the courM of three or four years 
he became sufiiciently proficient to be admitted as 
one of the second violins in the orchestra of the 
opera at Lisbon. While thus employed, it hap- 
pened that Sir Edward Pellow, in his friaate the 
Indefatigable, visited the Tngus, and, with some of 
his officers, attended the opera. They had long 
wanted for the frigate a good violin player, to fur- 
nish music for the sailors' danciog in their evening 
leisure, a recreation highly favorable to the pre- 
servation of their good spints and contentment. 
Sir Edward, observing the energy with which the 
young negro plied his violin in the orchestra, con- 
ceived the idea of impressing him for the service. 
He accordingly instructed one of his lieutenants 



to Uke two or three of the boat's crew, then wait- 
ing to convey the officers on board,and, watching 
the boy's exit from the theatre, to kidnap him, 
violin and all, and take him off to the ship. This 
was done, and the next day the frigate sailed; m 
that all hope of his escape was vain. In what de- 
gree of turpitude this differed from the original 
stealing the youth from his native land, and keep- 
ing him in slavery, these gallant officers, perhaps, 
never condescended to consider. • ■ • ■ 
Poor Emidee was thus forced, gainst his will, lo 
descend from the higher regions of the mo^ic in 
which he delighted— Uluck, Haydn, Cimarosa, 
and Mozart, to desecrate his violin to hornpipes, 
jigs, and reels, which he loathed and detested ; and 
being, moreover, the only nef;ra on board, he had 
to mess by himself, and was looked down uponaa 
an inferior being — except when playing to the 
sailors, when he was of course in high favor. As 
the capt^n and ofEcets judged, from his conduct 
and expressions, that he was intensely disgusted 
with his present mode of life, an^would escape 
at the first possible opportunity, he was never per- 
mitted to set his foot on shore forseven long years! 
and was only released by Sir Edward Pellow be- 
ing appointed to the command of a line-of-battie 
ship, L'Impctueux, when he was permitted to 
leave in the harbor of Falmouth, where he first 
landed, and remained, I believe, till the period of 
bis death. 

Here he first began by going out to parties to 
play the violin, which he did lo a degree of per- 
fection never before heard in Cornwall ; this led to 
his being engaged as a teacher, and then a leader 
at concerts; so that, by degrees, he made rapid 
progress in reputation and means. Though he 
was one of the very ugliest negroa I ever remem- 
ber to have seen, he had charms enough to fasci- 
nate a young woman of a respectable tradesman's 
family, whom he married, and by whom he had a 
large family of children. Though anticipating by 
some years the proper period of this narrative, I 
may mention here, more appropriately than fur- 
ther on, the following anecdote connected with his 
life. Emidee had composed many instrumental 
pieces, as quartets, quintets and symphonies for full 
orchestra, which bad been played at the provincial 
concerts, and were much admired. On my first 
leaving Falmouth locome to-London — about 1807 
— I brought with me several oftbese pieces in MS., 
to submit ihem to (he judgment of London muM- 
cal professors, in order to ascertain their opinion 
of tbeir merits. At that period, Mr. Saloman, 
the well-known arranger 01 Ilsydn's symphonies 
as quintets, was the principal leader of the fash- 
ionable concerts at the Hanover Square Rooms. 
I sought an interview with bim, and was very 
courteously received. I told him the 6[ory of 
Emidee's life ; and asked him to get some of his 
pieces tried. This he promised to do, and soon 
a^er I received an intimation from him that he had 
arranged a party of professional performers, to 
meet at a certain day and hour at the shop of Mr. 
Betts, a musical instrument maker, under the 
piazza of the Rojal Exchange, where I repaired 
at the appointed time; and in an upper room, a 
quartet, a quintet^ and two symphoniec witb full 
accompaniments were tried, and all were highly 
appro\'ed. It was then suggested by Mr. Salo- 
man, that Emidee should come to London and 
give a public performance. But Mr. Betta and all 
the others thouglit his color would be so much 
against him, that there would he a great risk of 
failure ; and that it would be a pity to take him 
from a sphere in which he was now making a 
handsome livelihood and enjoying a high reputa- 
tion, on the risk of so uncertain a speculation. To 
show, however, the sincerity of their admirati<Hi 
for the man and for his works, they originated on 
the spot a private subscription, which, being ex- 
tended for about a week among others of the pro- 
fession not then present, realized a handsome sum, 
which I had great pleasure in transnitting to him, 
with several complimentary letters from those who 
had been present at the performance of his com- 
positions. 

I record these facts wlib pleasure, as while they 
speak well for the liberality of the muNcal profes- 
sion to their less fortunate brethren, they at the 
same time offer another splendid proofof the utter 



Uigitzed by ViV^^^^Vlv.. 



'3' 



BOSTON, JUNE 2, 1855. 



groandleMness of tbe fallacy which mpposei tbe 
D«^ro inieltect to be incapable of caltivation, oa 
arnvin^ at an equal degree of excellence with 
that ofihe wbilet, if placed under equally favoi^ 
able circomctances. 



Proobebs Of Civilization.— The St. Paul 
(&Iinnesota) Daily Times baa a musical critic 
worthy of any oyater house in Broadway. He 
pilei up the passion in truly artidtic Wyle. A 
juvenile fiddler having given a concert in St, Paul, 
the critic aforewid wai affected in the fotlowinK 
manner: — "A paraion of moat iweet munc was 
rained ot us from his deep eyes, a supreme sen- 
ntlon filline the soul brimful, and subduing 
thought and feeling within. In the eaultation of 
BOtna pasMges we could have bowed down and 
worshipiwd. He is a great boy. He can't help 
it. He is the embodied soul of music. Yoo see 
the article in the flash of bis dark, epiritual eye." 
Pretty tall fiddling we think that must be.— j4ij(u. 



id grass a growing ; 



THE DAYS OF JUNE. 

Not only uoand our iofuicy 
Doth he»Ten with all its aplcDilon lie; 
Daily, with souli that cringe and plot. 
We Sinais cUmb anil know it not. 
Over OUT mauhoad bend tbe iki«i', 
Agunat our tbJlen and traitor iivei 
" The great winds utter propliedea ; 

'WiOi our faint hearts the raoiuitaiD strives ; 
Its anns ontitretched, tbe druid wood 

Waita with it* benedicite; 
And to oar age'a drowsy blood 
Still thouCa the inapiring aea. 
Earth geta ite priije for what earth gives na ; 
The beggar ia taied for a corner to die in. 
The prieat bath his fee wbo cornea and shiivea us. 

We bsiigain for the gnvei we lie in ; 
At the Devil's booth are all thinga aold, 
Each ounce of drocs cwti ile ounce of gold; 

For a cap and belli onr lites we 'pay, 
Bubbles we earn with a whole soul's tasking : 

"T ie heaven alone that ts given away, 
T ia only Ood may be had for the aakingi 
There is no price let on the lavish tanimer. 
And June may be had by the poorest comer. 
And what ia so rare a* a day in Jane 1 

Then, if ever, come perfect daya; 
Then Heaven trica the earth if it be in tnne. 

And over it aofUj her wann ear lays : 
■Wbetber we look, or whether we listen. 
We hear lih raunnnr, or aee it glisten; 
Every clod feels a stir of might, 

An instinct within it that reaches and towers. 
And. grasping blindly above it for light, 
Climbs to a aonl in graaa and flowers ; 
The flush of life may well be seen 

Thrilling back o'er hills and vaUeys ; 
The cowsUp itarUea in meadows green, 

The*nttetcap catches the son in iu ehalioe. 
And there '« never a leaf or a blade too mean 

To be some happy creature's palace; 
The little bird sits at Ms door in the sun, 

Atilt like a blosaom among the leaves 
And lets his illumined being o'errun 

With the deluge of anmmer it receivea- 
Hia mate feeU the eggs beneath her wing^. 
And the heart in her dumb breaat flutters and sings 
He aings to the wide world, and ahe to her neat,— 
In the nice ear of Nature which song is the best ? 
Now is the high-tide of the year. 

And whatever of life hath ebbed away 
Comes flooding back, with a ripply cheer. 
Into every bare inlet and creek and bay- 
Now the heart is so fuU that a drop overfills it, 
We are happy now because Ood to wills tt ; 
No matter how barren the put may have been, 
Tis enough for ns now that the leaves are green; 
We sit in the warm shade and feel right well 
How the sap creeps up, and the bbasomi aweU ■ 
We may ehnt ow eye^ bat we euinot help knowint 



That skies are clear and gi 
The breeze cornea whispering in 
That dandelions are blossoming near, 

That maiie has sprouted, that streams are flovrii 
That the river is bluer than the sky. 
That the robin is pkatering his house hard by ; 
And if the brceie kept the good neivs bock, 
For other courlera we should not lack ; 

We could gucas it all by yon heifer's lowing,— 
And hark r how clear hold chanticleer. 
Wanned with the new wine of the year, 

Tells all in his lusty crowing ! 

Joy comes, griefgoea, we know not how; 
Every thing is happy now. 

Every thing is upward striving ; 
'T is as easj now fbr the heart to be true 
As for grass to be green or skies or to be blue,— 

'Ti* the natural way of living: 
Who knows whither the clouds have fled J 

In tbe nnacarred heaven they leave no wake ; 
And the eyea forget the teaia they have shed. 



The hi 



rt torgi 






The soul partakea the acaaon's youth. 
And the sulphurous rifts of passion and woo 

Ije deep 'neath a silence pure and smooth, 
like biunt-out craters healed with snow. 

HeiT Wagner.- Another (^linion. 

(From tba Londou HonlUf Peat.] 
In ft hook entitled Kuiji(-iceri der Zutunft, 
replete with imagination and eloquence, Herr 
Richard Wagner explains hb ideas of Art gene- 
rally. He says here so many things " novel or 
atranga," that his work might furnish numerous 
coif"*""" *" " ■*" — ^^" — ■--- . , _ . 



to a weekly contemporary, in whose broad 
Bucni a quantity of information regularly appears 
under the above heading. He thinks the sister 



of dancing fnot mere capering, but the _ 
geslure in its highest sense), music and poetry, 
originally combined by the ancient Greeks, should 
never have been separated; for this unnatural 
proceeding rendered impossible that greatest of 
works, the drama, which united aU the modes of 
expres^on in one living picture of human life, 
whure each illuslradng the other, all could be easily 
understood by the people (taking this word in its 
most comprehensive sicnififance), whose senses 
and sympathies were thus acted upon simullan- 
eou^y. That to revive true Art, which is to be the 
■nisaon of tbe future artist, the cold monumental 
beauties of sculpture, (he special forms and science 
of music, together with that style of so-called dra- 
matic poetry which, merely displaying acquired 
learning, dealing with metaphysical subtlefies or 
abstract reasonings, admits not of combination 
with the sister-arts, must give place to such vital 
realities as can only be produced by the combina- 
tion of demonstrative eesture— miiaic baaed upon 
the exigencies of tonal expression, and literature 
whose words are called forth by the requirements 
of dramatic action, or well up from the heart as 
the necessary and immediate manifestation of 
fhoDBht, sentiment, or emotion, and colored bv 
all the grace* of intonation and vocal inflexion. 
Separated, save Herr Wagner, these arts are 
egotistical and incomprehenrible to the many: 
nailed, they are universal and eaaly undeistood. 
In the former of these states they are the property 
of a selfish few, in the Utter, (hat of human 
nature generally. Thus, celebrated modem 
dancers, like Carlotta Gruu, Ellsler, Rosati, etc., 
ye mere deformed posture-mistresses— wretched 
Jiguranlcs, whose only object is to please a de- 
prayed multitude by vulgar displays of aeility and 
fascinations of doubtful decency — creatures of 
heartless luxury, whore performances have no in- 
tellectual purpose, no psychological expression, and 
•M, therefore, unnatural, nnnecessary, and un- 
arbsbe. The art of double counterpoint, fugue, 
and canon i* a mere mathematical sport of the 
understanding— music playing egotisUcally with 
iteelf— and those who excelled in it (nearly all 
the greatest masters), were, ia this respect at least, 
mere selfish cunning tricksters, whose proceedings 
wre a strong affinity to the shrewd reckonings of 
Hebrew specnlalot* in the noDey market. 
l>raniatic poets are sapremdf ridicnlons when 



they write unactable plays, only fit lobe read; 
and Goethe's Faiut, driven from the stage by 
metaphysics, prolixity, and a poodle, affords a 
striking illustration of this. Art, says Herr Wag- 
ner, is not a product of Art— it cannot be taught 
ex cathedra — it ^ws out of the requirements of 
civilisation, as civilisation emanates from the eii- 
cencies of social man, and stands in the same re- 
lation to him that he does to genet^ nature. As 
man's mind is but the conscious redection of gen- 
eral nature, and all his true ideas can only be 
impressions derived from her, so should the true, 
universal work reproduce these reflected impr^e- 
sions, and be a complete picture of the man him- 
self. Seeking and comparing, imply error ; and 
it is only when the man no longer chooses, but 
impelled hj internal necessity abandons himself to 
the immediate and natural expression offais ideas, 
.!,.» i.» :. . j.^ grtigt. If he feel this necessity. 



that he ii 



ijent, for arbitrary custom „ 

nral abstraction will rule his thoughts, and his work, 
however skilful, wiil be egotistical, unnecessary, 
and meet with no genuine sympathy from tbe 
many. The great masters of past times were all 
necessary (though erroneoni to their principles) 
for they were so many links in the great cham of 
events ; and the gradual progress express in 
their works bas led up to the brilliant present, 
begun by Beethoven and to be continued by Herr 
Wagner, who proposes to re-unite the three Art- 
sisters. Although we dissent altogetherfrom many 
of the doctrines here set forth, it were moat unjust 
not to recognize, in the author of the Kurutieeti 
der Zukunfi, an original thinker, full of conscien- 
tious earnestness and poetical fancy; and we, 
therefore, give bim that respectful attention which 
intellect and honesty of purpose should always 
command. To judge a composer like Herr Wag- 
ner in ex pede Herculem fashion, would indeed bo 
unfair ; and we can only wonder that a gentleioan, 
who sets out with the principle that the only per- 
fect role is that which embraces the Biimedc, mu- 
sical and dramatic elements, should expose himself 
to such misconception as must infallibly arise from 
a performance en his operatic productions in the 
concert-room, where they must necessarily be de- 

S rived of two of their essential properties, and 
epend only upon one which, according to his own 
theory, shou!<f never stand alone. We must, 
however, speak of things as we find them, and 
shall, therefore, endeavor to do as much justice 
as possible to the works given on this occasion, 
under what must be considered disadvantageous 
circumstances. The selection made from onr 
author's compoMtions was a scene belonging to the 
opera of Lohengrin, Ike Knight of the Graal, the 
words of which, no less than the mosic, are litim 
the pen of Herr Wagner. 

In one respect the munc disappanted us. We 
expecied to find it highly, if not exlravsgantlr 
original, but failed to remark this quality which, 
in the latter, even more than tbe former degree, 
has been given to it by rumor. We observed no 
marked individoatity of style in the score, no 
epoch-making innovations, such as the very ori- 
ginal literary works of the composer bad tau^t 
us to look for, but, instead, a succession of very 
brilliantly instrumented pieces, which contained 
nothing strikingly new either in rhvthm, harmo- 
ny, or orchestral arrangement It has been said 
elsewhere that Herr Wagner's theories have 
merely been framed to suit his creative abilities; 
if so, the latter were certainly not by when they 
were measured, for ■ worse fit do we not remem- 
ber to have seen. A great deal of this muuc is 
escesnve and needlesuy luxurious in mere loud- 
ness and meretricioosness of sound, as the unhap- 
py dancers whom he castigates so unmercifullr 
are in show; and it assuredly contains as much 
that is " unnecessary " and " customary, " as any 
modern production with which we are acquainted. 
Herr Wagner, however, condemns his own muio 
more than we are disposed to do; for, as we have 
said, it has very great merit in respect Of instm- 
meutation, and is also highly dramatic in charac- 
ter, and expressive of the words and action it ii 
meant to illnstrale. Strikindy originsJ, however 
— like, iae instance, that of Beriioc — it moat oer- 
buinly is not 



IS' 



DWIQHT'S JOURNAL OF MUSIC. 



belokens an amount of itrictly mu'icai "knowl' 
eiJgB," and mere "science, which we cannot 
but wonder the author of the Kutul-tcerk der 
Zukunfi ever nondescended to acquire. But 
Herr Wagner has deigned to learn even more 
than this, for we understand that he knows the 
■corea of the great though erroneous masters bj 
be&rt, and can direct a reheanal oT their ■' pro- 
gressire" works perfectly well without referring 
to them. The selection from Lohengrin, Terj- 
ftvorably received by a highly critieal and, we 
may add, somewhat prejudiced audience, left the 
impression, at least upon us, that Herr Wagner is 
a very clever though not a great composer. 



rrom mSW TOB& 
May !9. — I regret to be obliged to report auotber 
Tcry tbin audience at the repetition of Mr. Eibfeld'b 
ComplilDenlarj Concert last Satordaj afternoon. 
This time there was really no excuse, for the weather 
IS beantifDl, and those gentlemen who could leave 
their bnsioess of an aflfmooD to ittcnd a Fbilhar- 
lic rehearsal, might have done bo just as well on 
occasion. Perhaps they could not (oti: as much 
concert as at a rehearsal (ihoagh with some, 
according to my experience, this seems to make no 
dilferencc). As it was, the audience eonaUted 
mostly of ladies, and inch only, I hope, as did not 
snlTer their regret at the absence of the Phithsr- 
lic beaui to impair their enjoyment of the music. 
The general rendition of the latter was even finer 
1 at the flnl concert Hiss Lehmank, paitica- 
larly, sang the Aria from Fiddio much belter than 
the week before, and did ample justice to the "Wan- 
derer" by ScHcnEBT, which was inserted, for some 
reason, instead of the ''Eriking." 

With this concert, in regard to which, as well as 
lis predecessor, we regret ezceedmgly that it (lid not 
better fulfil its purpose, we take leave, for the present 
il Mr. Eisfeld, who we understand intends to sail 
lext week for Europe. He was to' have conducted 
the German Liidtrfat, which will take place here 
tl^ end of nest month, and has long been busied 
making preparations for it; hut the necessity of 
change of tlimate for him bccsme so obvious, that 
vas obliged to resign iliis plao. Jlis place will 
be filled by Mr. Be«oii*hh, as you mentioned in 
yonr last. Mr. Bi'rgmann has also been elected 
conductor of the Musical Fnnd Society, which is 
waking up after a long nnp. and preparing itself for 
aciivily next winter. With its concerts under 
liergmann, and those of the Philharmonic Society 
cr EisfclJ, we have a rich treat in store fur the 
I season. Boshomib. 



Jfoy 30. — The La Granoe iroapa have now per- 
formed four times at the Academy and only once 
lin!i the house been resily fuS, and iben it could not 

impure with the audiences whicb "Tell" and Tro- 
ixiton drew. On Fridiiy, and ulso lost nijjhl, £V- 
nani was given. Mme. La Grange's Elvira was too 
"Frenchy" for my Insie in her acting. Her sing- 
ing is truly wonderful. The new Ernani, Signer 
MiRATE, mskcs a fine appearance and gcncmlly 
nets and sings well. But his voice is no longer 
fresh. MORELLi was excellent. On Friday the 
se WHS full. On that evening as also on all 
others, the audience was murh troubled by the noise 
of renrnlar ela^atm who »|iplaudcd everything, never 
minding whom or what they interrupted by their 
hubbub. They had to ha hissed down quite fre- 
quently. For to-nijiht Ernani is again announced 
as ' the last performance but four.' On Friday IPa- 
ritani will be given. 

At Hiblo's there is the Ptbb troupe, " with ■ poor 
orchestra and a poorer chonH," as I am told.— 



"grand operatic and melodramatic baltet." Why 
"operatic" I cannot say, as there is not a single vo- 
calist mentioned in the bills. 

TheBucLIeysgoonin their good work. TbeyhuvB 
produced a vei«iou of Narma, which, thongh it is a 
broad burlesque, still retains all the best music. — 
From the following card yon will see that there is an 
opportunity offered for some of oar resident com- 

Cbakob FOa Native Taxsmt.— The Messrs Buot 
iterulforthcIiberalpHtroDsgeirhlcbbasHttend- 



cban 



further to elevate U 



to treat with Amerinan composBTs for the production of 
□liginit Dperos, adapted to the peculiarities of their 
Company. They must embrace in their caste, rSles of 

barytone; and all accepted Operas will be produced 

exnense. Commuiiicationt in relation to Oie lubject 
will meet with prompt atlcDtion. 

Jambs Bucilbt & Box. 
I hope Mr. Fbt and Mr. Bbibtow (who, by the 
way, is conducting the English opera orchestra) will 
pay attention to the above. Perhaps, as the Acade- 
my will notgive the i&abat Mater, Mr. F.cao change 
it to a comic opera and let the Bnckleys produce it. 
Borne parts ore said to be comic eoongh already. But 
seriously, I am anxious to know with what responses 
advertisement will meet. s. 



Pusiqamit-CtJat. 

There is a corious anecdote connected with the 
first performance of Kossihi's " William Tell " at 
the Academie Royale in Paris, 1BS9. The authoia 
of the libretto were Messieurs JouT and Htfolitb 
Bib. ' Immense was the success of this (then and 
noK) last opera of tlie maestro, and after the per- 
formance the enthusiastic orchestra went to serenade 
him. The crowd, delighted with the music, cried 
oatbtslbiil (equivalent to ourencm). When M on s. 
Bis, the librettist, who resided in the same house, and 
fancied that tbey meant to call him oat, appeared 
bowing and smiling at the window, was very sorry 
to inform them of the absence of his colleague, M. 
Jony, hoped they would accept the heart-felt Ihnnlis 
of his coltsboratcurs and himself for the kind recep- 
tion given to the new work, and retired amid the 
shouts and laughter of the crowd, who relished the 
joke as keenly as the serenade. 

A newspaper in Frankfort-on-the-Maio, (April 29) 
congratulates its readers on the prospect of hearing 
at the next week's Philharmonic concert the pianist 
ALrBED Jabll, who had already been admired 
then OS a boy in '49. It advises them to make the 
moat of this opportnnily, since Jacll thinks of ter- 
minating his concert-giving career and settling dovm 
domestically [lulutlich) in Paris. What are we to 
understand ? 

Thejele of the Immaculate Conception has been 
celebrated witii great splendor at Naples. Mekca- 
DAltTB composed a hymn for the occasion, which 
was performed in the open air fay 1573 musicians, of 
whom 893 were fnetrumenliats, and S80 vocalists. 
The Neapolitan journnis declare that the like was 

never heard A curious law-suit has just taken 

place in Paris, showing that the law is sometimes a 
ruthless interferer with the rights a( woman and of 
song-birds. " Mme. Labobue, it appears, does not 
live Id the most loving maoner with him she has 
chosen for her husbatid. The lady has a voice, which 
she looks on as her private and pecnlinr property, 
' settled to her own use,' as the lawyers say. M. 
LatKtrde thinks otberwise, and declares that her 
viHce, as well u all else pertaining to her, belongs 



to him, her lawful husband. The lady waa restive, 
and made an engagement with M. Cbobkibk fbr 
the Grand Opera, whereupon the husband appeals 
to the tribunal of justice, which he prays will prevent 
his wife singing without his consent The tribunal 
has decided, and adjudged the hosbaitd to be in the 
right, having forbidden Mme. Laborde to accept an 
engagement without first receiving the authority of 

her liege lord." The story that Fammi Cbbito, 

the danseuse, has been studying music and singing, 
and is about to make her ivbut as prima dema at 
Covent Garden, is pronounced a canard.. . . .H. Ob* 
TOLAS is the " savoury name" of one of the present 
Frendi operetta composers t — is he too a descendant 
of blithe Bob-o'-Lincoln 1 Speaking of names, vre 
tice among the performers of Verdi's RigaUuo in 
Vienna lately, one Sig. Casbion as the tenor. ] 
so bad, considering the plot and music of that opera. 
Again, the Spanish dramatist, from whom was l> 
rowed the grim plot of II Trovaiore, rejoices in flie 
cut-lhroBl name of Oabgia Guttebiez. 

A London correspondent gives the following Id- 
formation about recent changes among the leading 
Feuilletonists of the Paris newspapen : 

" The theatrical critic for the MmiinB- daring so 
years past was M.THiBBRT,agentleman whose good 
taste, able criticism, and invariable courtesy ore v 
known. The musical critic for the same ministerial 
journal during some years has been KI. P. A. FlOft- 
BHTiBO, who, nnder the nam dt ptsxu of A. de Rov- 
BAT, has, week by week, delighted his readers with 
fhdB^na second to none for wit, humor, good sei 
and critical acumen. The musical critic for the 
Conitiuaiomid was the same H. P. A. Fiobbrtimo; 
the dramatic critic, M. Lirbdx, whose pen, light, 
gay, and airy, could discourse about nothing better 
than that of any oUier men in Europe, save, perhaps, 
the great and immortal JtTLBe Jahih. who for some 
twenty years has never missed a single Monday in 
the Jaumaldet IMxat. The musical and dramatic 
critjc of the Pratt was H. Thbophilb Gad- 
tier, than whom there is 00 abler writer at pres- 
ent living in France. So much for the past — 
Now for the changes which have taken place. 
M. Thierry hss left the Monileur, and M. Th. Gau- 
tier has supplied bis place, so that he is now the 
dramatic, and M. P. A. Fiorentino. under the signa- 
ture of A. de Eorray, the music critic of that jour- 
nal. M. Lireuz has quitted the Contlilationnti, and 
M. Elorenlino assumes his duties, and becomes dra- 
matic as well as musical critic for that paper. M. 
Nebtob Roqueplax succeeds M. Th. Gantier on 
the Prate. 

A correspondent of the N. T. Eeening Pott, under 
the head of "Art Gossip in Boston," has much to 
say of those private musical parties to which we have 
alluded. The fallowing psssago will be appredaied 
by a number of our readers : 

"TtteMenddttohi i^nleUi CIuA have done much 
in this way at private soir&s through the whole sea- 
son, both in the city proper and in the suburban ci- 
ties, and have led great numbers into an intimate 
knowledge and lore of the beautiful chamber music 
of the great masters. Can any more perfect enjoy- 
ment to a reHned taste be conceived than such aa 
your correspondent cannot but recall, as often expe- 
rienced at die mansion of e. gentleman of this city, 
of rare taste In all the arts, and in whose hospitable 
parlors, while listening to the divinest music, you at 
the same time may feast your eyes and your soul by 
gazing oo the most beautiful works of modem pi ~ 
ters, where the chtft-dawrtt of Overbcek and Ary 
SchcBbr are before your eyes, and the Divine Poet 
and Beatrice in Paradise almost seem to move 
fore you to the sVeet sounds, as you,look at them 
the breathing (no, not brtathing — Beatrice is a spirit, 
without the breath of life, and Dante dares not) can- 
vas of Scheffer. You may turn to ^e Divine Com- 



BOSTON, JUNE 2, 1855. 



edjr mnd read the p>g« If joa will, for the po«u an 
htn, ud it will Iom nothing by being read in sach 
nrTQaiidingi. After aneh an eTBaiog with tanai- 
duu, paioten uid poett, (ud loiiis of each, too, of 
no little note dntong the gne<t>,) one cannot bnt have 
pleasant dreanu at night and manj pleaunt memo- 



Ittsic %it(9nA. 



Farta. 

April 11.— (fruM At OrrapBndeBre of Ike LonSim 

Waiici^ World.}— Then la at laat an efTectnat break in 

I dull monolany vhioh ha* no Ion); oharaoterlied The 

iiical world of Parln. M. Adam's new opera, I^ 

or de C^n^Tie, liaa t>e«n produced at Iha Operx-Com- 

lei and the Litlle of U Ortolan (aavoury name), 

I Ken the light HI the Th^itre-Lyrique. Both have 

;ceei1ed, and each dMorred Iha aucceaa it obtained, 

which ii of the qafet and mild, ratbet than the entbnti- 

litic and violent deicriptlon. 

The bir C£lini«ne 1> a coanteaa of noble hirth and 
ancient deacent, endowed with beantj, wit and wealth, 
tampered b; the coquetry and Sightinex whicb form the 
bntii of her character. Her sister, the Baroneiss, pos- 
t6ne» equal beanly, leas wealth. 



ThB( 









Br chateau in Brittany 
ir hand 



e chev 



ar, foar 
en. To 



le commaiider a the favored lover; and 
, al flrat divided between the charmi and merits of the 
atatera, puts their names inio a hat, and, drawing 
forth that of C^Umine, determines lo devote bis atten- 
tion to her. The chevalier ii a Gascon, full of the hot 
blood and boaatftil apaech for which fait coonliymen are 
proverblaL He Brat courted the baroneaa. but, receiving 
■Konrageioent, changed his wooing to C^llmine. 
with her innate coquetry, led him on to hope for 
ess, but one flne momlnf; quietly infonned liim that 
:holca waa made, and that «he would beitow her 
. upon the coniniander. The chevalier !> furlnu. 



Iotbec< 



M tbat he w 






ins 



to treated sllh Impanl- 
; that >ha shall not marry the commander; Ihat to 

ceil and force; tbescaline ladder and Ihenarcolio. He 
■Ilea from her presence fur— ---'-- ■■- ' — 



a duel, 1 



. id fatl", 
si the rapier of the 



commander ia hit In body, 

LriQ|r that tiothlnff can atand 
furious Oaaooo. C^lmfina, <n detpaii, 
must ponr oil on the troubled waten, and aenda the 
baroneia with lander meaeagaa on her part to Ihe eheva- 
m seeing the baroness, feela his old aSc ' 



in full I 



e chavalier, whom 



d. fane 



:y^iig Ih 



le dellvi 



iBssa™ wherewith she is ciiarged 
tier feet and pour* forth hi* pas- 



m she regrets having refu-ed. Sh 



ander weds Cell mine, and 

AreHo Is exceedingly wall written by M. Boiier, the 
I phraaeology is neat, pointed, and terae, aiCuatlon* veil 
] worked ont, and the plotclearly developed. The music 

'- lively and replete with the co'miu element- The open- 



! ing 



a nt>m 



e twr 



St for Ihe t< 



le melody 
{ ten. which follows. , _ , , 

I H. RArTAiLi.E, as the Commander, sang and acted ex- 
tremely well; and M. JoiiitDAN, in (he Gascon chevalier. 
! presented an admixtnre of true pnssion and exai^eraled 
I ardor, foil of bufluonery, while he aang like an artist, ae 
usual. Mme. Mions (C^limftne) wing brilliantly, and 
waa a good specimen of the tantalizing ccx|uetie, fair 
' and cruel, inspirini; leva and hate at once; but she 
I could not Jboib the character. Mme- Colson (Baroneig), 
exhibitod talents of no mean order; and Ihe chorus of 
' Ihe Twelve Lovera was what a choras should always be; 
[ what II generally Is at the Op^rv-Comique, and aeldom 
claewhere- 

The Liaetta of M, Ortolan la Ibe daughierof a Norman 
I maglMcr- The curtain rises on a itronp of peasants gath- 
ering applea and gay with elder, which, like their song, 
hai been somewhat sonr. The drum bants, and the 
Toulh of the district come forth lo draw lots for the 
Conscription. Germain draws a blank, and remalna at 
home; ilMsy drawa a nriie— if it be one— ond becomes 
i one of the defenders of his countrr- A demoiselle of a 
I neighboring chateau, lately arrived from Paris, next ap- 

Kars on Ihe stage, anil, being nnacqunlnted with the 
nnties of her own domnin, takei Lii^lle for her guide. 
I This demolKlle kives and Is beloved by the Const de 
I Thalbourg, but her "erael paranta" have chosen for 
1 her the Marquis de Gervllle, newly arrived In the dis- 
trict as commander of a recruiting party. The mnrqnia, 
< however, has no idea of marringe, being a thoroogh on. 
' believer in the aeit and, on hi* Bril inlrwlnction to the 
' young CODU teas, propote* to her a rendeivoos at mid- 



conntasa being concealed among the ruins. The n: 
qaia praxes his leva with so much warmth and affeclioi 
to alarm Liselle, the false countess, who thereupon pro- 
ceeds to administer to bim some ilgorom mHifftlM, well 
delivsrad, after which she takes lo her heels and to 
flight. Next day the marquis boaAts everywtiere of his 
bcmnu rorluiies, which, coming to the ears of Tbalbourg, 
he demanda an explanation, and Liselle declarea It waa 
she, and not the counte)>!<, who received Ihe kiss and ad- 
mtnislerad the blow. But Ihe explanation falls like a 
thnnderbolt on the bead of poor Qermain, the lover of 
Liietta, who, in despair at liis mistress's luAdellty, takes 
Sloisy'a place and departa for Ihe wars- The fast act 
lakes us to a ehaloau of the young countaae, near Paris. 
She has been accompanied by I.lselle, who grieve* at the 
loss of Germain ; he becomca a captain In the French 
armv, still maintains his affectinn for Lisette, thongh he 
stiirbelioves her culpable. However, at length the 
" the mystery, and 



:andm 



happy. 



Ther 



■ Ihat 






;perienoed 
i* too much emphasis in his instmmantat! 
mnch noisa throughoot. 

April 18.— On MondaT, April SOth, the vlgll of the 
Exhibition, a grand per/ormance will lake place, in the 
Church of Saint En-tache. of " Te Denm," composed 
for the occasion by M. Hector Berlioz, who will conduct 
ths orchestra The executant* wlil number BBOinamely, 
800 m Ihe chorus, and IBO in the Drehestra, which will 
contain mo*t of the best instrumentalists In Paris. After 
the "Te Denm," Mr. Henry Smart, who comes fraai 
expressly, will piny various setectloua from Han- 






Dncroqnet. On Ihe « 



n ju. 



by M 



will be thru 



Biidgat. respecting a proposition of one of It* members. 
He desired that Bubventions should be granted lo one 
■— ■- -' the large provmcial towns of Lille, 
Lyons, Mnrseilles, Toolou«e. and 



Rouen. Bordeaoi 
Strasboni^, the 



Paria. the only one in France whose theatre receive* state 
assistance. This subvention waa sLfpporteil on the ground 



oapitol. of whose good fi>rlnne they are n< 



be sent to make their deiuli at those Iheatres. whereby 
thev would be somewhat prepared for the terrible ordeal 
of facing a Parisian audience. No result ensued from 
the discussion; but it ia by no means improbable that the 
large provincial theatrea of France will, ere long, enjoy 

Meanwhile I believe it is setlled that the Italian Opera 

that the oily of Paris will grant a considerable subven- 
tion to Ihe manager who ha* bren bold enough to n<ider- 
take the specalalion, which will prohsbly terminate in a 
heavy loaa. 

RoTAL Italian Ofeha. — On Satnrday, May Gth, La- 
Bi.Acn« made hia Hrat appearance this season as Dr. 
Dulcamara in L-£fla> if ^nms. Mme. Boaio was Adl- 
na; Sig. Gardoni, Ncmorino; and Graziahi, Belcore. 
Rossini's It Omte Ory followed, far the flfth time, and 
aeema to have given more and more delight. Then fol- 
lowed tlie last worit of " Young Italy's " idol, the TVo- 
vatore. We give Ibe Uiaical m>rUi aceonnt of It: 

In the accumulation of horrora the TVomttre gives Ihe 
sack even to Siaolrtlo. But the terrible eameslnesa of 
the last scene of RlgubUo wonld redeem a mnltitnde of 
sins- The flnal scene of 11 T<vmlore Is homble wlihoot 
relief, and ineflectlve in the bargain. 

Signor V'rdi so frequently ''surpassed himself," that 
we looked forward lo much plea'ure froi 
II TVoenloni, whera he la aaid lo have "i 

self " once more. I. is appni _ 

care than the majnrity of his wOTk*; the nnisons are 

Ihe scene is more manifest. On the other hand— which 

meroperaa- Much of the mu«ic of II Tromlort, how- 
ever, ha* cknract^, is often pleasing, oftetier well adjipl- 
ed to the silualions, and occHsionally in point of freedom 
and breadth— for example, the air Ah .' btn mio, in ihe 
third act, so magnificently 'ling by Sig. Tambkrlik— 
worthy of unqualified praise. The audience, Ihongh 
favorahty disputed lowardi Ihe work and its composer, 
were not mused to enthn-lnsm. There were only two 
ancorea. Nevertheleu, Ihe friends of Sig. Verdi never 
had greater cause to be salislled. Nulhiiig waa left un- 



*• surpassed blm- 



ind complete succe"' 
The singers acqull 
Hme. VjAB ~ " 



i themselvas admirably. It waa 



d the n 



I appear 






The dramatic energy and 

were exhibiled to evident advaniage. i ne scene wnere 
Aincena makes the confession to Manrico was Intense 
and powerful, and made a deep Impresalon, 

Mile. Jenitt Kbt appears to greater advantage as 
Verdi'B Leonora than a* the Leonora of Baetboven.— 



Her acting was niilnnt, and oeoaslonally forcible and 
earnent. Her singing, too, wai greatly to be admired, 
and frequently elicited Ihe apprniatiun of the aadlence. 
Ulla. Jenny Ney, by her execution of the muilc, showed 
•- — -•'- ■'- " irofl 

Of Signor Tamberlik's „ „ 
alble lo speak too highly. He waa tnagniUcent, and alec- 
trifled the house In more than one scene. 

The haUata, sung behind the scenes, at Inlerrala with 
the choral " Miserere," in the last act, was given with 
anch expression and lendemes* that a unanimous encore 
ensued. The scenes with Leonora in the third act, and 
Azocena in the fourth, wen equally fine and impreofye. 
In Ihe concerted music, Signer Tamberlik'a voice pro- 
duced all the affect the eompoaer conld poatlbly have 

Signor Graziahi. In the Conte dl Luna, displayed lo 
more advantage than evar hi* singalariy fine voice and 
the apathy of his manner. He was encored in the caoo- 
H'lta (aecond act], il ielci (b2 no •DrriiO— one of the mo<t 
popular ain of the open ; but hardly produced the /iirort 
ascribed lo him In Paris. He does not improve aa en 
aolor. In thelitllepartof Ferrando (played by M. Gas- 
sier In Paris), Signor TaauAinCD was all Ihat conld be 
wished, and gave the deseriptiva ictna (Act L) lika » 



Snjiijht's Joupal 4 ^mt. 



B0ST017. JUITS 2, 1865. 



Italiaii Opeia. 

Lucrezia Borgia on Friday, and " William 
Tell, " for the third time, on Salarday afterDotm, 
completed the performaiicca of hat week st the 
Boatan Theatre. Our stay waa limited to the 
fint act of Lacracia : but wa heard enough to 
convince \a that thit happiest and beat-weaiiog 
open of DONixETTi waa never, aa a whole, cast 
so efTcctivelj npon any Botton Btage. Beport 
(of the appreciative) confinns the promiee of ihe 
opening act, or Prolt^e. Steffanome, to be 
sure, is not Gnisi ; yet'the frveh recollectioa at 
the Grin lUd not make one indiScreDt to the very 
high extH^Uence of her lyric impenonation, which 
includes aoul, action, voice and execution, blend- 
ed and inspired to one dramatic and artiltic 
end. In neither was the voice in very per- 
fect preseryation ; but in both you feel that the 
voice always answers to the lightning aummoDS 
of passion. Steffanone ia indeed the greater 
vocalisl, and there ia that sympathetic, truly Ijric 
quality in her tones, that makes them go to the 
mark and tttl, in spite, as we have aaid before, of 
any Iremolo or hoarseness. Hot contrast rf 
the mother's tendetiicsa and of the insulted Bor- 
gia's pride and rage in the first scene, was, both 
as singing and as action, admirably true and beau- 
tiful and touohing- 

Sig. BntONOLi, the joung new teitor, was not 
a Bbnbdktti, nor a Mario, as Edgardo. Yet 
it was altogether a very pleasing and sufficient 
rendering, save a feebleness in his highest notes, 
which in the strong concerted passages were 
frf quently drowned by the rough blasts of the 
trombones. He is a youth of rather an elegant 
and distinguished presence, although his st^e 
pait waa awkward ; his voice is sweet, fresh, flexi- 
ble, ej-mpathetic, and of good volume, sometimes 
nmimling one of Mario's by a certain elasticity 
of tone, and capaMe of some strong, effediye 
ontbumls. He nnga with taste and feelihg, tmd 
(to his credit be it siud) ia given to « simple, 
fiutht\il, unembelliriied rendering rf the mows of 
his author. We needed not to wait the l^>pe»r- 
ance of Badiali as the Duke, to know that we 
have never bad thai part better done. The 
channing picturesque rdle of Miffeo Orsini de- 
fines iteelf so satiafiictoril/ in the fiirt act, that 
one needed not to witness more to estimate the 



Uigitzed by V7V^*.^Vl^^ 



'3' 



70 



DWIGHT'S JODKNAL OF MUSIC. 



peculiar aptitude therafor of the ncir and beauti- 
ful contralto Signorina Vestvaij. The noble- 
nes and refined elegauce of her tall figure, vith 
the beauty of her head and face ; the taattful- 
neas and rigoroua proprietj of her Venetian 
male costume, and the freedom, grace and anima- 
doD of her movements, made her look a sort of 
beau ideal of the character. Her Toice in its 
drdinaij range ia of a iresh and pleasing quality, 
thongh not remarkable. Nor is her singing, 
although she has fair execution and expresnon, 
and sang (so long as we heard her) in tune,— 
-which was not always the case as we remembered 
her one evening in New York. She commands 
s«ne remarkably strong, maniiisli low notes, 
which she seems loo much tempted to employ, 
because they inn that loud applanae which always 
ibUowB any feat, that is exceptional, although not 
pleating to the cultivated ear, and not ssthetic. 
We must confess, with all the charms of the 
Vestrali, we liked not the low notes, either on the 
score of beauty or expression. It is true they 
were powerful ; it is true that with the eyes 
closed we might have thought it a man's, or a full 
grown boy's voice; which doubtless charmed 
•ome listeners, as marvellously suited to the part ; 
but the true ends of Art would have been better 
served by expending upon the le^timate voice 
the pains taken in developing a monster con- 
tralto. Yet taking her all in all, we must admit, 
that we have never witnessed a more fascinating 
Drain L 

When to fbur such principals we add Sig. Co- 
LETTi aa Gubetta, and such better than average 
ungers as filled the parta of the various nobles, 
whose vcnces are so essential in the rich concerted 
music of that first scene ; when we add so large, 
well-voiced and wall-trained a chorus, and so ef- 
fective (would that it were not sometimes much 
too effective) an orchestic, with the ever«t-home, 
sure Marztzbk for the conductor; also a 
crowded audience, familiar with the piece and 
always happy to recall its musical richness and 
dramatic completeness, — we may safely say that 
even without Gsisi and Mario, without TRcrn 
and Bbkedetti, without Boaio and Bettini, 
we had yet the materials of a more perfect pre- 
sentation than (his opera ever enjoyed here be- 
fore. So it was generally felt to be, the further 
it went on, and we hear a call on all sides for a 
repetition. * 

But we should neglect a doty, if we did not 
mention one most serious draw-back ; namely the 
overwhelming, deafening crash of the brass in- 
struments, lashed up to furious fortuamo in all 
the stronger passages. We could actually feel 
the hoarse and angry waves of sound smite and 
thump upon the walls of the auditorium behind 
OS, and rebound thence on our private ^mpanum. 
Bad enough in itself, but doubly bad, when it so 
drowned the voices of the central persons in 
those spirited ensembU* of the first act, that you 
only tam their anging. We suppoee there is 
something in the whole tendency of modern 
Italian Opera which leads a conductor oncon- 
scionsly into the haUt of exaggerating all the 
powerful signs of expression, of employing all 
the muracal intensives to get np all the excite- 
ment possible upon the least ocoasion. It is a 
sort of musical taearing; a taking of great 
names in rain, a borrowing of emphans so often 
and so thoughtlessly that nothing any more can 
be emphatic. " 0, reform it alttjgether." 



*' William Tell " again, Saturday afternoon, 
delighted a la:^ audience, composed very much 
of ladies. The musician and the cultivated ama- 
teur have found more in It for sense and soul 
to feast upon, than in all the common run of 
Italian operas. In spite of its length and in 
spite of the curtaihnenta, those who have heard 
it repeatedly have found the charm of its whole- 
some subject and its fresh, vigorous, original, rich 
music ETOwing on them greatly. After two such 
happy inspirations as this and Lucrezia Borgia, 
wide as the distance is between them, how was it 
possible that there should be crowds and enthu- 

Well what about 11 TroimKrret What of 
Verdi's " last and greatest," after a second heai^ 
ing, and in Boston ? Of the performance, as 
compared with that first one in New York, we 
may say, better; of the mudc we can only say 
the same. Of the reception, it was warmly de- 
monstra^ve enough to warrant the eulogistic 
passion of the newspapers, and the " tremendous 
successes " and " immense enthusiasms " of the 
next day's advertisements ; yet the audience 
warmed slowlicr than in New York. There was 
plenty of applause ; but this, as usual, was meant 
more for the ungcrs than for the composer, more 
for the stage effect, the scenery, the gipsies, 
anrils, &c., than for the mu^c. We have been 
even agreeably disappcnnted in meeting so many 
who were proof agunst tlie loud assault of Ter- 

But the singers made the best of it, and even 
in this ungrateful muuc added to their laurels. 
Steffanone threw all her power of voice and 
soul into her part of Leonora, and was enthusi- 
astically applauded. Yet it was a severe task for 
her; the music and the utuations kept her voice 
continually on the strain, deroanding her utmost 
strength and voliune ; it is a part with no repose ; 
and conseqaantly her hoarse low tones conveyed 
ere-long a painful sense of effort Vebttali, 
as the gipsy mother, did not (his lime disguise 
the youthful beau^ of her face, and was dressed 
more tastefully, though perhaps less gipsy-like 
than in New York. She displayed a great in- 
tently of tragic action, though of a somewhat 
studied kind; and indeed how could one expect 
much naturalness In the impersonation of a char- 
acter, whose ruling motives are an ever haunting 
imaginaUon of being burned at the stake, min- 
gled with a mad thirst for revenge I Much of 
her muinc was finely sung; the mannish low 
tones could not be said to be out of character in 
a rdle that ia altogether unnatural; and yet con- 
trasted with that fair maiden face, with the 
sasthetic ideal su^ested by so beautiful a pres- 
ence, thoy appealed more to the superstitious 
associations of witchcraft and gipries, than to the 
artistic feeling. 

Sig. AuoDio, as the Count di Luna, a man 
heavily moulded physically, put a great deal of 
fire and energy into his part, and sang the music 
with a fresh, strong, ringing baritone, of which 
no note was ever lost Sig. Brignoli's muacal, 
true tenor continued to grow upon bts audience. 
His serenade in the first act ; Deterto luUa terra ; 
his dneC with Azucena, and his strain heard from 
the prison tower, amid the pauses of the Mwerere, 
— which are among the few sweet passages of the 
muac — were sung with good style and pathos. 
These four were so well seconded by subordinates 
and chorus, as well as by scenery and costume. 



that the performance as a whole was about as 
effective as Verdi's best admirer could have 
wished. Of course there were those, and not a 
few, with whom it took marvellously, and the 
managers saw thdr interest in repealing it on 
Wednesday n^ht, and in announcing it agsun 
(" for the last time ") for this afternoon. 

With regard to the music of 11 Trovalore, we 
must still say, what we know that many of the 
thoughtful ones in these audiences have felt as 
deeply as ourselves — (and by thoughtful ones we 
do not mean those who regard music frtan a cold, 
scholastic point of view, but those who have 
"warmth and imagination" enough to feel, ac- 
cept, enjoy whatever in Art does truly address 
itself to these qualities of our nature) — that it is 
a kind of music which aims simply to create 
txcitement ; il makes its appeal as to a jaded and 
iliu^ appetite ; it does not trust our wholesome, 
simple sense of beauty, nor seek to approach us 
through our every-day and natural sensibilizes. 
It must excite, astonish, startle, even terrify, and 
in the momentary outburst of applause which 
follows the identifyinn of such shocks with moH- 
cal means and processp!, it finds its cheap triumph. 
To do this it must assault the senses with lond 
and powerful effects; with brazen fortisiimos; 
with short, strongly marked dance rhythms, as 
the tragedy deepens; with hard-enamelled, flinty 
unisons, where passion would fain aeem at the 
white heat ; with ominous \lremolo3 of the orches- 
tra accompanying the recitatives. That Verdi 
has his own peculiar cut of melody, from Errmm 
downward, {vein we can scarcely call it, for it does 
not freely }?aic), and that this melody is brilliant, 
is ingenious, is effective, no one will deny. But 
it is hard melody ; hia musical ideas come upon 
yon steel-clad ; they are knights in armor, with 
their visors down; they may excite your young 
romantic fancy, they may overthrow you with 
their shock, but you feci not their warm human 
embrace, and their sool speaks not to your soul 
through Ibeir eyes. It is a kind of music which 
leaves the heart cold. We hear the opera through, 
we are surprised, sometimes excited, sometimes 
pleased; we go away, and what has it lefl with 
us ? Has it deposited anywhere in the recesses 
of our memory and our soul any of those honeyed 
secretions of melody and fancy and fine feebng, 
which will Sow out unbidden ever and anon as 
loog as we live, to remind us of a rich and deep 
experience? We doubt it. Since we have heard 
Don Giovanni, since we have heard " William 
Tell," &c., &c., it has been as if perennial flowers 
of music were implanted evermore within us. 
But if strains of U Trooalore haunt us, it is more 
as in annoying dreams, like impresnons stamped 
upon the senses, but still unaccepted by ihe soul. 



Death of Sir Henry Bithop. 

This most popular and most voluminous, if not 
in every sense the greatest Englbh composer, 
after Purcell, died on the first of Hay, at 
about the age of aeventy-two. He has been 
chiefly known rf late years by his fine Glees and 
Choruses, many of which are still sung and ad- 
mired, and will ever rank among the best works 
of their kind. But he has also had his day as a 
composer <^ English operas, which were much 
in vogue among his countrymen, before the new 
pasrion for Italian Opera made all such things 
seem antiquated, l^ere is a list of some sev- 
enty operas, operettas, ballets, &c., <^ which he 
was the author, wholly or in part, between the 
years 1S06 and 1824. Some account of these 
was given in our Journal for May 5th. He was 
long a leader in the musical affairs of England 
and shared all the honors. He was a Director of 
the Philharmonic Socie^ from its foundation, 
and fbr some years Conductor of the Concerts of 



Uigitzed by ViV^^^^Vlv^ 



'3' 



BOSTON, JUNE 2, 1855. 



Ancient Miudc He wa> profeaaor of Muac in 
the UniTenities of Edinburg and Oxford, Mem- 
ber of the Bajti Academy of Mu^c, and waa 
knighted by the Queen in 1642 (the (»ily com- 
ptaer, it is said, on whom that order has been 
conferred). In 1S20 he vaa tendered the free- 
dom of the city of Dublin. In 16SG he married 
the lady who is so widely known in thii country 
as Madame Anna Bienop. Of this unhappy 
union and the consequent septaration there has 
been perhaps enough said. The cause commonly 
asitgned waa, that Madame, being a fine singer 
and having been educated at the Academy, de- 
ored to sing in public, and that her husband was 
opposed. A son and daughter by this marriage 
are bolli living. 

Bishi^ is said to have earned more money than 
any other English composer; yet he died in a 
state of great pccuniaiy embarrassment- For 
some months previous to his death, there had 
been strong appeab made in the papers to the 
patriotic pride and gratitude of English mudc- 
lovers, and a series of benefit concerts, chiefly of 
his own compoations, was commenced in llan- 
Square and Exeter Hall, by Mr. Mitchell 



sinular 

of England. 

09 conducted 

to Tain hopes 

forwarding this 



who has also exerted himself 

series in all the principal 

One or more of these 

by Sir Henry in person, which 

of hia recovery. The Ttmei, i 

appeal, had the following appreciative remarks on 

bis artistic career and character as a composer. 

It cannot be asserted (hat Bishop was an idle 
man, or that he did not work hard to communicate 
all he possessed. No Engliiih musician has com- 
posed BO much — few so well, as Uenry Bishop; 
anil probably none has produced so many things 
that are likely to endure. In every bouse where 
music, more especially vocal muac, is a welcome 
cuost, the name of Bishop has lone been and must 
wng remain a household word. For these reasons 
we feel it a strong duty to plead his cause, and to 
proclaiiD bim among those who are entitJed to 
con^dcratlon for the benefits they hare conlerred- 
Who that has been soothed by the sweet melody 
of ■ Blow gentle gales,' charcued by the measures 
of ' Lo 1 here the gentle lark,' enlivened by (he 
animated strains of ■ Foresters, sound the checful 
horn,' touched by the sadder music of ' The winJs 
wbisde cold' — who that has been haunted by the 
insinuating tunes of 'Tell me, my heart," 'IJnder 
the greenwood tree,' or ' Where the wind blows,' 
which Rossini, the minstrel of the South was wont 
to love so well — who that has felt sympathy with 
'As it Ml, upon ■ iiLj, 
In the menj month of May,' 
admired that masterpiece of glee and chorus, 'The 
chough and crow,' or been moved to jollity at some 
convivial feast by ' Mynheer Van Dunck," the 
most original and genial of comic glees, wUl not 
be grieved to hear that the inventor of them all 
— and ihey were all included in Monday night's 
programme, with so many more of equal merit 
and beauty — is in sickness and distress, without 
money, and no longer able to toil for it, deprived 
indeed of all 'that should accompany olilagc?' 
To this we may add a few sentences tnta the 
obituary notice in the London Mutical Worid : 
I That we have had and haTemore accomplished 
1 and learned musicians than Bishop is unques- 
I tionable ; but that we ever could boast, with the 
I nnfHe reception of Furcell, a composer so 
, individual and so identilied with the sentiment 
I of En^^ish national melody, is equally doubtful. 
' DiBDiN was a melodist only; while Arne did 
I so litilc which can last, that we only remember 
I him as the author of " Rule Britannia, " " Where 
I the bee sucks," some of the urs in Uidta, and an 
I opera after the manner of his day* — an imitation 
I and not a very good one. But Bishop was not 



merely genuine ; he was prolific, and produced a 
great many things that are likely to endure as 
km^ as &B Art itself, which, iSter all, can only be 
said of a few composers. The melody of Bishop 
was a pure flowing spring that had its source in 
nature, and was, therefore, a gifb from above. 

Bishop was not, like Purcell, a discoverer; he 
did little, in short, to atlvance the Art; but he 
added to the stores of wealth which are heaped 
in Muric's granaries, and among the minstrels of 
his time Us harp was ever of the sweetest and 
most silvery. His tune was varied and abundant^ 
Now gay, now sad, now grave, now humorous, it 
ever flowed spontaneously. His vein of melody, 
as in the instance of far greater masters than him- 
self, seems to open without an effort. Nothing 
forced, esagierated, square cut, or otherwise un- 
congenial, was to be traced in his productions — 
we allude, of course, to his best, not the mere 
chaff of his labors, but the good grtun from which 
time has siiled it. 



DAY PERFORMANCE. 
Thifl CSatarday] Attdmoon, Jtme 3| 

AT THREE O'OLOGK, 
Tsrcll'l rB]rtr»tHl Lut uid OmtKt Opm, 

limi TKHiiiiiom,) 

EMciTsd Mondijuid WMtnndirnlgliiiiilihBnbnniltdoi- 

thnFlum. will bs raprmUd ft» Ih* laul timi, 

Sgaott imtFFANONE. SlitBoclnm TBSTTALI, Slnon 

BEUONOLI, AKOItIO ud ROCCO, tntb* 

prlDdpal nlu. 

Mniia] Mncrar aod Oondiutoi MAX HARSTZBK 

Stag* Huucer Amn DuiUDU 

PrimoT AdDilH>Ai.--BKiind S«ta In PirnnM, Pannct 
arclr. Bdcony, >iidnntC1n1«, Sl-fiOud SI. BecODdCti^ 
clu. X m-au.. Amphlthntn, IS nnu. 

skit m«T )» Hcund d (tu Hnrie Stan of E. H. Wiit, W 
Wubinfton St., ■ol on lln iltcnooD (< pnfMnium M Uu 



BOSTON THEATRE^ nALUI OPEBi 

l-HIBD AlTD LAST WEEK. 



Thf MuTiKKrr, mnmttgti bj Ihc llbtnl 

pioloDK their rBstftmnt £r ONE WEEIt MORE.' 

On HONDAY EVRNINO, Juih 4th, will ba performed, 

I.TTCBBZIA BOBtJIA, 

FOR TBS SEHEFIT OF SIONORINA VSBTVALL 

On WEDNKSDAT BVBNINO, Jan* 6tli, 

BIOOI^BTTO, 

]^)I the Ont (Une In Boit«B. 






ZL TBOVATOBB, 
And One Aot of B£UIBAHISB, 
R THE BElfSFIT OF SIGSORA STSPFArfOSE. 



Tba Tl-ket O 

The onlr «r 
BMr*, ud loelk 
||5-Donr«op 



I4ffl« of Uu TlHUn OS 
:t Open Booki ua tbt a 



It ol* >t W>d*'e Hiub 
lenoe nt 7Si o'dotk. 



B.S; 



>. ALLKN dnim 



. iHtuiLlton M Or 



[Wnnlit h 



OTTO DBESSI. 

le pluo, *Dd mar he KUrwvd mt the 
u : — KIO p>r qwrtrr of it leaioiu, 
u(tr of 13 UuoDa, ona ■ weak. 



L TROTATORE. ..." Stride ta 



QEOROE P. REfiD k CO. 



IL TROTATORE... 



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GEORGE P, RBBD k CO. 



TL TBOTATORB. 



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II. TROTATORE...," TueaUNotto," Trfun 
Jut pubUibod. OBOROE P. BBBD ft CO. 



TL TBOTATOl 



lEOKOE P^RESDit CO. 



JHUUer'i Piano-Forte Method.....Rei:ised hyKnorr. 
ir7~Cosipl*ti, Two Put! In One, S8. Bepmta, Tm Put*. 

•Kh. K. 

OLITEB DIT80K, lU VaiMn^toa It. 



WIIiLZAH BEBQER, 
PnlillBber and Importer of Iflnslc, 

Vo. BS West ith StTMt, Gtndnnati, 0. 

ixtt and Bdwt SiMk ef 
It Baalcm prlcaa. H«w 
u pnhll>bod. A Itbcnl 
diKoantgrutad to TrachFri. All ordm pnmptij atuindad 

DT-CateiosiuaHDtKratliWmBU. klgH 



Meller'g Piano-Forte Melhod....Jievutd hy,Knorr. 
■ mnviioed of Ita ■ 
I, FlmtU Callitt, 1 



F. F. MUIiLEB, 

DIRECTOR or unBIC AND ORGANIST at the Old Bonth 

ea!:lety, Uodsal Bdaeatlon BodalT, &b. ke. 

Rcaldiiuo*, So. 3 Winter Place, Boiton. 



MaUer'i Piano-Forte Method Reinsed hy Knorf 



NEW AEBTHETIO JOURNAL. 
THE CRATOnr, 

A Wwklf Paper daTotad lo ART, offeralfBalf to tfae attanttoB 
of all who are Inlareitad In tba alarillut and rrllnloi Inan- 
. .. ■— ong the eontrlbutori to THB CRATON 



alnadjar 

Ddurs, 1 









W. Blloita, Rar. Sabdh. Oeooon, B»t. H, W. B^J.a■^ Hon. 
CBAUMSDWia, and Dthanof out moat amln^nt •lilcii. A 

■enlptor, lIoMno QauROiiOB, add to the iotanat of The 

■had br STtLLMAH Ji DUR 

In adiana*. Back ni 



NOVELLO'S LIBRARY 
MUSICAL KNO^VLEDGE. 



Ilaa. Tnaalatad bj Siaiiu Nohlld, from iha original Oi 
man. The muilral aiauiplai leilMd hy T»c(i>i Novau. 
IFormar ptin, 42l.1 Tol. 1., Harmony and Thoraa|b-BaB, 
BSara. by Ball M. Voli. II. and UI., Gnl'- ■- " '■'— 



CATEL'S TREATISB ON HARNOHT. Traiulated bJ 
UiBr Conis Claeeb, from the original Franah. [Tor- 
mar pilea, at 16.] In paper impper 68 ata. by inall6T. 

IT. 
JlTOZART'a SUCCINCT THORO00H-BAS8 SCHOOL. 
"X Traoalalad from IhaOnmian, by SitiLU Nojiuo. Tb* 

#1 Tfi.] In paper wrapper 



hy maU 11. 

n. 

MARX'fl. DR., OENBRAL MtJBICAL INSTBUCTIOH.- 
An aid to Teaohare and leamen Ip e^ery biaoefa of Un 



I elaharatioce of rhythm 



OTlgliu] Oarman, axpraaiJy for NoTello^i IJbnry for the DlffO' 
ak'nofKnilaalKnovladge, [former price, WTS.] Boondln 
oloth. priaa «1 «1, by mall >1 76. 

•,a Of thU work Ilia lan» edldoni baTO been printed In 
Gerniao,htf^dai being reprlntedln Knglaod. It rompTahrodfl 
mlbate aaplal aflona of arary mai4rar matter, from the aim. 

or aompoalLlon, adkilbi parlOri 



original Tranoh. Tba 



^ui, from the 



Tlwd by Mr. Jonta PimiiP, Omnlai of Uncota'e Inn.— 

SPormer prke, BT 88.1 Boond In elotb, prka •! O, by ntU 
II T5. 

HOTEIXO'S SACBED MUBIO WABSHOUBB, 

889 BBOADWAT, NRW-TORK, 

And at W Daan atteat, Boho Bqnan, and 2( Ponltiy, Londan. 



ol Dhtetar, Kttc- York. 



Uigitzed by V7V^*.^Vl^^ 



'3' 



72 DW 

ifaUer'i Piano-Forte Melhod.....Revited ftp Knorr. 

"It ta ht npertor to dl otb« vMbsT ttwUnl."— Jnf. 
Krtiumtnn, Tiatlur, Bailon. 

JOHN SEWARD WRIGHT, 

pianist, ®tganist anH JBimtoi nt ^lult 

AT TUB MOBIC HALL, (Hit. TntOBoM P*mm'» Bocnn,) 

aiVSE INSTRUCTION ON THE PIANO. 

BMtdnM, 18 AtMT SOMt. 

Maller'f Piano-Forte MelAod.....Reviied by Knorr. 
" I neoDiDiMil UUIIo'iUMbiid bdbn ill oclwB."— CIbiIu 
Anurgt, nmJur, pauan. 

PIANIST ARD TEACHER OF MITSIC, 

OFFBRS hiB a*rTk« h mo Initmctor Id U» tdffhn brmDffbv* 
of PlnoD pU^tng- Mr H. ml/beridrlwwfMttlHBiorto 
•wm of Nil UH Kiouuun, 383 WuhiniUu St. oi O. P. 
RiiD k Co. 17 TnmoDt Hoir. 
Hinukcia:— Un.O. W, Lorfng, 38 Ut. TemonSt. 
UlM K. I. PriDc*. B*l«, 
UlMHkhali, ajBoothSl. 
HlH Hij, S f naklls Pl». Fib. tS. 

MaUet'i Piano-Forle Method. Revised bg Knorr. 

" Tit pupil enldgd bj tbit ou sat Ikll of bMomhit u u- 
oompllihed pnTbrmflr." — Bcaio* Traiucript. 

THOnAS BTAN, 

TEACHER OF MUSIC, 

RBaiDBKCE, Hi. K BIX PLACE. 

liaUa'i Piano-FijrU Method. Benitrd ty Knmr. 

*^ Evsa Did pla^BT< wD] dHB It m Ttliubi* oompulOD.^'^ 
OmttiaH Ftt«nan. 

^OB_FRIfiTING neatlj and pmnifU j tacnted at Ibis Oice. 

MiiOer'! Piano-Forte Method Iteoiaed l«/ Knorr. 

^ A DCmi^tB &Dd tyiiEaiDfttLa work of grHl Tmln* 10 oror; 
■tniUBt.''— J/. W. Setrt, rnubr, Avfini. 

B. D. AI.LE1V, 

TE^CBEB or THE PIANO-FORTE. 

IcUcn llncUd etn »t NkthiB Klehudm, Eiq. 281 Wuh- 
BanKivoB) —Otto Dnol, I, HiBdlton, 1. 1. BucixidiEiq*. 

JIfilUs-'i PioRO'fV-tt Method Reviled by Knorr. 

"TlM Boat ooDpnhnvtn """"^ oT mulo m 1ut4 jot 
•Ml."— ^Vfwrort Aiilr n'mu. 

L. H. SOUTHARD. 
TEACHER OF RIKTSIC, 

MS -VrulilMvtaii Btnat, BoMmi. 

3fiUb-'i Piano-Zbrft AfcfAnd Revitd by Knorr. 

" t( hH ilinTi takn ■ Ugh nnk UOBC tMOtwn la Cn- 

mpo."— flinJ Z. H-cihI, nulB, ftost^ K r. 

L. O. EHERBON. 

Stuin nf tft ^(tnc- j^artt, ®isrt, ft iSfnging. 

OKQANIQT ANS DIREITTOR 01 KUSIO AX 

BDLFINCH STREET CHORCU. 

Uatt Rmm mdtr thi OmrrA AiiiitiiKt, 12 Indiana H. 

BosTon. 

AppUcatbHUBiu'klMi bt mula at OUni UImhi'i, US Wuh- 
iDgtoD St., to whom ho la penolttod to nfer. 

Malier'i Piano-ForU Method Revital bg Kmtt. 

" IT iba atodaDt I) sat an KranpUabad idanM, H iriU ba do 
ftolt of tba ■Dllkor."— &)i((il-£i>jlM Oaatiu. 

CHICKERING & SONS, 

HANUTAOTUKBBS Of 

PATENT AOTION 
ciRANO AND 8QUARE 

or EVERT SEBCBIPTIOIt. 

IF ABEBOOISS 

TREMONT STREET, 
l«tl» BOSTON. IT 

UWter't Piano-fiirte Method Rtviied by Knorr. 

" UBaarpiaaall ■« a tjtttia or Pbno-Vorta iDatraeUoD. Wc 
Mrflallj neommand It."— JV. Hnwr SuMrttlar, iM^vi* 
Lemrgitn K«ry D. Bal^, J. QuiHcy WttJurbu, FtUx »■ 
KIM, Ttachiri ^ Unlit, Catinmati, OUa. 



IGHT'S JOURNAL OF MPS 



IC. 

ORGAN-HARMONIUMS, 
MASON &. HAMLIN. 

rpHE Organ -IlariDiiDlum la an antlrrl)' naw (patant) 

rnwi of keva, and alght atnpa, ■■ tnUoniv-l. Dlapi 
T>a1rlaBa; 8 FHnf Ipal ; 1. Vlota; E. Bonrdan; fl. n 
T. Bapn^OD ; 8 Oouplar. It la daaiiaad nan rprtlillT l« 

ba11a,haTlBi povar unkjaqnal In a tbimKnd dollar organ ! 
It la alH> Fapabia of manj aoUHaffacta, and haB great Tlirlety Id 
tb* jiropartj or qaalLry of tona- It la aapadalCr adapEad to 
tha uae ot organ-taacbaTa and atndaDta, balog an adnlrabla 
luballtn La for organ -pracUca. EiamlDallmi Irom all lnl«a«ad 
la raapastlbl]; aollclud. 

Hsson A Hamlin'i Model Melodeont 1 

eonntrr, laa avrmoa to all Dtban,) among whom *a ama 
tba IMIowiiu: Lowell amm, Vm. 3. BradliDiT, Oaorga 
Root, 0. wTllont^n {late organW lo tba Harwionlc Hnlo . 
Lonilon), a. A. Baocnfti L. P. Bonar, U U. Soultuid, X. 

PrlD«i from MO to *17S. 

117' CInnlan nntaliilnf; a foil daacripHon ol 

Hflodaona aant to mj addnaa, on appllcatloa to Eba onder. 

HIXHT KUOK. ) HABOK * HAMLIIf, 

iMaoRS Bamiv. f Omtrvfrf fir. (cor.a/C*ii>(u,) Auim, Jff. 

MUltr'i Piano-Forte Method Rmiied ^ Knorr. 

"Tba tnatmrlloni an elaar, fSU, and adantUcallr kcb- 
rata."— JVtw Yort Uiuiiai Jtanna. 

OABZ. GASTNEE, 
TEACHER OF tttuaiOj 

Haf ba ftnind at Ko. U Sorai SIraat, traij (anBOOb balman 
Band 10. 0*14 

MaUer'i Piano. Forte Method Smtied by Knorr. 

■'Ha?1ng vltntaaad lla nnlranal aiiKaiw In Baropa, I n- 
ocanmand It with pkaanra."— J. lynUr^ litdUr, Ballon. 

C. BBETT-SINO, 

IMPORTER OF FOREIGN MU8IO, 
TOl BROADWAY, NEW TORE, 

Depot of Erard't Grand Pianot. 

OIBCnUTINa MUSICAL LIBEABT. 
Q^ Oonatantlf on band a eomplata 

M&Utr'i Piano-Forti Method JUviitd b^ Knorr. 

" Batter adaptad Rw iDitneUon than an; otiiar weik of Ibe 
Und."— 7. H. Kiwi, Ttadiir, gacrga ma n. 

ADOLPH BAUMBACH, 
■r£A.OHEXt OF THB PIAITO-FOBTB. 

AppttcaHnxubenadaM Baad'i Kiule4M«, at at tb* 
HoiKilk Houaa, Roibnij. Sapt B 

jroasr-a Piimo-Farf Method Radiad by Knorr. 

tant."— £.. W, Uusa, Traikir, LninlUi, Ef. 

J. TRENKLE, 

TEAOHER OF THE PIANO-FORTE. 
Rcaldeiua No. Bfi Kusslnmd Itraat. 

MHHtr'i Piimo-Fortt Method Rmieed by Knorr. 

"Thla Hatbod libeaad cm Ibe anbdaM prbielplai of taaeb- 
fnj.ij — Jtf ari m l World and Timti. 

SCHARFENBERG & LUIS. 
IRIPOBTEBS OF FOREIGN MUSIC, 

Vo. 769 BBOASWAT, ean«r af Flnth St. 

MEW TOEE. 

MSStr'i Piano-Forti Method Rtvind by Knorr. 

«Tbe bett ant pnbUihed. Naada onlr to ba known to ~ 
nnlnnallf adopted."— i. O. EmrrnBi, nouUr, Biata*, 

O. •"• OXa^LXI^EZI, 
TEACHER OF HiraiC, 269 Washington G 

BB8IDGHaa...,13 SBAWKIIT STREET, BOSTON. 

MS^er'* Pimio-Fortt Method Setiiie* by Knot 

"A latWT o( iDiMlaublawoitbtoDDcgiowlDglOTaaf t 

TEBMS OF ASTEBTUINa. 

ttratlnaaitlon, par line 10 eta. 

Each nbaaqoant iDBrrtlon, per]lna...,........GFta. 

JaroBaeolnJDB.tUSllnaaillntlnaaHtaB >U.CO 

Do do eaebaabaaqseDt....>fiOO 

Sperlal notieta (leaded), tub InaarttOD, par Una iOela. 

PaynaDtt nqnlred In adiaiua : (01 jmrij adTectlaaBMB 

qnartarlj In adTanoa. 

WoTar^H O Oti" BTaBETT " 

Uicjitzprl by VIV.^'^^VIV^ 



SUPERIOR TO ALL. 

UGHTE, ICWTOV mADBURrS FUH08. 

KATHAN RICHARDSOK 

BlanU/ ba kept at bli 

musicaIj exchange, 

282 Waahingtaa Street, Boston. 

I, *>r Iraoapwtadc- -"- 



laiiH. ^iKi, SEW HOaiC ftoo all p.™ of Bnrope and 

miaj of Sbnt Unrfc u ba finnd in the Dsiled SCatea, Tha 
alwaji on band.— PIANOS TO Lin, m ItteroJ lermi. 


MSlUr' 
"Fort 


Piano-Forte Method. . . . 
natelT a Method which we 
nwighfi laiBnai of Mmic 


ReviKd 


byKnon. 



KB. HAHBIBOH WTI-LABP, 



TEACHEB OF ITALIAN VOCALIZATION, 

no. e Tjler Bt Terma CfiO per qnirteT, 



MvUer't Piano-Forte Method Recited 6y XhoiT. 

" Wllbonl harftaUon T pnioonnsa It a iDpailot work."— 
Clua. F. HnOcrtr, Ttacker, Btttmt. 



PATENT AMERICAN AOTION 

PIANO-FORTE, 



MUlUr'e Piano-Fhrle Method Raiiied by Knorr. 

" It la rn parlor lo UUnlen and Berdni'i method, oombtBod." 
—Htnry Dauglai, I>ac*ir, LouilvilU, Ey. 



TOUIC UIES' TOCU lUSIC SCHOOL 

B. R. BLAJICHARD, '^aackar. 



MUSer"! Piano-Forte Method Reviaed bf Knorr. 

*^ An elaborate and raluahle dlieelozT to the ait of piano- 
plajtof ."— Boiloii IVaiwUw. 



MR. J. 0. D. PARKEE, 



glTe lulnnlon In Plano.Ibrte and 

.... Dd IbaThaottorilinlo. AddreM;— 

Ho. S Hajward ^laaa. Ma; 26. tt 



WILL b* bappr te gl 
Organ atarlnt, and 
Ho. S Hajward Flaae. 



MMei'i Piano-Forte Method Rteited by Knorr. 

" The *« tut plana tnttmnot anr pobUahed In thia 
oonnUy."— Maotetr. 



MEYER & TBETBAR, 



MWer'i Piano-Forie Mdhod Reoiied bf Knorr. 

"It eonUlna aU that la required fv Ibe aeholar, and mneh 
ftir the teacher."— Jdolp* EiitUock, Tiorirr, Bovon. 



Iff jioa wlab to laaro to pla; In the ahoruat Uma poaalble, bnj 
RICHARDSON'S 

nmsM SCHOOL roi the piiio-roaTi, 

wblcb la acknowledged bj tha moat eminent mrulcUnB ol 
Europe and Amerla* to ba tha BEST InKmallaii Book thai 

0~PabIlahed at the UCSICAL EXCHANGE, Boaton, and 



MtUItr"! Piano-Forti Method Reviled by Knorr. 

" A gnat hnpimemant on all (ba boob at piano Inalnw- 



Me. J. Q. WETHERBEE, 



MCTSIO A-NP JOB PBUTTOfO OPPICll, 



ittiiglifs |0ttttiml u|(<Pttsk, 



Whole No. 166. 



BOSTON, SATURDAY, JUNE 9, 1855. 



Vol. VII No.'lO. 



PUBLISHED EVERT SATURDAY. 

TEBJIB : By HMl, «9 p«r Bnniiin, in adTanoe. 

■Wb»u left by Ourlar, SS,60 " 

J. S. DWIGHT. EDITOR AND PROPRIETOR. 

EDWARD L BALCH, FEINTEB. 

r^ OrwiOB, So. ai BidioOl Btr«et, Boaton. 

SUBSCRIPTIONS RECEIVED 

Allha OIFICB OF PUBLICATION 21 Scliwl SI. SoMon. 

Br NATHAN RTCBAKDGO!<, SSS Wuhlnfton St. " 
" OKOKOE P. RK£D k CO,,.lSTnmDDIIIow, •' 

•' A.M. LKLAND, PntldraiH, R.I. 

" C. BREUBINO, TDlBrowlnj.Hnluk. 

" BUUAKFKNBE^ & LDIB, TSS Bn»d«>;, •• 

•• OKOROB DnTTON, Ji R«ta«tir,N.T. 

" O.ANDnZ k CO.. .leSoDthHbitliBt. PtdLulelphk. 

u JOUN H. HBLLOK, _. PiLWIlDr*, Pl 

" MILLER ft BBACHAll,..lSrBaltimenSl. Bultlaion. 

" COLBURN k FIELD, CiccliiwU,0. 

" HOLBROOK ft LOna Cl(TEl(nd,0. 



BeetboTcn's SymphoniH 



Tbc deepMt in^gbt into tlie nature and pecu- 
liar character of anj Art is only possible when 
this Art has reached ils culminating pdnt, and 
when its efficacy is the greatest Thos the Greeks, 
to whom the deepett nature of the piaMic Arts 
and erf' Poetry revealed itself in tb^ statnes of 
the gods, in Epos and in Dnma, attuned to no 
deep percepti<m of the nature of Music, since 
they posseeeed do real musical art. Mu^c in its 
distinctive cbaracter, as afterwards devek^ied, 
remained to them a closed dtaoain. The same 
was true also of die first Christian centuries ; in- 
deed w« can only spe&k of a really classical art 
of Muse nuce Palebtbina. As with the Mu- 
sical art in general, so with the special kinds of 
mumc. The nature of the so-called eccleaasticsl 
and spiritual munc was already, with Bach and 
Handel, in the middle of the last century, un- 
folded in its full pecuUanty, without their so much 
u dreamixig at that time of the immeasurable 
meaning and tmuupotence of the pure Tone- Art, 
that is, of Instrumental Music ; in ^t this still 
remained a riddle, when dnunatic song mu&c 
had reaubed ito blooDi in Gldck and Moeabt. 
For then Bbethoten had not created the Eroiea. 
In this work did the genius of pure music first 
begin to unveil its deepest, inmost nalnre. 

The world now recognizes Beethoven as the 
true Meniah ttf Instrumental Maac, and in him 
the essence of this form of Art is manifested in 
the roost comprehennve and the deepest manner. 
And then agun Beethoven is the tone-poet, who 
has most richly dereloped the single branches of 
iastnuncntal music ; the solo Sonata not less than 
the more comprehenslre sbing Quartet, and this 



not more than the gigantic woi^ of Symphonies. 
But it ia the Symphony above all, wUch has glo- 
rified the name of Beethoven ; in that you think 
involuntarily first of Beethoven; he and it have 
grown together by aa intimate a tie as Goe- 
the and bis "Faust." Just as Goethe's pecu- 
liarity is revealed to as most deeply in his deepest 
work, the " Faust, " so Beethoren's Symphonies 
^re us the deepest in^bt into hi* nature, at 
the same time that they reveal to us the inmost 
peculiarity of pure Tone-Art, its richest fulness. 
Let UB approach then these creations, with the 
hope to gain a genial image of their general and 
special characteristics, which may fill us with ad- 
miration for the creative power of the master and 
for the loily signification of his works. — But 
first a brief consideration of the immediate pre- 
decessors of Beethoven in the realm of Sympho- 
ny, of Haydx and Mozart, will be useful. 

Havd!{ is the acknowledged fbander of the 
Symphony. The Symphony developed itself in 
lum out of the pianofwte Sonata, and one may 
safbly call his symphooicit, of vhiii. be has writ- 
ten a very great number, Sonatas for the (»t;bes- 
tra. And tbte in regard to form, as well as sub- 
stance. The forma of the Haydn symphonies 
seem, in comparison with Beethoven's, small; 
the mngle pieces (movctoents) of these works 
move in scarcely larger lorm-relatious than we 
meet in Sonatas for the pianoforte. As to the 
subjcctrmatter of the Haydn symphonies, k is 
throughout quite ample, at bottom not essentially, 
specifically distinct from that of the Sonata ; ils 
horizon limited, in comparison with the boundless 
perspective in Beethoven. We recognize the 
difference here between the child's and the man's 
circle of -vi^on. In these tone-works we find 
expressed the careless cheerfulness of the child, 
fats playful joy, bis wanton, roguish humor, not 
the deep earnestness of manly life, not the proud, 
self<onscious joy of the man. 'n'here Haydn 
oversteps that child-like sphere, where the child 
seeks to play the part c^ youth and manhood, 
tiiere appears his limit This is proved by a 
Symphony of this master, which he has called 
the '■ Militaiy Symphony. " The sobjecl-malter 
of this work has not in the remotest d^ree the 
military character, unless yon m^e the roll of 
drums and crash cf trumpets in the second 
movement point to that; but even this passage 
seems so naive, so corresponding with the whole, 
which is pervaded by the mut child-like, hann- 
len spirit, a* to betray at once the innocent and 
playful child, concerned about nothing less than 
military matters. But in that limited sphere 
Haydn appears so rich, so multifiuious, so sound, 
and so original, that on this ground itself, as well 
as on the ground of his significance in the history 



ot Art, he is justly counted among the heroes pf 
the art of Music. 

It is a consequence of this peculiarity of 
Haydn's artist nature, that his orchestra wants 
the significant individual richness of Beethoven's. 
The child lacks the individual significance of the 
man's organs of expression. And so in the 
Haydn orchestra we miss the lifesome character- 
istics of the single instruments, the use of each 
according to Ita peculiar nature. It is merely the 
alternation c^ the sensuous charm and of the 
coloring of the instruments, which determines 
their separate introduction ; it is not called out 
by any inward DecesdQr <^ lending to a precise 
ideal aubject4natter, thia or that precise expres- 
non through this or that precise instrtunent 
Hence in these tone-creations the dramatic soul- 
life of Beethoven does not unfold itself; the pnre 
lyric element predominates. 

With MoKAST, too, the Symphony is still 
thoroughly lyrical. Otherwise, however, Mozart 
distiugulBhea himself entirely from Haydn, at 
least in his principal symphonjes, both in form 
and BubataDce. The form of kis leading works 
in this kind is larger, broader, although it is es- 
sentially the Haydn form, in contradistinction to 
the freer form of Beethoven. The working up, 
or treatment, as it is called, is richer with Mozart; 
indeed in the last movement of lua great Ode 
Symphony he wrate a fugue composed ot four 
independent themes. In regard to subject mat- 
ter Moxart distinguishes himself from his prede- 
cessor by greater rignificance and depth. It is 
enough to allude here to the G minor symphony 
of this roaster, in which work Symphony first 
takes for its theme the earnestness and sorrow of 
roan's life, and in which there resound moods &i 
removed fromHaydn's child-like nature. Accord- 
ingly the world of instruments in Mozart's sym- 
phonies becomes a richer, roore inspred world. 
We miss the individualiang power of Beethoven, 
but quite as little do we find the innignifi'Tint and 
child-like play of Haydn. In the " song-delight- 
ed," " soD^bounding" Mozart the uogU instm- 
ment apfvoacbes the exprassioii of the bunan 
voice, it acquires a soul. And now that instru- 
mental music, or ntker now thai the genius of 
Symphony had, in the final fugue of the C mq'or 
symphony of Mosart, so subdued and spell-bound 
the severe elements of CounteipMnt, that these 
could receive into themselves the charm tf Melo- 
dy ; now that free Melody bad so got the npper 
band of the strict form, all was ready for the 
Messiah to appear, who with new subjectfuatter 
at the same time created a new form. Tint Mes- 
siah was BzEiHOVKK. 

But tuA in his first symphonies does this Mes- 
manie character show itself^ it is only in his third 



Uigitzed by V7V^*.^Vl^^ 



'3' 



74 



DWIGHT'S JOURNAL OF MCSIC. 



Bjinphoay, in the Eroica, u we have laid before, 
that Beethoreu b^oi his epocb-niBkiiig career. 
The two first BympbonieB of Beetbovea belong 
ementiallf to the fint epoch of hia artistic crea- 
tion, ia which BeediOTeD 'a not yet himaelf, in 
which he BtiU wAlka mainly in the paths of his 
forcruDners, Haydn and Mozart; ta that these 
works might be in many respeL-ts ascribed to one 
of these two mastera ; a remark which beara applica- 
tion to the chamuDg Septet and to the first Sym- 
phony. One who can feel as high a degree of 
enthusiasm Ibr these works, as for the later pecu- 
liarly Beethoveoish creations, gives evidence that 
he has oot received into himself the latter works 
with true feeling and understanding, and may 
take aleuon from Beethoven himself, who regret- 
ted having written his first twenty works. Never- 
theless, ex iingue Uonem. Already in his first 
works the later Beethoven does not deny himself; 
the genius flashes through them here and there. 
This is especially the case with the symphonies, 
which we are now to consider in an KSthetJc 
point of view. 

The firat Symphony (2lBt work) in C major 
gtill breathes the Haydn spirit altogether; it is 
distinguished by a certain child-like feeling ; a 
careless, guiielesa cheerfulness pervades the 
whole ; a purely lyrical outflow of feeling pre- 
dominates in the work ; the forces, which are so 
active in the completed symphonies, stjil slumber; 
as yet no presentiment of the coming greatness is 
awakened. How could Beethoven, when he 
wrote this work, have anticipated that it would 
not bo very long before he would compose the 
Eraiea and finally the Ninth Symphony I In Beet- 
hoven's first symphony we have throughout the 
Haydn form, as shown especially in the second 
and fourth movements. Nor does the instrumen- 
tation enjoy as yet (he ^'gnifleant individual life 
of the complete Beethoven creations ; there is no 
pregnant characteristic stamped upon the instru- 
ments ; all is still too colorless. This follows from 
the spirit and contents of the work, from the 
whole artistic step of development, on which it 
stands. The child cannot yet show ihe individu- 
ality of the man. And the first symphony is 
filled entirely with the child-like spirit But 
even in this work the bold originality of the mas- 
ter announces itself palpably enough, and in a 
remarkable manner at the very beginning. The 
firstchord of the symphony isa dissonance. Sig- 
nificant indication of a genius, which has been 
called one steeped in sorrow, but whose real na- 
ture was not sorrow ; or rather it was (his, bat not 
only this; it was joy; and that too not without 
sorrow; but such joy as is bom of sorrow, the 
fulfilled, highest joy, joy achieved through strug- 
gle. And so that dissonance proceeds to resolve 
itself into pure consonance. And so we find the 
ideal, oi^nic relationship of the child-like C 
major symphony with its later sisters, above all 
with its last aster, the Ninth Symphony; (bus 
it stands no more forsaken and alone t^ere in the 
Beethoven world, it reaches its hand out friendily 
to its rasters. We take this hand and with it we 
approach the second symphony, in D major (36th 
work.) 

It is another life tliat comes to meet us now. 
There is youthful fire in these tones ; there is a 
bold, spirited, self-conscioos marching and storm- 
ing away upon the arena of Symphony. 

Here, on the other hand, we have a love-intox- 
icated yearmng, a dreamy langnisbing and tender 



supplication, which oflen seems to lose itself in 
sweet self-forgetful ness. But then ag^a it roars 
and storms away in yoothful extravi^nce, in un- 
bridled ecstacy, as if to enjoy thns the fulness 
of its being, of its power. A tj-pe and compen- 
dium of true youthful life. Beethoven in this 
work has ripened from the child into the youth, 
and this sketch indicates the ided purport of the 
second symphony. Courage and energy is the 
main character <^ the first movement ; the tender 
longing and sotV languishing of love are mirrored 
in the thoughtful LarghetCo in A major; unbri- 
dled joy and youthful overflow of spirits in the 
third and fourth movements. So storms away, so 
loves and so enjoys the youth. But the youth's 
circle of vision, the field in which he moves, is 
larger and more comprehensive than that of the 
child ; the youth breaks through the narrow limits, 
which are set before the child, and moves in 
freer paths and forms. And so Beethoven ne- 
cessarily in this work proceeds in larger forms. 
Hence all is more e\tended than in the first sym- 
phony, the periods become richer, for the master 
has more to say. To be sure, the pure lyric 
principle prevuls decidedly in this work ; the 
Lai^belto is kept lyrical throughout; but in the 
Erst and fourth movement the dramatic life pene- 
trates into this lyric palpably enough- 
Beethoven already begins to move inoppo^tes, 
although these oppoentes itill lack the pregnancy 
and the decision, shown in the later symphonies, 
1 may allude here to the two leading themes of 
the first and last movement, which reveal the 
contrast of the spirited, the resolute, the strong 
and self-concentrated on the one band, with the 
mild, the soft, the gentle on the other; perhaps 
one might say of the masculine with the feminine ; 
whereas in I]te themes of the fint symphony no 
marked difference and peculiarity appean, but 
rather a certain homogeneousness of character. 
But all this necessarily, as we have said, is con- 
ditioned and called forth by the peculiar idea of 
this work. And this also causes, that the worid of 
instruments in the second symphony is a richer 
one, more fondly individual and more inspired. 

If now Beethoven in (he second symphony 
appears a greater man than in the first, if already 
" the^»gle soars into the space of heaven, " yet 
it is only in the third symphony that he first soars 
vrith complete success. 



Terdi'B "Bigoletto." 

RigoUtIo is rather tragical. A frivolons duke, 
full of cursM and anathemas ; a mad jester, 
elopements and rope-ladders, seduction, a lady of 
somewhat easy virtue, banditti, and a very sus- 
picious sack ; all this, in our opinion, is far from 
comic. But is (here not some merit, that the 
composer has somewhat softened all this horrible 
stufi^ b^ Ihe adoption of a lighter character in 
his music ? There was a time when it was quite 
fashionable to attend the performances of such 
tragediea At that time the romantic school of 
Victor Hugo had, at last, triumphed; and the 
Farinan public hailed the powerful genius of the 
author of Ernani and similar works. Time has 
swept away the romantic school as well as its 
founder; (poor Victor Hugo! his love of the 
romantic, even in politics, has driven him into 
exile;) but unfortunately, it has left one of his 
darkest works, Lt roi s'atnuse. Verdi, who was 
fond of the romantic horrors of the French, and 
even of the German school, and owed (o them 
one of his best inspirations, Ernard, chanced one 
day to find the above, now almost forgotten trag- 
edy of the French dramatist, and at once de- 



cided to make an opera upon iL But as the 
French names, and otner accessories of the orig- 
inal, would not answer for certain mnucal pur- 
poses, the plot had to be Italianized ; and instead 
of Le roi s'amuie, the public received Rigoletlo. 
The plot, which we copy, is neariy the tame. 



.. pasEionaie love for two Itesulirul women 
Counte&s Ceprano, tlie other an inecgn 
Jester, ttie hump-baclied Ripolelto, SUggCStB that he 
should steal the Coantcss away from her husband, 
and dispose of bim by poison or otherwise. In the 
midet of this conversation, the Count MontProne 
forcibly enters, sad confronts Ihe King, df mnnding 
reparation for the dishonor of bis house ihroaeh the 
shame and desenion of his daughier. Tlie Jesler, 
mimirkint; the voice of the King, scome and ineulls 
the old na>>te, who, repelling Ihii insult by indif^nant 
words, ii seised by order of the King, and conveyed 
to prison. Ere he goes he solemnly curses the heart- 
less Jester, who coold mock (he sorrows of an ago- 
niied hesrt. The couniers, even with all their 
habitual morsi inditftrence, were oatragcd at the 

insolence of ibe Jeslrr. Each of them h""" 

wrong to right, loms bitter, pointed sarcas 
sent; and, with one accord, they vowed vengeance 
upon Bigoletto. One said that the hamp-tHicked 
buffoon had a miitress whom be loved, and it was 
determined that night to steal her from him. Kigo- 
lelto, in Ibe duak of evening, with the curse of the 
old lord weighing heavily on his heart, goes towards 
his home. lie ie accosted by Sparafucile, a brnvo 
by prafcaaion, who, seeing his ironbled look, offers, 
for ■ small sum, to put an enemy out of his way; 
saying, (hat he keeps a retired inn, and that bis 
Bister, who is veir hcautirni, lures tbe victim into the 
house where he is qnlelly made away with. Kigo- 
Irtlo refuses his assistance; bat takes his address. 
He approathea his homo, and meets near by, not his 
mistress, btit his dsughter. He urges her to keep 
close within the house ; and after a tender interview, 
he leaves her; when the Duke, who has tracked his 
incognita from the church, steals in nnperceivcd, and 
hears that she bss observed him often, and loves 
him. He makes himself known to her as a young 
student, and vows of motaal affection are ezehanged. 
Hearing fiiolstepa, he leaves, and she enters the 
house. Maskers approach ; they ate the causpi- 
rators come to steal away his soppo^ed misircd ; 
tlicy are about placing the ladder agsiust the ter- 
race, wlien Rigoletto enters and discovers them. 
They pretend that they have taken his advice, and 
have come to steal the Countess Ceprano; that he 
must assist them. He agrees : Cbc}| put a mask on 
bim, and tving it with a handkerchief, literally blind 
him. While Ih^ ascend, he holds the Udder. They 
come forth, bearing away the Jester's daogliter, who 
screaming in despair, invokes her father's aid. The 
Jester, tearing sKide the bandage, beholds hit 
daughter in Ihe arm* of the conspirators, who bear 
her away in triumph. Gilda is borne by die consju- 
rators to the palace, and placed in the aparlmenl of 
the Duke, who is wild with delight at the nnex- 
pected appearance of his beloved. Klgoletto pur- 
sues hia enemies, and at last tracks them to the pal' 
ace; he seeks tbe Duke, but the courtiers stop bim. 
They learn that they have mistaken the daughter for 
(be mistress, and half regret the part thev have 
plaved. Suddenly, Gilda mshcs from the idambcr 
of 'the Duke into Ibe arms of her falber. They 
qnit the palace, Bigoletto vowing a terrible ven- 
geance on the Duke, Tbe plan is laid, and ihe 
scheme begins to work. Tbe Eistcr of ihe bravo, 
Magdalen, has been thrown in the way of tbe fickle 
Duke, who. quite forgetting Oilda, throws his whole 
soul into the pntsoit of the new beauty. At last, 
the end of the contemplated tragedy approaches. 
The Duke is to visit the honse of Sparsincile, who 
agrees with Bigoletto to murder him, place his body 
in a sack, and deliver it to Rigoletlo at one o'clock. 
The Duke, disguised, arrives, and becomes more 
wildly enamored of the beautiful Magdalen; Bij^o- 
letto and his daughter Gilda observe and hear him 
througli tbe open window; Gilda is heart-broken at 
the falsehood of her lover; bnt Rigoletto bids her 
be comforted — she sbatl be avenged. He sends her 
borne, assures himself that the bravo is tme to him, 

lain, bail, thunder, and lightning ; the Duke vows he 
must slay all niglit. and Ihe bravo consents to let 
him have his bed. The Doke retires. In tbe mean 
time, Gilda, di^euiscd in man's allire, approaches 
the bouse stealthily; she could nol rest; she fears 
for the life of her faithless lover. Trembling amidst | 
the pitiless storm, she overhears tbe sister pleading 



Uigitzed by V1V^*.^VIV^ 



'3' 



BOSTON, JUNE 9, 1855. 



to the brothsr Tor the lift of th« handione itraoger, 
whom ihe bM iMnied to love. Tbe br«Ta Myi hii 
honor is concerned, and the man maat die and be 
delivered at one oVlock. But ho ronsenti at lait, 
that iF anj bodj else thoatd amre before that time, 
va make JitM the victim and ipare her lover. The 
clock strikes half-pait twelve; Gilda bean ic; there 
is DO lime to be lost. In the pnrenesi and holiness 
of her lovB, >be determiDei to give her life to save 
h!*l She knocki at the door, it openi; she eotets, 
it ii closed. Rigolelto advances in the storm and 
darkness, knocks at the door; Sparafarile brings 
forth the SBcIc, receives his par, and retires. Bigo- 
letto, gloating over the Idea of his consammated re- 
venge, before commhllng the 
"to untie the sack that h 
, when from the hons 
vwce he know* — the voice of ihe Duke. Whose 
\xtdy is contained within the sack? His hands 
tremble, his heart beats, and with a cry of horror, bj 
the aid of tbe flashing lightning, he discovers the 
featnres of his beloved child I She still breathes; 
and blessing her lover and her father, dies in hia 
anna. The cnrse of Monterone Is accomplished." 

The appearance of RigoUtto in Itair, Paris, 
London, &nd Viennft boa been marked with suc- 
cess ; not one of those biilliant successes which 
■ccompanied Emahi through Europe, but a quiet, 
acceptable succesa. It hM pleased, eapecialljr 
wbera tha rAle of Rigolelto, which requires an 
Klor of the Erst order, has been committed to 
able baoda. But ita socceM moat be attriboled 
not alone to this, but also to some charming pieces 
of music contained in the opera. There is, for 
instance, the duo, Gilda and the Duke, in the 
first act : Signor re principe, and tbe succeeding 
verj brilliant and grateful aria of Gilda : Caro 
ttotnt cht it mio cor, which must sound very 
agreeably to dilettanti, and which will prove very 
efteciive. Tbe rOle of the tenor is decidedly the 
beat treated by the composer, to far as rej^rds 
melody. Tbe aria in the second act, Parmi veder 
le lagrime, and the canzone in the third act. La 
donna k mobiU, prove this sufficiently; they are 
the freshest and the most natural in the opent.— , 
The part of tbe baritone (Iti^lelto)intere8tsmore 
by the dramatic resource* it calls forth than by 
happy melodious phrasing. The grsnd scena 



it, in a musical sense, rather too — ichollUche. 
The most pleasant piece of the whole ii andonbt- 
edly the quartet, Un di, te hai mmmentomi, ana 
of those encore pieces which sometimes decide 
the fate of an opera. Whenever and wherever 
it has been performed, its repetition haa been 
demanded ; and we doubt not tbe same will be 
true here. It is extremely pleasinfi, well adapted 
to the different voices, and very effective. 

We need not say that the muse erf' RifoUtto is 
tboroafthly Italian, modem Italian ; that is to say, 
at music a little worse than Donizetti. This is 
quite natural. If one pursues Ihe same path 
which others have tried before him, he must of 
necessity be always behind tbem. But for all 
that, if well (riven, RigoleUo will please tbe pub- 
lic, and — mili tout. — N. Y. Mutieal OaxtUe. 



Aaber*! "HiwttedaFortid" (KuanisUo). 

Thi following is a lommary of the drvnatio 
and Musical siiuatious of the Opera. 

The First Act opens in the Itoyal Gardens of 
the palace of the Duke of Arcos, with ladie«, 
knights, peasantry, ftc, assembled to witnese the 
nuptials of AlphoTitt and Elvira. Af^er a chorus 
of rejoicing Elaira eoteia, and in a brilliant air 
eitpreases her happineea. A Guaraeha and Bolein 
are danced, at toe termination of which tbe fes- 
tivities are disturbed by FeneUa, tbe dumbgiriof 
Porttci, rushing in to claim the protection of EJcira 
from the pnrauit (^ Stlva and soldiera. FeneUa, 
in action, depicts her sad history ; she has been 
the victim of some unknown Cavalier, from whom 
she has received a scarf; she has been arretted 
and impriKined, but has eKsped from prison, her 
life being in danger from Ihe musket ola sentinel. 
Elvira promises to protect her, and then enters 
the chapel with Alphorue. The chorus inrdce a 
blessing on the newlv-married, bat dtiriitg the 
tbe chapel F<ni«Ua has racognised in 



that tbe marriage riles are completed. On the 
return of Elvira and Alpkonte from tbe chapel, 
the former presents FeneUa to him, and tnen 
Elvira discovers that he is tbe betrayer of the girl 
she has protected. The finale of this Act paints 
the varied emotions in this scene gf disorder and 
excitement. 

The Second Act opens on the seashore, in the 
environs trf' Portiiri. Fishermen are aseembled 
to greet the rising sun. Mntaniello is seen brood- 
ing over the sufferings of his countrymen; his 
comrades call upon him to cheer them with bis 
songs : he sings a Barcarolle, promising that tbe 
day of freedom will soon come, and impressing 
upon tbem the policy of caution, " to throw thmr 
nets with silence and skill, lo make their prey 
more sure." Pitiro, the friend of AfiaanieUo, then 
enters, and an impassioned duo succeeds, in which 
tbe grief of MatanieUo for bis missing sister and 
the mutual resolution of the friends to strike a 
blow for freedom are expressed. Mataniello per- 
ceives FtneUa, who is about lo throw herself into 
the sea, but recognizing her brother, sbe descends 
from the rock, and, in animated signs, conveys to 
him the history of her wron^ and auffenngs. 
MatanieUo vows revenge, and in a spirited finale 
rouses his comrades to arms, Pietro and BorelUi 
aswstinff him to organize a rising of the people. 

Jn the Third Act, after an Air by Elmra, ate 
depicted Ihe varied aspects of a Neapolitan mar- 
ket-place, amidst the tnnnoil and confumon of 
which are slumbering the stormy passions of an 
enraged populace. After a Tarantella, the at- 
tempt of Setva to arrest FeneUa is Ihe incentive 
to the insurrection, and sbe is rescued from Ihe 
soldiers by the fishermen. MaaanieUa then gives 
the signal for tbe general rising, and before Ihe 
people rush to the combat, they kneel and sing the 
celebrated Prayer which has immorli^zed Auber 



The Fourth- Act opens in Maianiello't cottage. 
In an Air, be deplores the dar of horror and 
^ugbler, and laments that be has not strength 
of mind and resolution for such an enterprise. 
FeneUa enters and depicts tbe disoidfer of tbe city, 
and she sinks exhausted with fatigue. Auber has 
composed a beautiful melody universally known 
as " L'.4ir du SomitieU" in this situation. At the 
termination erf' this tur, Pietro enters and excites 
Mataniello to further revenge, announcing that 
Alphonit, tbe son of tbe Duke of Areas, baa es- 
caped. The fishermen retiring for a moment, 
Alphome and Eluira enter the cottage and demand 
protection from FeneUa, who at first is disposed to 
take revenge, but is moved by the appeal of 
Elvira for mercy. A concerted piece ensues, in 
which JUatanieUo promises safety and.defence lo 
Alplionse, and on Pietro denouncing him aa the 
Viceroy's son, he adheres to bis pledge of hospi- 
tality, and consigns .li^pAnrue to the cKnot Borella, 
Pietro and his companions vowing vengeance. 
The sail in the background of tbe cottage being 
withdrawn, the magistrates and citizens enter and 
present MoMxnieUo with tbe keys of the city and 
royal innenia in token of snbtnisston, and he is 
proclaimed king by the insurgents, the Act con- 
cluding with a grand march and chorus in his 

In the Fifth Act, Mount Yeiuviut is seen in 
the distance, tbe fore-ground being tbe Viceroy's 



PaUee. Pi*tra 



Barcarolle with bis c< 



panions wbo have just left a banquet. BortUa 
enters and announce* that troop* are in march 
against the fishermen, that Vesuvius is even con- 
spiring against tbem, as an eruption is impending, 
and that Maianielio't reason has fled, unable to 
reMSt tbe horrors of the revolt MatanieUo enteta, 
and his insanity is manifested beyimd a doubL 
He is, however, roused by FeneUa, and learning 
tbe approach of Ihe foe, once more beads bis com- 
panions. In the G^ht, as Alpkonte announces to 
Elvira, MatanieUo a killed by his own comrade*, 
and, on his fall, the soldiera are succeatful in de- 
feating the revolted fishermen. FeneUa joins the 
hands of Alpkonte and Elvira, and. In despair at 
her brother's death, plunges from the terrace into 
the burning lava from Mount Va*uviiH,tliecrater 
of whicli emit* tomnta of fire and tmoka. 



Tkc OBBHanUBB 9t tk* lallust. 

rasM THS aaaua or imwtiKBt nun's " un xnaR." 
In yonder castle-chapel, DpoD tbe infuit's brow 
The GouHcrating tbuntain hath poured ita waters now ; 
His ejn, then, heavenward lifting, etied Saliburg't 

bolf man : 
" In God's naros I baptize thee — IfAXiNlLCAN 1" 

O Eleanor and Frsderick '. wan, till tUi very day, 
No ttai upon your union Lad smiled with friendly ray; 
But proudly now beholdeth, in blissful, fond embrace, 
Liaboa'l high-sooled daughter her purple nanaait's 

face. 
The glittering ling of courtiers around the ctadla 

blase, 
Thas early to such splendor to train tbe infant's gasa ; 
Lenoia brings her darling— ha ! that Impiasiosed kia« t 
Forgets that she 's a princeai in all the mother's bliss. 
Bat lot I mark, unbidden, beside that cradle stand 
Two ether gne*Ca--ODne lees them in all that stately 

iMod; 



We give the haggard grey-beaid the name of Death — 

So lovely and so stately, la called among us Life ; 
Unseen, amid the dtcle they stood, and thua began 
To speak his fair oompanion the bony, pale old man : . 

"To which, now, shaU this infant belong — to you or 

mef 
A kingly crown awaits hiiw — then mine he sure must 

be. 
A king— airs one wfalcbeTer tkt man be, bad or good; 
No king on earth died ever, with handa qahe clean of 

blood. 
"He ii not yet accnatomed to taate of Ufc's sweet 



V, then, to be dethroned by 
Hia heart shall never know 



* these in- 



ei shall brood the thought 



It will not pain him m 

Death; 
Happy if now he peiuh 
At once a monarch'. 



" Thit lamp of life extinguish— quench u 

A thousand lives are blooming, he else shall sacriflee ; 
A thonsand eyes shall glisten with joy. Instead of woe; 
Where be one day plants gnrtyttit, should then rich 

gardens glow. 
" Dry up this brain : then 

omJ.,, 

How many graves are needed a throne to underlay ; 
Stop now this blood — then never the people's blood 

shall gasb 
To give his fading purple a dye of richer flash. 
" Humanity lies bleeding — kings an Us sore com- 

ThonghUtt ahonll be thsbost one that heaven bod 

ever lent. 
His land a bitter aamw shall an Ai for hi* *akc, 
When, his fair work half ended, hia heart one day 

shall break." 
Death ceased. In all that drcle, I ween, none heard 
Tst, as he spake, each heart's blood did trickle eold as 



" no ! not yet extinguished shall be this eye-light^s 

This heart shall throb with raptnre, these rosebud 

ehsehs shall blow. 
I lay my hand apon him— mine ia the Inhnt, mine I 
Asont^ lifelhailbim— thiskiss AsUba thesignl 

" He shall be king, his forehead with gold nntainlalMd 

crowned; 
Of all life's sons tbe fUreat on earth the King k (band ; 



igle 



Uigitzed by ViV^O' 



76 



DWIGHT'S JOCRNAL OF MUSIC. 



Thalowni thftt IM 
Fiom ejcs that n 



buniing ihiU b« rcbnill one 

e weepiog, wipe all ths tean 

II pluck witb raptDie the wnath at ey- 

Huraanily'e pair forehead to crown with hope «erene, 
And build to Peace and Freedom templei o'ei manr ■ 

gtaxe, 
Where Oolgothu are hlaekening and ehurchTard 

graaaomTe. 
"Hii people's bliaa — the pillow hia head at night reata 

Hia people'a heart*— the colamni that well uphold hii 



"Aad, like the ■! 

ftom riew, 
High OTOT hij dominiona Che King' 



ren, ao Soati, thoagh hid 
hleaainf 



rtieiB, her high, tduinphuit 



Jof dwell* in allthehimleta, concord in prinecl; halta, 
Binga ' freedom " ttom the mountaiua, and 'Peace!' 

aach Tallajr oalla, i 

"As troopi of larka riae pouring their long in mom- 

iog din, 
So thoaaand aoula go aoaring to Ood in prayer for him i 
And where hii doat ihall alumber, tAara apringa a har- 

11 thia a monarch may be, and ao ahall thia one do." 
tiua, wondTDualy trauafigured, ap^e Life, and no one 

Id all that thrc 

Tet larka, oat 'doon, were triUing, apiing-bretie 

awept the apace. 
And a faint amile, the earlicat, played o'er the iufaat' 

lace. 



With hia aeera and hia .aagea, hia watch-tower he 
To read the mUxtj record of the in&nt'a future (imei. 
But Eleanor more warmly around her darling flung 
er twining amu and, fondling, atill cloaer to him 

And gazed with took of rapture into biatwo blue eyea: 
"Tudn-itara of my good faitone, O e«er light theae 



Knaic in ths Society of THends. 
The Society of Friends hfu at all tioiei opposed 
the introduction of vocal or iDBtrumenlal music 
o tbe ramiliea witliin the pale of itr organization, 
we mistake not, music has been expressly pro- 
scribed in iti discipline. This feature is peculiar 

i both brancbea of the Souiet; — the Orthodoi 
and Hickdle — the diviuon in 1828 and '29 baving 
' wn followed by no marked chan)ie in the letter 

r spirit of the disuipline of either branch — at 
least with retpeet to the toleration of mnsic. But 
dunnf^ the past twenty years there has been a 
manifest teiidencv on the part of the younper 
members of the Society to ignore such sectarian 

>e(-uliarilies as seemed to them merely formal, and 

laving nothing to do with the essence of their 
religion. The shad-betlied coat and broad- 
brimmed hat bavins been cast asde, (here is noth- 
ing at the present day in the external appearance 
of the youn^ Friend lo diatin^ish him from the 
ordinary citiieo. It is true that elderly Friends 
of both sexes still preserve the pristine plainness 
of their Society in speech and dresa, but there 
are not a few middle-s^ed Friend* who are among 
tbe inoOTatorv. 

In this march of innovation it woald be strange 
if a love for music phonld not manifest itself among 
the memben of this Society, nnlesa we admit that 

Quaker natnre and human nature differ from one 
another. That there is really no such dilTerenca 
we find in the fact of the protest against this pro- 
•eriplion of mnsio which exists in the minds of 



very manv, and the practical protests in the shape 
of plano-rortes that exist in thehonseaofnotafew 
Friends who reside in cities. 

Slow, conservatire members of the denomination 
have deprecated these evidences of a growing 
degeneracy !n the Society. Otbera, however, 
have placed a different eatimate upon these facta, 
believing that the desire manifested by Friends 
to cultivate a taste tor music, is an evidence of 
progress. The question of tolerating this innova- 
tion baa been in quiet agitation for some time; 
ibe matter was settled finally so far as the Society 
is concerned. The facts as we have been able to 
collate them are as follows : 

A year or two since a Friend residing in Madiion-st. 
was hronght before the monthly meeting of the Hick- 
aite Friends of this City, because he bad purctiascd a 
piano-forte nnd had the same in his house. The hr t 
was not denied, but it was averred that the offcndinir 
Friend had erer been an exemplary member of iJie 
Society, and farther, that the piano had not caused 
any visible deterioration in his religious teal, piety or 
morality. But the monthly meeting was not satislied 
with this and the sense of the meeting, as expreseed 
by its clerk, was that the offiinding Fiiend should be 
disowned. 

The disowned member was not satisfied with 
this decision and he appealed to the quarterly 
meeting. There the decision was confirmed. He 
again appealed to the yearly meeting which sat in 
thia City last week. There the subject was fully 
canvaned. The good character of the offending 
Friend was fully sustained by ample testimony. 
But there was the piano — a hideous contrivance 
when viewed through Quaker spectacles — still 
standing, and probably in perfect tune, in his par- 
lor in Madison-It., and the Kew-York yearly 
meeting confirmed the righteonsness of the decis- 
ion of the inferior tribunal. We believe that the 
piano is still standing there, but its owner has 
ceased to be a member of the Society. 

The decision is a very important one in its con- 
seauenues. It seems that there are about forty 
Fnende in New- York, who, with their families, 
are liable to the same condemnation. Host of 
them stand high in the Society in every respect, 
except in entertaining a taate for the tabooed art 
Among the number is at least ene preacher. 
Under the decision of the yearly meeting, the 
monthly meeting of course will commence casting 
out the remaining offenders nntil the Society is 

Purified of all musi«-loving persona. — N. XL 
VibatK. 



Mlle. Rachbi..— The main articles of the con- 
tract signed by Mile. Rachel, arc given as follows : 

" Mlle. Rachel engages to pvc, in fifteen months, 
two bandrcd performances in America, including 
the Island of Cuba, for the sum of twelve hundred 
thousand francs, or G,000 francs for each perfor- 
mance. She will receive, each evening, that sum 
from the receipts, and her brother was to be pro- 
vided in advance of departure from Paris, a se- 
curity of three hundred thousand francs in specie. 
Mile. Rachel and her father, will defray all 
expenses of the travel and hotel. She will have 
two cbambennaids, in each town, and a carriage 
with two horses will be put at her disposal. She 
will be entitled to four benefit performances, with 
twenty thousand francs guaranteed as the mini- 
mum proceeds of each. She can rescind the 
contract by giving her broker six months notice 
in advance. If she completes her appearance, 
the father will be entitled to one third in the beti- 
efit of the daughter, after three millions of receipts, 
and Mile. Rachel will be entitled to a proportion 
of said benefits, after four millions and a half of 
receipts." 



|ltusii[al(l^hil-d[hat. 



The Enmpean paper* aiiMNiiice the death of 
Cauillx Pletel, the celebrated pianoforte maker 
in Paris, a man mneh loved and respected. He was 
aon of the composer, Iqhaz Fi^tel, whose graceful 
instntiDcntal works were so much admired in the 
early part of this century, and was bom Dec- ISih, 



178S. He died In his sixty-seventh year. May 4th, 
less. Bis father, anxious thai he ahould be an artist, 
placed him under the cla^iical tuition ot Dcibsek, 
who made him a pianist of the pnnat taate, ai )il is 
said) hia own compoaitions show. RAi.KBitKKirKB 
declared that th« three pianists with the best gift for 
improvisation were Hchkel, Chopiit and Plbybl. 
Few persons (say* the GaxtUi Muiiade), except hia 
intimate friends, have bad an opportnnity to con- 
vince themaelve* of this, "for ho possessed that 
modesty which becomea more and more rare among 
our most admired pianists." Associated with his 
Ruher for some years in the mannfacturs of piano*, 
he established in I8SS, with Kalkbrenner, the bouse 
of Pleyel & Co., which has been highly flourishing 
during the thirty yean that he has been at the head 
of it. He saw the importance of nniiing the artist 
with the mechanic in such a mnnufsclare, and for 
some years past has asiocialed with himself M. 
AuocSTE Wolff, "who seems the natural heir of 
the artist and the great mechanic, so well known 
for his love of fine instruments as indispensable to 
the interpretation of the fine works of the great 
masters of the art. " His pianos received the gold 
medal at the Expositions of 1BS7, '34, '39 and '44. 
He was named a member of the Legion of Honor 
in 1834, and in 1649 was excluded from the compe- 
tition " as having already reached the apogee of 
merit in the construction of pianos of all kinds." 
The honae of Fleyel sends out from I,iOO to 1,500 
pianoa ananally and employs aboDI 350 workmen. 

They have in Paris a society called the QJco- 
Phiiharvumic, composed (if we may judge by tho 
name) of the lovers of brazen harmony. There is a 
composer among them, M. Bblloh, who actually 
writes symphonies for brass instruments. This ex- 
ceptional sort of symphony should place him high 
among the class of musical innovators and origina- 
tors, so much desiderated by friend Fbt and others. 

Mme. LiBOssB after alt relnrns to the Opera. 
A judgment of the civil tribunal has declared the 
contract with M, Crosnier valid, in spile of the hus- 
band's opposition, and she must execute It under 

penalgr of 50,000. francs damages Vbbdi's 

new opera. Lea Vepra Sieilitnatt, was to be brohght 
out in Paria in a few days. 

Tho Paris correspondent of the N. T. Tribune 
mentions two new works of interest to music-lorers. 

"A new biography of Mozabt is announeed by 
Otto Jauh, (German), made np from 3,000 letters 
of the great composer. Castil Blazk writes and 
publishes the first of two volnmea with this promis- 
ing titio: ' Theatra Lyriqut de Paris, (L'Academie 
Imperiale de Musiqna), a Literary, Musical, Chore- 
graphic, Picturesque, Moral, Critical, Facetious, 
Political and (lu/anfe History of this Theatre from 
1G45 to 1855.' Another volume is to follow on the 
Italian Opera, and another on the Opera Comique. 
If I might jndge from what little I have read, for 
my sins, of Caslii Blaze's writings, I should say that 
this book would not be an important contribution to 
literature or to docnmentary lore. I venture to 
guess that old anecdotes— doubtful and scandalous — 
occasional &cta and dates eaaily to be got at, floating 
abom in a sea of watery comment, that moat pass for 
the origiaat po'Uon of the work, are the components 
of Castil Blaze's volume*. They cost seven and a half 
Ihiacs each. " 

A musical Bostonlan, over Uie well-known slgna- 
tnre of " L' Aboyenr," is writing pleasant letters from 
London about music, art, Sx., in the Evening GaiMt. 
He suspends judgment about the music of ii TroeaUire, 
though he seems to harefoundmuch to delight him; 
but hia memory was certainly at fault when he wrote : 
"After a ftw ban of introdnction of great beanty 
of instrumenlatioD, the curtain roae, " &c. How the 
bw bat* of IntrodaelioD cbanoe to be three long. 



Uigitzed by V7V^»^^Vl^^ 



'3' 



BOSTON, J^NE 9, 1855. 



77 



tagubrioni ralli of the kettla drnint and nothing 
else ; or they hftTO an improTed version of the op«m 
in LoDdon. 

The Alhs reminds ns that Max Habetzek. for 
whose benefit RigoUoo was announced for lait night, 
bu b«en seven jeara in this connlrj engaged in the 
mndacling of Iialian Opera, and that nnderhis con- 
dnetorship homfi^lAree different operas have been 
prodoeed berore an American public for the first 

lime Mrs. Eabtcott, the American prim* 

donna, late of Naples, is in London (as we learn 
^m the "S. T. Mutieal StBietu); so too are Bottx- 
■iifi, the contrabassist, Mme. Fiobbhtiiii, the 
prima dotina, and Salti, all recently in America,' 
and it is mmored that Badiali {may the ftcea for- 
bid 1} is soon (0 join them BosBiiti, by advice 

of physicians, has gone to Paris to recniit himseir. 
Such was his dread of aieam, that be insisted on 
travelling the whole distance from Florence by vttta- 

rino The copyrights of certain operas have 

yielded the publishers, McSBra. Bbakfics & Co., of 
Paris, the following ronnd sums : Sobtrt It DiahU 
$30,000 ; Mamniello 830,000 ; La fkvorita. La Jatvi, 

and Le Domino Noir, each $80,000 VoH Flo- 

TOw baa written another opera, called Albin. 

The bronEe statne of Bbetbotev hits arrived in 
New York. It will be placed in the Boston Athe- 
nEcnm gallery for the summer, until arrangements 
can be made for properly placing it in the Music 
Hall, when, probably in the autumn, bj way of sol- 
emn prclade lo tbe musical season, it wilt be duly 
inangurated, not withoat grand and fitting mnaic, 
such as the Choral Symphony, &c. We have suen 
[at the house of the donor) a plaster cast of the 
bust, of the fall size, which Is considerably larger than 
life. It is indeed a grand, a noble bead, more sug- 
gestive of all the great qualities of Beethoven's life 
and music than any bnst or portrait we have ever 
seen of him. We donbt not Cbawtobd has pro- 
dared ihe Beethoven of (he world so far. No ele- 
ment, of massive strength, depth. Are, earnest, 
spiritual straggle, saffering, sweetest ideality and 
love and tenderness, seem wanting in thai head and 
face. Its presence filled the room, so that through 
a long evening, listening to music, we could not 
keep our eyes from it. Once, while a fine composi- 
tion of Fbahz Schdbebt was being played, the 
Jove-like head seemed actually lo nod, oi when ha 
said of S''hnbflrt living : " This young man has the 
true fire in him I " 

From a French paper wc translate the following : 
" At Balaklava every day the bands of the garrison 
give concerts in the square. The birds, who know 
very well the hour when these masical loirdes in the 
open air commence, assemble in innnmerable mnlti- 
tudea upOD the trees and roofs of booses. The first 
piece is heard in profomnd silence; but the moment 
tbe second pieca b^ini, the winged songsters join in 
and make sach a hubbnb, that a flace or oboe solo 
can scarcely be heard twenty feet off. ' 



giDi|M'5 J0«j|nal of ^mk. 



BOSTON, JUn-E 0, 1856. 



Bnton Theatre.— Itatiaii Open. 
On Friday evening of lait week Lucia di Lam- 
mermoor wu given. This afforded opportnni^ 
for Mme. Bertucca-Marktzf.k to assume for 
once the principal rOle, after tlie very pleaang 
imprcasioD she had made in the boy's part in 
" Tell." The lady has cert^nly gained both in 
voice, style and action since she wm last above 
OUT lyric horizon, several yeansince. Her Lncia 
was really a fine perfonuance, and called forth 



hearty and repeated plaudits. Her esecntJOD of 
its elaborate and Sorid melody was neat, artistic 
and effective; an eminendy clever, not an in- 
•|ured, effort. In singing and in acting all was 
coDscientioug, thoroogb and consistent Some of 
her tone*, especi&Uy the high ones, are vety pure 
and silvery and powerful ; othera, as of old, espe- 
cially on cerbun vowels, have a singalarly pinched 
and Frenchy quality, which sounds as if tlte 
reed rf the throat were prewed and forced be- 
yond its power of free vibration. Tou notice it 
in rapid running passages, where the outiine of 
the musical figure comce out full and bold in one 
part, and is pinched and emothered in another. 

BHioNOLi'e rendering of themunc of Bdgardo 
was delicate, pathetic, plea^ng; but be lacks 
strength for such a put; he was no mateb fbr 
the orchestra and Badiau and eborus in the 
great sextet of tbe second act ; and he had to 
husband bis forces for the lamentable finale by 
the omission of the challenge scene with its strong 
masculine duet BAniALi was of course a grand 
Enrico; Colktti'b Raimondo was satisfactory, 
only that his best piece was omitted ; and the 
Qerren Beuttler and Quint, with their Ger- 
man conscientiouBDesB and truth, made the sec- 
ondary part of the captain of the huntsttien, and 
the husband, Lord Arthur, more acceptable than 
they were wont to be, aa heard so oftoa out of 
tune and murdered. The fbrester chomset of 
the first scene were well done, and the ensemble 
was generally good. Lucia we are inclined to 
place next to the Lacreaa among DowiSETTi'a 
operas ; it has many sweet, pathetic, gracefolly 
ornate melodies, some fresh, effective choruses, a 
sextet which will endure as long as anything in 
modern Italian opera, and the benefit of a story 
which is dratnatic in Ae beat sens*. But it has 
the f^ult of a too protracted monotony of lacry- 
mose, sentimental sweetness, which makes it tedious 
in the end. The chann wears oat 

On Saturday afternoon // Trovalore was given 
for the third lime, and with much the same kind 
of Bucecss as before ; there being a sufficiency of 
fresh audience to otiset thoee whose appetites 
already were beginning to crave other and more 
nonrishing food. 

The present week has been a week of benefits, 
cloeing our feast of opera, with this aftemooa's 
performance, for some time to come. First came 
the benefit of Signorina FELtciTA Testvali, 
Monday evening, when Donizetti's best opera, 
at least the one that wears best with the music- 
lovare here aa elsewhere, his Zttcrvzia Borgia, 
was again performed in about the most satisfnctory 
manner aa a whole that we remember in the long 
seizes of operatic seasons, in which it has always 
borne its part here. Rather a droll, eleventh- 
boar coDtroveray has been raging in some of the 
newspapers during the past week on the merits of 
this opera; one of the high contending parties 
fortifying his condemnatory criticism thereof by 
liberal citation of the musical authorities of Lon- 
don journalism at tbe period of its first production 
there — the Athewzunu, Speeiatom, and the hke. 
To any one who knows the strength of English 
prejudices in the matter of music, and who re- 
members how these nme authorities once sconted 
much which is now commonly held classical ; how 
they greeted each successive work of Cbopin 
with contemptuous satire; how they sneered at 
poor Bbluni as a feeble imitator of Rossini ; 
how they (some of them, at leaat,) not many years 



agojmnedin thehneand cry of cmy managunst 
Beetboten, now the god of their idolatry, sach 
appeals will carry littia weight Meanwhile there 
is no work of the Italians since RoaaiNI, which the 
most musical and most exacting among the fre- 
quenters of the Opera seem so glad to have re- 
peated as Lacreiia Borgia. Nor need one look 
beyond the work itself lo find the reason thereoC 
In the first place it is one of the beat constructed 
operas as to dramatic unity and progress; ila 
characters are interesting, individual and well 
contrasted ; its situations apt tbr music ; it minglee 
the naive and the festive with the romantic and 
the tra^o; it rdieves the fover. heats and chills 
of passion with frequent and as it were accidental 
peepinga in of natural sunshine and sommer, con- 
veyed in the genial luxury of the music. Then 
the munc itself abounds in spontaneoos beauties 
and felicities; there u a fiWmess and untodden 
charm in many strains in little incidental acenee 
and paanges, which do not seem to claim to pass 
for much, but to have flowed ont of a trnly geni^ 
muncal mood, Uke so much in " the Barber," and 
in works of Moxart; fbr instance, that accom- 
panying the encounter of the two sines, the cho- 
msee in the street, &c.; and the whole of the 
festive chorus in the fiist scene, and the muac of 
the banquet scene, is genial, lifasome and refresh- 
ing, with a bright and rich Venetian coloring. 
And how dramatic is much of the music 1 Take 
the passage in that stirring first scene, where the 
nobles one by one accuse and taunt tbe Borgia : 
Maffeo Ortini, Sigaora, ton' to, &c.; take the 
trio and the whole scene between the dnke and 
duchess ; take the whole of the picturesque con- 
tralto rdle d* Orsini. Snrely we have to look 
among greater and deeper tone-poeta than the 
modem Italian opera has been blessed with, to 
find music which is at once so dramatic and so 
mndcally genial and refreshing withaL With 
good interpreters, we cannot wonder that it itSl 
proves a snre card. 

The good interpreters we had that evening. 
STErrANONz's Lucrezia was from first to last 
one of the finest lyric impersonations we have 
ever vritnessed, short of Gmsi, and in the same 
school essentially. Her voice was remarkably at 
her command that night, and she looked, sang 
and acted splendidly. Indeed, there were pcants 
in the great scone with the Duke, -which surpassed 
anything that we have seen before ; as where, 
after exhausting all her powers of menace and 
persuasion, she throws herself into a ch^r, before 
the wine of Borgia is administered. Ybstyali 
looked and moved more beautiful and manlike 
than ever, as Maffco Orani, and sang better than 
we had before heard her. Her rendering of the 
Brindisi had a certain ecstacy of refined voluptuous- 
ness in it whii^h seemed original, peculiarly hers ; 
but the exaggeration of the low contralto tones 
still deducted from the artistic enjoyment of the 
whole. 

Badialt, in voice, style and bearing is never 
so magnificent as in the part of Duke Alfonso, 
and never seemed he more so than on Monday. 
Signer Briokoli lacks stitl the sustained power 
of voice for so trying a part as Gennaro- He 
shades too much of his mu^c into sotio voce to 
save himselffor a few strong phrases or isolated 
notes ; yet there is great purity and sweetness in 
his singing, and be has a sympathetic quality of 
voice that grows upon yoa. OF the excellence 
of the eniemiU we need add nothing to what was 



Uigitzed by V7V.^V.7V1 



■a' 



78 



DWIGHT'S JOURNAL OP MUSIC. 



nid lul week. After the mrtain fell, and the 
■rtista wera called out, Signorina Vestrall retamed 
and, with tb&t readj geniua for all aorti of Un- 
goaget which characterizea the Sclnvonic racet, 
read in correct, clear Englisb, and with that certain 
charm of accent which reminded one of KosaUTB, 
» little ipeech full of grateful and gncefnl ac- 
knowledgmeDts, much to the enhancement of ihe 
whole charm of tlte erening. 

On Wednesday evening the performance wa* 
for the benefit of Signor* Balbina Stefpa- 
KON'E, when we were iorrjr to see the hoase verj 
tarfram full. This was perfaapa owing to the 
want of norelt; in Ihe programme, aiid even 
seemed to indicate the waoing popularity cCll Tro- 
vatore, which formed the bulk of tbe entertain- 
ment, the first act only being lefl off and the 
glorious second act of " Tell " given in its place. 
It was a real mtiifaction to listen once more to 
that admirable muvc, for the second act is mu- 
rically the best ; onlj it is too rich and full of 
musical ideas for popular effect, requiring to be 
beard man; times, and sure to repay the more 
dosel; and repeatedly it is observed. Moreorer 
tbe protracted series of recitatiye, air, trio, cho- 
raases, single, doable and triple, by male voices 
only, probably needs the lighting up of some 
soprano to make it catch the flagging general at- 
tention. But tbe trio of tbe three patriots, and 
that magniBcent music accompanying tbe oath, 
and all the little orchestral ideas and harmonies 
which represent tbe arrival severally of the three 
cantons, — what have we had so sadifying to listen 
to, since we had Don Giovanni 1 It would bave 
been better policy, we think, to gire also the 
first act of " Tell, " in which there is so mncb 
that is fresb and sparkling; a sombre, night-fitll 
coloring lies over all this second act. Steffanone, 
tiioagh not in ber best health, sang well her air : 
Sombrt foret and duo with Arnold. Sig.' Bol- 
ciohi was not always qnite in tune ; yet the act 
as a wbole was well performed, Badiali and Co- 
lelti dtring full justice to the mnric of Tell and 
Waller Ftirat. We must say tbe mnuo of the 
Trovatore (so much as we heard oi it) suffered 
by such comparison. 



New Operab. — The Italian troupe leave ns 
with a taste of two new operas-~.that is, new to uj. 

First, Rigolello was tbe attraction for last night, 
on tbe occasion of conductor Mabetzbk's benefit. 
Rigoletto was the last production of Yerdi be- 
fore the TTovatort. It is tbe seventeenth upon 
bis list of operas and was first produced in 18SI. 
We have already (Vol. III., page 8S) given a 
Teiy good description of tt irom the Athenaum, 
and to-day we copy the story from the libretto 
with some just comments by one of onr New 
York con temporaries. We write before hearing 
it ; but an examination of the score inclines ns to 
tbe opinion that Ihe music in itself is considerably 
better than that ot the TTOvatore. It has more 
relief; more that is light, genial, sparkling, alter- 
nating with tbe tragic; more felicitous ideas, 
more luxury of melody and accompaniment. 
Both worki abound in dance rhytbms. The dif- 
ference would seem to be that in Rigolello the 
dance music means real dancing and feasting, 
whereas in II Trovatore it means Touting alive. 
The plot is as abnrd and monstrooa as that of tbe 
Trovalore : but the chancters are more individual 
and interesting; it admits of mora scenes that are 



portont work, wlucb is to be ^ven by way of 
fitrewell of the Italian troupe, and for the benefit 
of Sig. Bkioholi, the young tenor, (Am afternoon. 
Next to " William Tell," this work should excite 
more interest here than any which this company 
have offered ; and we could have wished that it 
might not be given merely on a Saturday after- 
noon. Naturally the artistB thought it as familiar 
in Boston as it is in almost all other mosical cities. 
But it is as good as new to as, — at least to the 
present generation of opero-^oera. A sort of 
English abridgnnent of it was given many years 
ago here, we believe, by the Sequins; and the 
more salient [Hecee of tbe music, the overture, 
the barcarolle, the prayer, the dances, &c., have 
long floated on the muaical atmosphere which we 
all breathe. All the more should we rejoice at 
an opportunity to hear tbe famous work for once 



ing r 

" William TelL" We are tempted to re-produce 
the passage. He is speaking of the renovation of 
Opera from popular melodies, begun by Wbbbk : 

.... And now the grand hunt for popular 
melodies broke loose. . . . Our Frenchmen were 
quickly on their feet ; tbey merely looked into the 
hand-books for tourists, and set out in person to 
see and hear, opon the snot, wherever any bit of 
popu1arnaii>«'^wastobe found, both how it lotted 
and sounded. . . . There, in the beautiful and 
much defiled land of Ital^, whose musical fatness 
Rossini had exhausted with such elejisnt compla- 
cency for the lean world of Art, sat tbe careless 
and luxurious masterand looked on with a wonder- 
inf! smile upon Ibis rummazine about of the 
gallant Parisian popular melody hunters. One of 
these was a good rider, and when be got off from 
his horse after a hasty ride, people knew that he 
had found a eood melody, which would bring him 
in much gold. This man rode like all possessed 
through all the fish and vegetable markets of 
Naples, till every thing flew around about hit ears, 
scoldings and curses followed him, and threatening 
fists were raised arninrt him, — eo that with the 
lightning-speed of instinct he snuffed the idea of 
a magnificent fishermen's and market-men's rev- 
olution. But there was still more profit to be 
made out of this I Awny to Portici gallops tbe 
Parisian rider, to the barks and nets of those 
naive Gthenuen, who are wnging there and catch- 
ing fish, sleeping and throwing knives, stabbing 
and killing one another, and still unging on. ■ . ■ 
The rider rode home, sprang from his horse, paid 
Konini an nncommonly gracious compliment (be 
knew well why I), took the extr« poet to Paris, 
and what be there got ready in tbe turning of his 
hand was nothing more nor leas than the Muette 
de Poriiei (" Hasan iello.") 

— This " Mute " was the now speechless-grown 
Huae of the Diama, who, sad and lonely in the 
midst of nnging and tumultuoas masses, wan- 
dered about wiu broken heart, only at last from 
satiety of life to smother herself and her irreme- 
diable anguish in the artificiBl fuiy of the theatri- 
cal volcano I — 

BossiNi looked on from afitr upon the gorgeous 
spectacle, and when he journeyed to Paris, he 
thought he would just stop and rest awhile under 
the snowy Alps of Switzerland, and listen how 
the Ikalthy and brkve fellows there held muocal 
cmmnnnion vrith their mountains and their cows- 
Arrived at Paris, he pud Auber his most gracious 
compliment (he knew well why I), and placed 
before the world, with much paternal joy, his 
Toungest child, which by a happy inspirataon he 
had baptized " William Tell." 

The " Afusfte de Portici " and ■< William Tell " 
became now Ihe two poles of the axis, about 



which tbe wbole speculative world of oper« 
music turned. A new secret for galvaoiiipg tbe 
half effete body of the opera bad been found. 

Query : if the mute Fenella tyjrifies the speech- 
less Muse of the effete Opera of twenty yeara ago, 
have we not the final plunge into the fiery vol- 
cano in the lurid works of Verdi 'I 

The opera this afternoon (which, please ob- 
serve, commences half an hour earlier than usual) 
ia to be followed by the last scene of Lueia, in 
which our townsman, Mr. HARniEON MiLLABD, 
is to make Ms first and only appearance in open, 
since his return fruu Italy, as Edganlo. It is an 
event of no otilinary interest, and will stimulate 
the competition for good seats. 



Hu Xiuteal luto Imprirred amon^ iu t 

Ua. EntTOR:— I vrasplaaied to read an srtlcle in yonr 
tutafnl "Joumil," ■ short time since, reflecting upon 
recently mnde Intlmstlani that Doeton was ilecKoIng In 
miiilcal culture sod appreciation. I think Ihe circum- 
■tanca you mentlonsd of the many private gatberings 
tor ths enjoycaent oT eissaical moiie. Is smpis refuts- 
tlon of these ehargesi although I have do doubt bnl 
many persons, IVom want of Imowledge that luoh galh- 
eilngi sra frequent, have a strong conviotion that 
want of pntronage to muiicH) entertain nMUls resnlts 
fVom a want ot real mtuical taste in our commnnity. 

Bnt I must think' quite differently. It wonid teem 
rather Ihnt thli want of patronage has ii cwitrary canw, 
—that it eilata becauM the tastes ot tboae who can 
aObni to pay good priest for good maaic Is elevated by 
continned cuillvstion until they degiresomatblng beyond 
what they have offered them In the concert room. 

Some are fond of sneering because a veil appointed 
Italian opera Cronpe will draw good houses, wbila B 
moat exquisite linger of Engiiah opera waiijles to empty 
benches. But ths cause of this seems plalu. The En- 
glish tronpe had bnt one nr two real ittnotions. One 
prominent msmbei was at laast a dead weight: aome 
woald apeak more haiahlr than even that. The ItailsD 
troupM which have succeeded have done so by strong 
fomWiitdallniclioni in the form of arlijtt, to aay nothing 
of the music. Thii la one very evident key to their 
superior inccess. Another l«, that very many of our 
citizens have Inmed to appreciate Ihe nicetlea of artistie 
vocal moiie and to value it above a mers understanding 
of worda. English Oper* la,— mnoh of it,— more talk; 
aome of It even weaker and more almleai talk than the 
regular drsma will allow: hence the very many wbo 
vlsil the Theatre from pure lavs of music, stay away 
when Englleh open ia announced; white its diamatle 
attrsctiooa are insufficient lo gather Ihoas who merely 
wiah to see and hear a Play. Partly from thla reason 
then, and partly from lack of much other attraction than 
the single one of LouiaA Pthi'b eiqnlaite vocalization, 
English Opera was not u anccnsfnl as Italian. These 
thoDghtt aid me in retueing belief that Boaton Is still 
musical, and atiil ready to provS tbe fact,— stDI ready to 
patroDtze whoever will olCsr entertainments in aceord- 
anca with a eoDstanlly rtOning and mora esaeUog 

It can hardly Im assuming too muoh then, to say that 
Operatic Uualo la winning i decided preference. And 
again, thatolaaaof Opera, which la mo!<t wholly mualc, It 
gaining Bsoendancy over that which Is partly merely 

In this piogresa may ws not soon hope to have otbred 
some of ths deliclouily entrancing Qbrwah Opera?— 
or failing tha^ may we not hope to tee Oerman fjpentic 
mnaio take a prominent place in concert programme]} 

There is a iweetnets and purity of bewitching selen- 
tlflo movement In Oennan mntis that makes It a wel- 
come vlsttant to the onltivated ear, and I hope yst to 
see It in high favor with Boston aadiences. 

1 have Dollced with pieainre a recent promise ot 
movement In regard to ■ permanent aystam of inatmc- 
Uon In Italian, Fiencb and Enj^itb OpemtIo music ; and 
wera Osnus incinded, I should hail tbs plan irilh en- 
thn>lasm, and predict nnboonded aacoeaa, if the work 
be followed with dillgenee and pMseveraDos. There is 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, JUNE 9, 1855. 



nwlcrlsl In BoatoB fbrto AcadMn^ Tith in ottJMt Ilka 
Ihli, vhleh mtj bMome an honor oT nnmlitukMbte 
pmnilnenoc, and *Bbrd an ■moant of beneflclnl Iiwtnm- 
tion to oarcillieiu, wbinh (ball p1ac« th«m b«;an*l ■ 
qoMtioa of Uwir nnulcnl KppracintloD. 

Under propsr TnurngBincnt tacb m <nt«rpriK voald 
■Dccced, and would tbcn become a fonnt fWini vbleb 
loTsn of Mntlc woold draw a mat deal of dell cioiu plea- 
lure and solid graliflcationi and in which thou who bad 
tallied lo Ita firat aid aud lupport wonid take an eameat 
and iDcreulDE pride. St. Bemubiik. 

It etrikea ui " St. Bern&He, " for a grave uiDt 
"emit with the loTe of locred aong," haa leized 
hold of rather the moit aeeular corner of the 
(□bjecl in tbe above. ITui remarks are true ae 
for t» tbej go. But are we to look whoUy, or 
malnlj, to the love of Opera, of nnjf kind, for 
the real teat of a profcreiaive, deepeoio^ laate for 
ic ? Witneea the damoroue plaadilB intb 
which a melodramatic Troealore a receiTcd, in 
compariaon with the really mnaical " ^Vlliiam 
Tell," anil judge how far the popular or faeh- 
ionable lupport of opera tpringa from a reall}' 
muiieal panion.' The «nger« in the first place 
(and even then quite sa much the acton ai the 
■ingera,^ — or it may be only a beautiful or atately 
preaence), and then the plot, the aitnations, the 
•eenery, the harrowing tragical excitement, eeem 
o have aa mnch or more to do with the aacceee 
if an opera, than the real merit of the muuc, in 
Boston, ae in ever/ other place, except it be in 
Germany. 

But we eecond the Swnt's call for German 
opera ; there wovld be proof of mniical improre- 
it in a hearty welcoming and cheriahing of 
that Only " bewitchingly acientiGc " ii scarcely 
likely to become a cant phrase among opera habi- 
lu& ; it ii in the concert room, in Symphony and 
Chamber Concerts, and in the private aoirto of 
eooflen referred to, that oiir moit real and 
'ere love of music ia to be measured. Because 
he concert! go the muaic-lovera ; while in the 
Opera, thai opera wilt alwaje b« announced 
which draws the greatest ntimber of persons, 
that is of spectacle and play-goers aa well as of 
music-lovers. The crowded audience of the laaC 
work of Verdi ia only in small part a musical 
ludience ; it ia an audience of new comera, young 
ind raw recruits into the operatic army, who are 
escited and delighted in a miiHcal performance 
by juat (hat which ia the least mnncal feature in 
When, on the other hand, an opera appeal- 
ing to the truer love of music o) jucA is announced, 
these keep away, and the audience ii diawn from 
the of course smaller public <^ the musical, whose 
delight ia quiel, who make no /urorei even when 
they are' best pleased, and whose >' house " ia not 
n the habit of " coming down " in the way that 
delights managers and prima donnas, and gives 
the newspaper paragraphisls a nice chance to air 
tbeir stereotyped superlatives. 

But looking at our musical public, properly 

10 called, atthongh it may be small compared 

I with the great miscellaneous public, whose eyes 

so readily yield tears to tbe red pepper of the 

I moat stunning modem opers, yet ccnnpared with 

I musical publics elsewhere, we believe it to be 

both large and highly cultivated and in a sound 

direction. This everywhere limited public, even 

I if not large enough to support so costly an initi- 

I tution as the Opera and make it partly German, 

I has }'Cl shnwn in other things, in its love and snp- 

; port of Oratorios, orchestial symphonies, &C., 

enough, we think, to nlisfy our saintly corres- 



pondent's moat glowing imagination of what it 
due to the "delicious entrancingneas, " or the 
" entrancing delicioueness " of German mnMC 



Hadahb Da Laosanos. — Onr leaders will re- 
joice to reed the announcement Uiat tfaia wonderful 
Tocaliit, of whom we wrote onr impresaiona after a 
recent visit to New York, is to commence a reiiea of 
concerts in the Boston Mnaic Hall on Monday eve- 
ning. She will be accompanied by the other distin- 
guished articta of her tronpe : namely, Slg. Mtbatb, 
one of the first tenors of Italy, who eanf; in Hilin 
with Hiss HEHBLERi Sif;, MoBELLi, an admirable 
baritone; Sir. Mabihi, the well known ftasaa pro- 
fondo, and others. We can asBnie our concerl-goers, 
they will hear aoms of the most admirable aiuging 
they have heard for many a day. 



Among the paaseng;eni by the ateamer Washington, 
from Bremen, which arrived in New York Wednea- 
day evening, were Hiss Eliss Bihblbb and her 
father. Their many fricnda will b« plsd to know 
that both arrived in good health, Mr. Henalerhaving 
been benefit ivd greatly by the voya^. We truat onr 
own ean will aoon confirm the uniformly good reports 
which come to us from Milan of onr young Boston 
prima donna. She is our third, Mme. BiscacciAnTi 
having been ihe first, and Mme. Lorihi (ViBoiitiA 
Wbitiho) the second. Wben shall we have the 
fourth, still in Europe, Mias Adelaide Phillips ! 

It will be nndentood thai Miss Hensler returns lo 
us for private, and not professional reasons. 



Brand 6a!a"Bay Ferfopiaanco, 

AND LAST or THI BK49DIt 1 

ThlB fSatnrilar) Aftwnoon, June 9, 

AT HAXB' PAST Tiro 0'CI.OCK, 

BENEFIT OF SIGNOR BRIQNOLI.' 

Flr<t ipparuH of Mr, HARBISON MILLARD. 

TIrrtaiidoDl;apii«iTU«oflflk, ZOEaDdHinu. WITHOFT, 

On vhh-h drkHod AdIw'i ipltadld Opara at 

MASANIELI.O, 



OR THB 
prrfhrmwl fi 
Tr atmistb of 



1 aiRL OF I 



r tbtfint omit onJy timt 
tbv rompui^ will ftpp« 

KN ELLA, tb* l>ODib Girl of Pntld. 
I tha Sd ul Mlh. Km and Hna. Wl 
bnud PAH LA TAHANTELLA. 
r. HARRISON MILlJtRD bu TDlnnUi 






BOSTON MUSIC HALL. 

Tnl PUBLIO ARB RESPECrriJLLT INFORMED THAT 



Uadame AHNA DB lulGBAKaB, 

Slgnor HAFFAXLI.B MZ&ITX, 

SigDor HOBELLI, 

Slgnor VLABINI, 



AND OIHER 



riftST «E AHP ft OHttBET» 

On HOVSAT ETENIHO, Jnna llth. 



IT- rartlwr pulkalu* will ibortlj b* ai 



BOSTON KUfllC HALL AfiSOCIATIOir. 

Dm AdhihI HKlInf of lb* SUKkbolltn of tha finsUa Hnki 



FKAHCIS L. XAICHBLDER, Cisrk. 



BosCoo, taut e. 1366. 



BFMimJQiiBliydpnmptlTaMBlriillhiiOffict. 



BD, AI<LBII dnins a Utiutlaa ■* Ornnlit la hh 
RtraasiicBS-aBBiici BlU, ■. tUaiUun, J. B. Wltkoi. bqa. 



OTTO DBE8EL 

BitrasUoa on th* piano. tod maj ba aiMiifii at 
■ HaoBI. Tmu : — MO pv quartn' of S) laaa 



NEW COURSE OF HARMONY, 

BT I» H. aOVTHAKIK 

Tb« Fnbllaher* call Ot attatloa of tlw Dadoal pnttodes 
U Ihla nrk, ■• ou aalandr eatenlaM lo UfbUn tb* labon 
of til* taaehori and rapldlj adTaaoa tba papIL It la mpkUl- 
oaUjF a PaicTiciL work, Mrrinf both a* a Haniial of toHnte- 
UoasnUwoitliaaCaiidalVai-boakaa thastlHTl aadllls 
bv1f«v»d (llM ttl« paanHu amnsnomt Df tb« TOTk, (Ofrtbtr 

■rvat adTantaR*, tobotfapcliDkiuaDd taaohor.onf anjabidlar 
mnk ;*l pnblbiwd. Prk> 81.£0. 

amo. p. KBKD A CO., IS Timifflil St. 



VILLIAU BEBaEB, 
Pabllftker and Importer of IHnslc, 

Vo. 8S Teat 4th StrMt, Olnoiuiatl, 0. 

KEEPS omstaDtlr «a hand a Lwxo and Baltet Btnek ef 
IMPORTED UD8IC, tor aalo at Euum piteoa. Stw 
Huale ncelTcd bj BCmusot ai hod as pnblMiid. A Hbntl 
dIanHint nwiiMd lo TraclMr*. All oalcri pnmpclj attmdsd 
to. Hum azraDgvd to ordar. 
IIT-CatalocDHBiatiratkbjmall. AntM 



NSW AEBTHETZO JOUENAL. 

THE CBATON, 

A WHklj Pap« laTotwl to ART, oSaia lliair ta (br attontlan 
of all vtia an latoruted Id tb< tlcratlDi aBdrfflnlncfBan. 
tuna of B«ii<T. AmODK the sonUlbiitan to THE CRAYON 

Duaiac, Pmldmiuribf N.tkiulAaHlHnjotDcdpi, Dism 



It tbw 



at paprr* b; RuiIiH. and 



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of aU VB haro laJd In II* pnlv. Ho Journal, 
maati villi tba npporl It ao rtcbljdtatm*, w 



' OAUL aAHTHER, 
TE^OHEM OF JKUSZO, 

Vty b* ftniid at Ho. SO Dot« Stiaat, irtrj fimnooB beta 



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( bat lilt, I PBILAOELPHIA. 

lt7~A eatalofn* of m 

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mwdTlnc wialiKWortb* nfea, and ttmnnghlT eomctlnj 

barA,gnMnta],naial,or olbtr nnpleasaDt paenllultlea, on- 



fxi:;' 



(natal 



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and IbSId^bc, 1b Ih* Italian 



Iknea, aftaritrogglHia to Odoqpor soma fnttorai, nan], of 

Dtbar — [■■ ■ ■noiHrlan, abaadoa (b* pniaall tk« tbaba- 

Utf that Uht ar* aflUend wlcb a luiiiraJ dafMUvanass : wbas, 
vltb a IVaBflinal put of tba appUtsHau whkb Ihaj hascow OB 
(baotbarbiBBcbasaf tbshnosiealadDoaaoti.aBdwUb nnch 
Was phjikal aVart (If prapsrlr dtnclad) tbaa dtf baT* 
. — J— iiaa,«bdrioka-— '-"' *-—•—— — 




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A da*>lopfrif tba Ttriea, 



Uigitzed by V7V^»^^V1V^ 



'3' 



80 



DWIGHT'S JOURNAL OF MUSIC. 



NOVELLO'8 LIBRARY 
MUSICAL KNOWLEDGE. 

ToL. I. Now Rum. 

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[ForoMi priM, Otl vat. 1., HulnoiiT ud Ttaoniii(b-Bui, 
esoa. bjBullM. Tola. IL uid HI., GbU* to CvmpoalUini, 
wh88>ta.b7m>ilM. 



rrom tb* GunniiD, hj Simu Nonuo. Tha 
mnneu namiiiM »*IhiI bj Joiui PiTnuK. [Vonm prtca 
•ITfi.] laptfttnurpullcia. bjDuU2S. 



MAKV», WL, GKHIRAL HUSICAL TNBTRUCTION- 
Ad aid to TCachn* asd iMrnsn Id «*RT bnaoh of Ht 

•la] knowMi*. Tniulattd br OioEai Hiciioiii, fmn th 
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>,• or tbla work At* larga tdlUan. 

, ij_vj._,^rtlllf^'-"- 

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AT TBI HOBIO HALL, (Rn, TaMMU Piuaa'a Boom,} 

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whieb la aeknowledftd by the maM eminent mndcUne of 
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TEACHER OF THE PIANO-FORTE, 



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ODtOULATIKO MUSICAL LIBRART. 
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It la alao capable of many aolo-aSKla, and bat great rarlel* lo 
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A OOOS TIME TO ^UBSOSIBEI 

DWIGHT'S JOURNAL OF MUSIC, 

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bai dhC with eooUnnatly Inoreadng fkror, and II ontelad 
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Ita OMtenta relate mainly to th* Art of Mnni, bst vlth 
glaneea at the whole WorU of Art and of PnUI* Lilecatni* ; 
lncladlDg,f>«Btlma totlma— 1. Critical Rerleire of ConcarCf, 
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with, a: 



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sub*eqi>*nt InamiDO, per Una ........... .6 da 

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Uigitzed by V7V./V..fVlV 



■a' 






Whole No. 167- 



BOSTON, SATURDAY, JUNE 16, 1855. 



Vol. Vn No. 11. 



PUBLISSED EVERT SATURDAY. 

^TOBHS 1 Br U(dl, «S par Mumm, In ftdvuioa. 

Wlien 1«R br Ounrler, S3,S0 " 

J. 8. DWIGHT, EDITOB AMD PROPETETOE. 

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SUBSCniPTJONS RECEIVED 

AtttuOFnCB OF PUBLICATION SI Scboa] Bk BaMoa. 

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<• COLBUaN ft riBLD, OlBstanUI, 0. 

ROOK k hOsa ObnUadiO. 

TnailMad Bw tUi JoorhL 

BmtluTen'i SymphoniM, 



With the third Sjmpbonj in E flat (55th work) 
Beethoven i^db the series of his really great 
Bjrmphonlc creations, in which he will ever remain 
nnappToachable. Thia has bng been a settled 
point among real connoineun of marie, and onlj 
the groewst ignorance can speak here still of gro- 
teiqne extraTagance, of lack of form or symme- 
try', where an ocean of tones is spread out and 
the whole fulness of prtrfbimd hnman emotion is 
mirrored in its depths. 

What an immeasDrahle fulness of the richest 
feeling it nnioMed in this Eroica I TaEODORK 
Uhlio (in the I^apzig Nevt ZeUtekrifl fUr 
Miaik) has already called atteutioD to the &ct, 
that the Heroic in this work is not to be sought 
in its attempt to represent the life of an actaial 
hero. This hitherto current idea of the work is, 
to be sure, somewhat countenanced by the first 
and second morements, seeing that the first sug- 
gests the stm^le, the sufiering, the rictory and 
the death of the hero, in a word his life ; while 
the second, the funeral march, represent in tones 
hk bnrial, with all the p«unfnl and elevated feel- 
ings connected with this solemnity ; but in that 
view the two last moremeute becMne a mere un- 
orpunc q)peodage, they show no ideal connection 
with the first parts cuT die work; the organie 
ideal nnity d all the parts is broken, and it ceases 
to be an artistic crealioa of the first rank. Nerer- 
theless the woi^ was prodnced M one ewt, and 
the cuhiTated nund, snrreDdering itself more in- 
timately to it and penetrating more deeply into 
its meaning, /lib its unity. But this feeling could 
not attmn to any definite Mpraesioa <rf itself, 



until a great artist succeeded in finding the key 
to the unconscious felt understmding, and in 
reproducing the idea of the creatioii in &nuliar 
words. This was done by Richard Waonek 
in his " Programme to the Heroic Symphony. " 
This programme forms an epoch in the history of 
the understanding of the works cS Beelhoren, 
and we may be permitted to present here its 
leading features.* 

According to Wagner, the numng principle 
and soul of the work is found in all the various, 
mntually and mightily complicated feelings of a 
sbong, complete indiTiduality, to which there is 
nothing alien that is human, but which contains 
all the truly human in itself, and exprenes it in 
'such a manner that it seems, afl«r the frankest 
revelation of all noble paerions, to reach a con- 
summation of its nature, marrying the most feel- 
ing tenderness ^th the most energetic strength. 
The progress to this cousummation conetitotea 
the herdc tendency of this work of Art. 

The first movement includes, ss in a glowing 
fbcas, all the feelings of a rich Linaan nature in 
their most restless moods of young activi^. — 
GUdness and sadness, musing and yearning, lan- 
guishing and losnriating, boldness, defiance, and 
an Dnsnbduable self-eonscioosnen, alternate and 
interpenetrate; bat all these emotioas proceed 
frwn one main &cntty, Strength, which in the 
over-fulness of its being gathers itself sp, towards 
the middle of the movement, to an annihilating 
energy. This crushing power hurries on to a 
tragical catastrophe, whoae earnest significance is 
announced to us in the second moremeat under 
the garb of a funeral march, in which a fbeling 
of deep, suppressed pain, of solemn grief re- 
sounds ; an earnest, manly sorrow modulates from 
complaint to tender emotion, to recollection, to 
tears of love, to inward exaltation, to inspired 
appeals. Out of sorrow genninatee a new 
strengdi, which fills us with a sublime glow ; for 
nourishment of this strength we turn involunta- 
rily again to sorrow ; we give onnelvea up to it 
even to melting away in sighs; bat precisely 
here once more we gather up our fullest strength; 
we will not succumb, we will endure. 

We do not shrink from sorrow, but we bear it 
up on the strong waves of a In^ve and manly 
heart. Sbength, chastened by its own deep 
suffering, — strength, cured by its annihilating 
excess, is what the Third Movement shows us 
DOW in Its bri^t serenity. Its wild impetnocdty 
has beocmw tnmiposed into a fresh and cheer- 
fbl activity; we have now the loveable, gUd 
man before as, who walks h^ipy and delighted 
through the fields of nature, smile* upon the 



landscape, and listens to the merry hunting horns 
resounding from the wooded hdghtc If in the 
second movement we have the deeply, greatly 
suffering, here (in the Scherzo) we have the glad 
and brighdy active man. These two rides Beet- 
hoven brings together in the Fourth and last 
Movement, to show us the whole Man in harmony 
with himself, lliis movement is the well won 
oountertype of the first 

As there all human fbelings ore seen now 
blending and now mutually repelling, so here 
these differences are united into one harmonions 
result, which presents itself to us in a beneficent 
plastic fbrm. This fbrm is fimt fixed in an ex- 
tremely simple theme, capable of development 
from the tenderest delicacy to the highest power. 
It represents in a certun manner the firm, manly 
individuality. About it from the out^ twine 
and hover aD die tenderer and softer feelings, 
developing themselves into the announcement of 
the pure fbminine element, which finally reveals 
itself to the manly principal theme as the o'et^ 
mastering might of Love. At the cloee of the 
movement this power opens for its>If a full, broad 
path into the heart, peaetrating aad filling the 
whole manly heart down to its lowest depth. 
Here it is that the heart once more ntteta the 
thought of lifb suffering : the breast heaves irith 
fiilnese of love — the breast, which in its bliss 
embraces also woe. Once more the heart throbs, 
and the rich tears <^ noble humanity gush forth; 
but out of the ecstacy of sadness boldly bmvts 
the jubilee of Strength, — Strength married with 
Love, and in which now the whole, the complete 
Man exulting claims out j^cognition of his di- 
vinity. 

Snch, according to Wagner, is the idea of the 
work. But the tone-poet found the then prevulr 
ing symphonic fbrm inadeqnata to the most living 
representation of such an idea; it was too nar- 
row for the expresrion of such wealth. With 
singular boldness therefore Beetiioven burst the 
iM form and created on ecMntially new one, in 
which he could proceed unfettered. Hie es- 
sence of this new form however must be partiy 
sought in this: that the purely mnricol principle 
of development and working out of the murical 
thoughts, in other words, that regard to the strict 
rules of Harmony and Counterpcrint, no longer 
determines the single movement in its murical 
career ; but that the Idea itself in its progress 
and develc^nneut determines the murical mode of 
expression ; that not a specificaDy murical mode 
of ezpreerion, but an actual poetic derign deter- 
mines and moulds this form. 1^ is not saying 
that Beethoven set at nought the everiasting natu- 
ral laws of Hanacmy, but only that he adopted a 
freer hannoiuowraAdng Dp of the murical periods, 



Uigitzed by ViV_^*.^Vlv^ 



DWIGHT'S JOURNAL OP MUSIC. 



that he reaorted to balder hanoonic modnladoni, 
«nd irben the idea of tbe woA reqaired it, in- 
dulged fearieiair in tbe boldest, moat nnhewd of 
disBoiutnces ; ibr inMance, in the well known fonr 
meaearea in the second part of tbe 6rBt move- 
meat, which alone coold raggest ** Strengtli ^th- 
erisg itself up to an annihilatiDg power." — 
Then again we recognize the norel^ of these 
tbnat in their dramatic element This too was 
neceaaarilf conditioned hy the dramatically moved 
inward life to be represented. Accordinglj the 
music moves in constant antitheses, as for instance 
in tbe first Allegio, where the swelling and 
sabsiding of the tones fbrou an essential contrast 
to the pure Ijrical outflow of feeling in the sjm- 
phomes of Haydn and Moiart ; so also the two 
leading themes of the concluding movement are 
placed in a pnre dramatic antitbens to one 
another. 

With this new subject-matter and this new 
form the instramentatiDn grew up in the meet 
intimate union. The world of iostnimentB had 
by an uward neceesitj to ehape and expand itself 
into one richer and more indlvidoaL In this 
work accordinglj Beethoven reaches that iuspiia- 
tion and individual significance of the single 
instrument, wherebj it becomes capable of ex- 
preeeing a definite nde of a poetic idea, and only 
comes into distinct prominence through the poetic 
necesnty of expression ; its use is no longer deter- 
mined by mere regard to the Tariety and altema- 
tion of the seDsuons colors of the tones. Here 
every instrument is, so to speak, a self-centred, 
independent individuality, which Beethoven in 
the course of his creation strives to fashion to an 
even more precise peculiarity. With this we 
take leave of the grand work, antl turn now to 
the Fourth Syn^ony. 

The Fourth Symphony of Beethoven, in B 
flat Duyor (60th work) holds in several respects 
an isolated place among its siaten. While the 
third, fifth and ninth symphonies stand in an in- 
timate relationship to one another, on the one 
hand through the eamestnen and elevation of 
their subject-matter, and on the other, through 
the conflicta c£ feeling and the suficriogs repre- 
sented in them ; while the sixth, seventh and 
eighth symphonies in their ccxnmon cheerfulnese 
ccanpoee an intimate trinilf , the fourth floats in 
a peculiarly fiuitastic region, which it pursjes into 
its airiest distances. Moreover while the other 
symphonies are distinguished from the third by 
the ideal inward connection of thur single parts, 
while they manifest an actual oi^anic development 
of certain moods deteimined by an inward ne- 
cessity, while they are each sopported by a unique 
fundamental idea, in the fourth symphony we 
miss all such ideal unity of its parts, it sufieis by 
a certain hetetogeneousnese of character, fi- 
nally, while those symphonies, as compared inth 
Haydn's and Mozart's, as well ai with the two first 
of Beethoven, contain an essentially new form, 
distinct in principle from the earlier forms, the 
Gnirth symphony rests substantially upon (hoee 
older, and already superseded formal bases. 

Now it is remarkable and has already become 
recognized as a &ct, that the genuine, impreju- 
diced, unaffected admirers of Beethoven, — of 
course not those who wax equally enthumaetic 
about ever]/ work of the master — have been less 
satisfied with the B flat nuy'or Symphony. And 
in fact whoerer has been filled by Beethoven in 
the j^rvico, finds himself unable to lecuve this 



sympbmy with the same inspiration. If the 
onward-striving canpoeei 
in this work as having retrograded or halted in 
his artistic career, certainly be shows no real 
advance in it npon the Eroica; it is rather a 
solitary digresnon and aberration ftom the main 
path, into which Beethoven had struck; it is a 
ode star, a prodnction wiucb owes its origin to a 
momentary spe<nal direction of ideas io tbe Beet- 
hoven genius ; 'it sprung from a period, in which 
Beethoven for the time being perhaps did not 
feel himself in bis hi^est state of creative eoei^ 
gy. " Even the good Homer sometimee nods." 
Apart from this, however, this symphony also 
bears the stamp of the Beethoven genius. The 
fkntastic-romaotic character of the work stamps 
itself in the first movement nniversally. — 
Tbe slow introductioa bansporta the feeling soul 
into a peculiar state of suspense; the fantastic 
powers seem as yet bound and fettered by an in- 
visible limit, until this is broken through in a 
genuine Beethoven climax, and now the jocund 
host rustle away upon the waves of tone, now 
losing themselves in unobserved solitude, now 
finding one another again, and, re-united, bo- 
^nning their dancee anew. 

In the Second Movement a deep silence is fiiU 
introduced, a deep-folt, sustained earUtibSt com- 
mences and unfolds into a tranquil, musing wave- 
like movement, lifting itself even to the spheres 
of ecstacy, — think of the ma^cal entrance of the 
G fiat major in the nud^e of the movement — 
tall the loud chord doses the movement and the 
etherial world has vanished at a blow. Now in 
the Third Movement the fkniastic play b^ina 
anew and soars in the concluding movement even 
into the finest nuaacet, the most individual sha- 
dings and the inoat evanescent figures, where it 
ends. Tbe heteiogeneousnesa of sentiment in 
this symphony lies in the relation of the second 
to the third and fourth movement. This ecstacy 
in the second owvement stands in no orgaiuo 
conustency with the jovial character of the last 
This has been veiy justly pointed oat by a mu- 
sical critic, Theodors Uhlig, as also the vio- 
lent termination of the second nxwemeat, which 
betrays a contradiction of feeling with tbe esseo- 
^al ^>iriC of tbe whole, and was evidently 
designed to mediate the transititni to the follow- 
ing movements; whereby Beethoven himself, as 
Uhlig strikingly remarks, gives us to understand 
that he has felt the want of organic consistency. 

If, after all, then, Beethoven's Fourth Sym- 
phony cannot maintain an equal rank with the 
Eroica and the later symphonies, yet by the ori- 
ginality of its tone-pictarea, by its life-like in- 
strumentation, especially by its countless beauties 
of detui, it is one of the nc^lest blossomings of 
the Beethoven Art 

[TOtMi 



InmtlM CUnid>r,(BuUiinl,Ct]r>b.a. 

HniioBl lUent of the Amniouu. 
The failure of all attempts hitherto to introduce 
congregational singing in place of that of a choir, 
ongbt to have suggested long ago an inquiry into 
the cause, why so much efiort should have been 
made in vain. Were that more distinctly devel- 
oped and more generally understood, it is possible 
that a great deal of the ink which is being shed 
in so profitless a discussion would be reserved for 
more useful puipoaes. I call it profitless ; because, 
ai^r all that uas been said, and much of it well 
sdd, on the superior fitness of congregational Mug- 
ing in public worship, I am mistaken if one (tf my 



readers can pcrint to a single parish within his 
knowledge, where the change has been made. 

Now, the cause, which is patent to every tmej 
and lies on tbe surface, is obviously this : that 
three-fourths of the members of any given con- 
gteeation are not tingert ; but this is only carrying 
us back a single step, where we are confronted 
with tbe qoestiOD—wIiy is it so ? why is not music 
taught in our common schools as in Germany 1 
Why ore not our children initiated into the mys- 
teries of an art so easily understood, and the 
source of so moch innocent pleasure ? This 
brings OS to the point ; and the correct reply is 
one, I fear, not calculated to inspbe any very san- 
guine hopes for the fjture. However mortifying 
the confession, our whole fulure may, in my opin- 
ion, be traced to the simple fact, that Ihe Americam 
are not a mutical ;peo^e ; that thev have not tbe 
fine musical organization which dellshts In song, 
and enables tbem to appreciate hivhly, and feel 
strongly, the power of melody and harmony over 
the soul ; and therefore it is, that music is so little 
cultivated amongst os. It is common, I know, to 
ascribe the pasuon for music among tbe Germans 
to its being taught tbem io childhood; whereas, 
such teaching is the effect rather than the cause 
of the musical ta.<te so generally prevalent, though 
it doubtless tends greatly to augment and perfect 
the Utter. 

As some evidences in support of an (pinion ao 
heterodox as the one I have expressed, may be 
expected, I will indicate a few as they occur to me. 

The experiment of making tbe study of muric 
a branch of elementary education, was faithfully 
tried a few years ago in Boston, by a no lera com- 
petent teacher (ban Mr. Mason. Ue had inst re- 
turned from the Continent, slowing with tbe 
sanguine hope of making our land another Ger- 
many, and for a time appeared to succeed with his 
juvenile classes; but when the novelty of the thing 
had worn oS, it became an up-hill work, and is 
now, I believe, relinquished. At least, no report 
of any remarkable success has come to our knowl- 
edge ; and the failure, if there was one, of an ex- 
periment BO auspiciously begun, con be ascribed 
only to what I must regard as a fixed fact, that we 
as a people are not endowed with much sensibility 
to the channs of music. The English have per- 
haps OS little as we have, and tbeTrench are no 
better. Unless Auber is a Frenchman as the 
French claim him to be — though the name has a 
German look — neither of the three countries has 
yet produced an Opera of any celebrity, though 
they all aflect a passion for that kind of music. 
Tbe same may be said of the lacred Oratorios 
which are occasionally performed amongst us. 
They are all of foreign growth— none American 
— none End isb. Yet musical compositionsdf high 
merit are Ue real test of the musical eenins of a 
people ; and aU we can boast of in this line is, a 
few songs for misses to warble to the niano, with 
certain anthems of doubtful merit anu pai^nody 
tt a very mediocre character. Our country has 
given birth to orators and statesmen of world-wide 
&me ; our sculptors, painters and arcUtects vie 
with the best in the old world ; in military and en- 
gineering talent we are inferior to none ; even our 
poets " micant inter mxnores Stellas"— for the gods 
seem for the present to have sealed up the foun- 
tain of plenary inspiration from all people ; but of 
musical composers, even approximating towards 
excellence, we have not one, nor ever had. 
Even the merit of Yankee Doodle is not ours. 

Now, it is in vain to contend tiiat a soil, so bar- 
ren of creative talent, is not necessarily indicative 
of great povertv of musical genius ; especially 
when regard is bad to the liberal encouragement 
which eminent professors of the art meet with in 
this country. 

Ah, says the objector, then yon concede the 
point that music is encouraged and rewarded in 
America: is not that a conclusive argument that 
it is appreciated too ? 

Yes; we have had the Malibrans, and Jenny 
Linds, and Sontags, wi^ others of lesser Itme ; 
and we haee the Curios and Grisis; and we have 
f^ven them, io stereotyped phrase, " an enthus- 
iastic reception." Yet we are not to forget that 
the celebnty the^ had achieved in the old world 
preceded mm hither, and that their advent was 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, JUNE 16, 1855. 



heralded by long and loud blaste of the tnimpet 
on everf poasible key. Sm lo have recognized 
their SDrpaising excellence, and fallen into eceta- 
ciee at their Tocalizadon, would have been to 
confen that ve are insensible, unmu»c&l, iritbont 
taete, and bIkitb oil, nnfanhioaable ; and that would 
have been killing to 



But let u 



a little the character and qi 



litf of the plaudits with which their exhilutions 
have been hailed, and see what they are worth a» 
proofs of our masical taste ? An Opera, bj- one 
of tha great masters of iong, is being perfonned. 
One of the three or four movements— for there 
are rarelf more in a nngle piece — is reached, into 
which the composer has thrown all his inepintion, 
and created a strain orieinal, simple, unadorned 
by meretricious finery and fantastic flights, but full 
of a strange, mystenous pathos, which sDspendi 
the breath, and stirs to the very depths the souls 
of the favored few, lo whom the. divine sense hat 
been vouchsafed, — sending the electric thrills in 
wave after wave along the nerves, till the ecatacj 
almost becomes insnpportable. Hgw is it appre- 
ciaited by the majority of the aodience — bv most 
even of tboeo who would feel offended if they 
were not allowed to pass for musical critics ? If I 
may trust my own observation, it ii likely to be 
thought tame and spiritless, if not something of a 
bore. But let a panage of extraordinary difficrdly 
be triumphantlr encouotered— a trill spun out to 
an inCerminabla length — a flourish made up of 
seeming impossibilities for the voice to compass, 
and expression of no musical thought; aod,pr«sfo/ 
" the house comes down" in a thunder of applause. 
Let us now sAppoee the scene to be suddenly 
changed, and an acrobate to take his place on the 
stage, poised on his thumb, with his heels in the 
ur, and a ladder on the top of them, and a boy 
on the top of that', and the same uproarious ap- 
plaose would follow, with probably just as true a 
perception of muiic in the one exhibition as in 
the other. It ii the adroitness of the feat, and 
that only, which is appreciated in both cases. A 
German or Italian audience always applauds in the 
right place: an American as constantly in the 
tcrong one. While scane glorious strain is being 
delivered, the Gen*an or Italian does mental ho- 
mage to the genius that conceived it; an American 
never thinks of that— all his talk is of the ginger, 
and his chief delight in those nnnatnral exploit* 
of Ttnce, which are' the abhorrence of all true 
lovers of music. And I may add-~wbat is not 
without rigniGcance — while the approbation of the 
former is commonly expressed by a low murmur, 
and a rustling of fans, and a eeneral bnt slight 
movement in the andieuce, " The Free Demo- 
cracy" is not satisfied without bringing hoofi^and 
fists, and cudgels, into play. Approbation, then, 
of music, to be worth anything as a proof of mu- 
Mcal sensibility, must be discriminating, and be* 
■towed where it ought to be; otherwise it is a 
damaging sort of proof on the other side. 

I have spoken of the Americans as a people, but 
ua far frran denying that many of them are 
endowed with the men* divinior to feel and appre- 
ciate music of the highestorder. Such, however, 
mnst be regarded as exceptions to the general rule. 
And if the fact be so, it sufficiently explains why 
mtuic b no mora cultivated amongst ua. Admit- 
ting our low musical organization and temper- 
ament, the futility of attempting to make musicians 
of B majority of our population, or even of any 
considerable proportion of them, and consequently 
of carrying out the proposed design of aubsLtuting 
congregational singing for that ofa choir, becomes 
Apparent. Little can be argued from the lucceas 
of the early Methodists in this particular: their 
religious fervor enabled them to succeed for a 
time, bnt now it is believed that, with few ex- 
ceptions, they have fallen aw&y from their &nt 
love. 

The writer would regret having penned theee 
remarks, if he supposed that their practical ten- 
dency would be to discourage the cultivation of 
whatever musical talent we have, nnce that is the 
only way in which onr choirs can be suitaiiied and 
imprDved. 

r play, nor even 



[Pnm tb* Ohtdii.] 
INVITA MINERVA. 

Tbe Bsrdling came, wh«r«, by ths rivsr, grew 

The pennoned reeda, that In Uia wsMwlod blae, 

Gletmed and ilghsd plalatirolj, as If liny knew 

What music slap! enchanted in each stem, 

Till Pan iboold ehoose toms liippy oos of them. 

And, with his wisB lips, tbrlU It throng and thnMgh. 

The BardUng thougtit,— " A plpa la alll need : 

Onoe I have picked me out a daintier read, 

And abaped it to my fancf , I proceed 

To blow Bnch nat« as yonder, 'mid the rocks. 

That itnagB youth blowa, wlio tends Admatot' Qoeks, 

And all tba maldeDS wUl to ne pay heed." 

A Iceg June day he searched the rivage round, 

And many a reed ha marred, but never found 

Tbe one wheieintheatrangeyoath's tones were bound; 

At last bis vainly-wearied limbs he laid 

Beneath a darksome Isnrsl's dickering shads, 

And sleep aboot his seose hai cobweb* botiDd. 

Then shone the Highly Mother thrcogb his dreams. 

And said, " The reeds that grow beside Ihsu itreama 

Are mine ; and who art thou that layeit schemes 

To snare the melodies, wherewith my breath 

laiplre* the doubte-plpas of Life and Death, 

And hamionizes that which discord seams? 

" He seeks not me, but I seek oft In vain 

For him who shall my volcefol reeds constrain 

To free his heart of Its melodioas patn: 

He ain the htal gift, for well ha know* 

His Ufa of life matt with Its oveTSows 

Flood the tmthanktul pipe, nor come again." 

JiuES EoaaiLL Loweu, 



A London View of Terdi'i "Troratoro." 
If not precisely the best, Jl Trovatore is one of 
tbe longest operas of Signor Yebsi, and in some 
respects the one in which he has attempted moat 
We cannot perceive in any part of too musio, 
however, that thorough tnuisformatiDn of style 
which some of the Continental critic* have an- 
nounced. On the contrary, we End the composer 
of Emani and Nabuceo as plainly declared as in 
either of those works, with the same forms of 
melody, the same disregard of constmction, the 
same itruning of Torces, the same choruses in 
unison, the same violent contrasts, and the same 
poverty of instrumentation. Nevertheless, we 
think, that dramatic instinct, at times even dn- 
maticpoifer, is more frequently indicated in the 
Trovatore than in any other of Signor Verdi's 
operas, not excepting Ri^olelto. The tunes are 
not so simple and rhythmical, but the coloring 
is more appropriate, and the general "effect 
better. To deny merit altogether to the Drova- 
tore would be just as unfur as to go the extreme 
length (^ Verdi's admirers, who proclaim it the 
grandest dramatic work of modem times. It is 
no more to be despised than it is to be raised (o 
Olympus. But how many works are there, occu- 
pying that border-land between the contemptible 
and sublime, which, accepted by the world, have 
pleased, continue to please, and are likely to 
please 7 It were easy to cite examples, A work 
mav he dramatic, and afford gratification to mixed 
audiences, without being profound or even cor- 
rect ; and Sig. Verdi is neither one nor the other. 
It is for the public to applaud, bat for the critic to 
do his duty and examine. II Trovatore ia written 
in contempt of all rules ; no ad eaplatidum quali- 
ties, no temporary success, however imposing, 
can atone for the want of refinement, the coarse- 
ness of st^Ie, the habitual contempt for pure 
forms, which ore as apparent as in anv ot the 
previous attempts of the composer, and the more 
to be regretted, since, even with such evidence of 
dramatic feeling, individuality of manner, and 
fluencv of execution, they render it impossible to 
hope for any newly awakened desire on the part 
of Signor Verdi to become essentially an artist 
The question of art is distinct, however, from tbe 
question of ^popularity. Of the growing popu- 
larity of this one Italian composer — who, now 
that Bellini and Donizclti are dead, mav be sfti^' 
to have inherited the footatool of Rosuni, tW)gb 



still living, dead to music — there cannot be a 
doubt; that it is founded on certain attributes 
which distinguish Signor Verdi from the common 
herd of producers is equally indispntable ; that 
he is, In some measure, gifted, it would be absurd 
to deny. On these pmnts, indeed, the reasoning 
of his admirers becomes what Shelley calla, 
"refutatJon-tiKhL" But when his entbnsiastie 
compatriots, dieeadsfied iritb fur admissions, are 
dispoeed to apostrophize the author of Emani 
ana Nabuceo as a lamp to illumine the circuitous 
corridors of Art, a minstrel singing as oefernun- 
strel sang — in plain Ungnage, a musical phenom- 
enon — thoee who know how prepaelerons are 
each asramptions incline to be nnjust themaelvee, 
and refuse to acknowledge merits that should be 
unquestionable; or, if not, whence comes the 
popularity Signor Verdi has acquired, and not so 
much with the uneducated crowd as among the 
cultivated classes 7 — and why have not other 
Italian composers, ^Mercadante, for example, who 
had twenty times his knowledge and experience) 
been equally fortunate. 

Signor Verdi, had he known more, there is no 
doubt, would hare done belter. As it is, be may 
rest satisiied with the applause of tbe mob, and 
effect to despise the educated fbw. When Oberon 
failed to obtain the success anticipated, and some 
one told the composer that " It was too abstruse 
for John Bull." "Hang John Bull," cried 
Weber, " I wrote Oberon for de world." He may 
have written with a view to immortalih-, bnt he 
did his best, for all that, to please John Bull. 
John Bull was enchanted witn Ver FrvitehlUx, 
and why not with Oberon t Here is matter for 
specnlation. Signor Verdi also wrote for " de 
world," but in a different way. He writes for 
"de world" in which be lives, and is heedless 
about " the future. " Applanse is to him as the 
breath of his nostrils. To gmn applause he must 
conciliate mobs, and ignore " ears polite." From 
mobs he takes his cue, having studied their tastes, 
feeling sympathies, and prejudices. He writes 
exclusively for mobs, and is accepted and wor- 
shipped as their idol. His aim is lo be less a 
musician than a popular composer. He has revfr- 
lutionixed the musical stage in hia native country ; 
for his operas all others are forgotten. In time 
ho made himself a name on the other side of the 
Alps. Other mobs caught up the enthusiasm, 
which spread from kin^om to kingdom, until 
new countries were invaded and conquered, and 
the mob-idol of one land become the mob-idol of 
all. Is this, or is it not, the secret of Signor 
Verdi's career? Could this have been effected 
without talent, and is Verdi the nonentity that 
musicians would make him out ? We sov nothing. 
It is amtuung to compare the opinions of "judgee* 
with the emotions of the public. Meanwhile 
grumblers are in a minority ; II Trovatore is ap- 

E lauded', and the directors of the Boyal Italian 
)pera put money in their pockets every night it 
is performed. — Musical World. 



Uias Hill. — The Florence corretpondent of 
the Newark DaSg AdvertUer writes, May lOtb, 
as fdlows : 

Several young Americans are now in conrse of 

SvparatioQ for the opera. One of them. Mis 
ill, of Boston, was sent to Italy by a wealthy 
gentleman two years since, and being not yet 
aeventeen, will no doubt succeed in adapting the 
language impresuvely to her voice, which is a clear 
soprano, not large but pleasing in quality. A few 
evenings unce she sang for trial to the Impresario- 
There be sat on the critical bench in stem judg- 
ment, while the young aspirant tremhiinriy began 
to lay open the treasures of her chett ; as his tnned 
ear and attentive attitude said " Go on T' she prew 
stronger, and poured forth all her vocal wealth — 
wnging as it were ibr her life. It was easy to 
see that be was not iftspleased — that was some- 
thing; was he pleased ? Certainly theinjanction 
to itudy was given with an encouraging ur, and 
the word giovant (young) ttii with pronuse for 
the future. At least the tremulous son^trea 
thought so, and expressed her detenniuation to 
\ exed if time and labor enabled her to do so. 



Uigitzed by ViV^^^^VlV 



'a'> 



84 



DWIGHT'S JOURNAL OF MUSIC. 



TheM, tided b^ nMiTs gpfU in voice and peraon 
of DO common order, with a good fbandation of 
early ■tndj', cannot bat succeed in siring Italy 
another pnmadcnaa; who, altera " Drat wason," 

niU be cf course given back again to the boaom of 
native American patronage. 



Hie " TaanluMiier" Orartore— A I^odon 
CntioiBiiL 

We bBTe iMfora given ipeolmeiu of the coaMmptnoni 
>Dd floating itjla En wbioh Ihs Mimcai World lud other 
London papers have nnlformty noticed BlCBiRD Wao- 
■■b'b oondncUng of the PhillianiionlB eoocerts, at irell 
u hit compoiitioni, and hie theorin at Art. We in the 
dkitance lure oould oolf read and woadir. Bat the last 
poiot of their attack «>a the DnuJiAmr oTMtan, ■ 
Mmpoaltion mth which wa hare are umswfait fsmillar. 
From the maaner In nbloh the aald WbrU ipeaLe or 
fl»t, we may now jndga nmewhat of the degree of valna 
to be iltiohad to ail that It hu Mid of Wagner. Rather 
than " illoe " any poitlOQ from M> cnrjom a " cake," we 
copy the entin critiolam : 

The fiFlb concert look place on Uonday night 
He auitieace was again anything bnt numeroua. 
The " Miuic of the Fjtnre " ie evidently not at- 
tractive to the amaleun of thia dull and " anar- 
tiatic " capitaL The programme waa aa foUowa : 

Slnfoaia h) E flat UonrL 

Aria "Agitato," SlgnotBellettl Paer. 

Concerto, Pimio-forie, M. C. Hail* Chopin, 

Aria, Ulie. JaonyNej... ■■Mozart 

Overton, " TaaahliueT" Wagner. 

BiofbDia Putorale Beetbovea. 

Komaoca, " Bobert," Mile. Ne;....Ue7aTlieer. 

Barcarola, "Salla Poppa," SIg. BellelU..Ricci. 

Overturn, "Fraeioea,'' Welier. 

Condnotor — Herr Biohard Wagner. 
The manner in which Mozart'a Symphony waa 
executed defies deacription. Every movement 
was an innovation, and a bad one. The first 
allegro, and especially the opening, waa drawled 
tbrongh, rather than played ; the andanle waa the 
aloweat and moat aomniferoui performance ever 
heard ; the minnet waa quite dreary, and would 
have been only tolerable had the Prophet "of the 
future," and the membera of the orcbeatra worn 
ba^-wigs, lappeta, knee-breecfaea and bncklea; 
while — with a view to contrast, we auppose — the 
last movement went oif like a rocket, and the end 
waa attained almost before we coold quite recon- 
cile ourselves to the beginning. " O, byAbsl 
0, by Adnanl" muttered the elect, to whom 
Bichard is, as it were, a herald and a trumpet — 
" Lo ! here be great truths I " " O gemini," ex- 
claimed the unmitiated, whoae curse ia aempi- 
temal darkneaa. 

Another slice from that cake of harmony to 
which the jtoaterior world ia destined waa tasted 
in anticipation. This was TannMiuer. Jn " the 
books" we find that Tannhauser waa a minstrel 
of the mid-agea, who, tempted by Venna, repaired 
to "the mount," and ministered egregionsly to 
the aensnal goddess, in aong and verse, hsiiiinir 
upon his harp with canning digits. This is all 
set forth, in strong shadow, by the overture, which 
Liszt of Weimar, who carries the keys for Rich- 
ard, blows the clarion in advance of him, and ia 
in a manner as great a " dark of nigromancy " as 
Merlin himself— -during King Arthur's time, en- 
loaded in a atone by a damsel " of the Lake," 
upon whom he waa besotted — which Liszt of Wei- 
mar, who carries the keys, has declared '*a mira- 
cle," in bis "book "of the overture to Tannh/luser. 
This overture was placed on Monday night — not 
BO briskly as by JuUien and the Philharmonic 
Doctor (Wylde), but briskly and impetuoualy— 
under the wand of ila finder, of him into whose 
mind it was " blown," as aara Hobbs (not Hobbea) 
of Malmeabury, by the Boreaa (not .£olua) of 
harmony. Tlie efiect was stunning, windy, and 
prepoaterouB. The audience waa evidently per- 
plexed, and (lite "elect" excepted) poetponed 
thdr verdict to " the fiitnre." The otchastra, in 
an under current of chorus (in unison, ppp — not 
h la Verdi) — which b^an at the SSlli bar, just 
after the aubjec^ a faint parody of the slow melody 
for the Cono ingUte, va the Camacaf Somam 



of Hector Berlioz; was suspended at the Tlat 
bar, resumed at the 301st, and carried on to tbe 
climax at the end (when TannkSiuer has sung 
bis last tetraaticfa, on "the mount") — murmured 
"Ob dear, dear, dear, dear, dear, dear, dear!" 
eight in a bar, an expression of the emotions ex- 
perienced at fiddling and piping such Amphionio 
strains. The overture to iTannJUIusar was not 
encored. 

Beethoven's symphony was well pb^ed, bat 
hardly up to the Philharmonic mark, llie " Riv- 
nlet" did not flow. Weber, the "stammerer," 
gave us a good notion ol his Hammering. The 



simplicity, atonedlor tbe Tannhiinaerian myateriea, 
which, much more than the Eleusoian, would 
have puzzled Jamblichna. 

Chopin's first concerto baa some attractive 

mod'ri, but for the most part conusts of an anintei^ 
eating series of brauvra passages of greater or less 
difficulty. The instrumentation is as feeble and 
bad as Kalbbrenner'a, and the form null and void. 
M. Hall^, however, phkyed anperbly, and waa de- 
servedly applauded. 

Signer Belletti waa in his best mood, and sang 
both nis songa with admirable facility. Mile. Ney 
has not flexibility enough for the curious ana 
from the Seraglio : but in Meyerbeer's cavatwa 
she displayed no little sentiment 

The audience were by no means satisfied with 

There ia Incid criticism for yon I There may 1>a lea- 
1001 plenty as blackberries, if you hmt acratched yoor 
hand! among Itiote thorny, brambly lenteDcei lo getdng 
BttbemI But witli regard to (he ItBipi in the Hoiart 
Symphoay, and witb regard to the alleged ltt>e[tJes which 
Wagner takes with ttaipi in bis conducting geaerally, it 
is bnt (kii lo say that the English critics are anitaloed 
by io high a Oennan aathority a> Bobsbt ScaciiAHK. 
Among the short layingi scattered through hia eollaated 
wiitiagi we flod the rdlowing memorandanii 

"Aug. 11, ISM.— Heard FidtBo. Bad perTormance 
and incomprehanrible fai^po-laking by B. Wagner." 

Similar in opinion, bnt clearer In itatemect, and with 
lometblBg like Intelligible aoalyaie in the matter of the 
overtare, la the critiolam of the AlMmoKm (Chobi.et), 
which may alio lotereet our leadsn : 

nerr Wagner makea no v^j with bis public aa 
a conductor. The Sinfbnia of'^Mozart went worse 
than we ever heard it go. The violins were 
rarely t<»etber ; tbe wind inslrnmenta were hardly 
able lo hold out in the middle movement, with 
such caricatured alowneaa waa that andante con 
molo taken, — and the Jinale waa degpded into a 
confnsed romp, by a speed aa cxcessiTe. That 
Cbopin'a Concerto, a work which is as delicate as 
it is difficult, pleased as it did, was owing lo the 
exquisite playing of M. Hatl^, who carried it 
through ; — supporting, not receiving support from, 
the orchestra. A finer display of execution and 
taste has rarely been heard. Neither did Herr 
Wagner condescend to assist Mile. Ney in her 
bravura; which, if well accompanied, might have 
produced a great effect, in spite ofitarocuco forma, 
thanks to her lovely voice and brilliant execution. 
Il is fair to give currency to tbe plea which, we are 
told, is put forth, — to the import ^t Berr Wag- 
ner protested, when making his engagements, 
against taking charge of the vocal and of lolo 
music, on the score of admitted incapacity. But 
how ill does such want of power assort with the 
conaummate musical knowledge assumed by tbe 
pretennon of conducliog certain favorite works 
by heart I There can be nothing in either con- 
certo or bravjira to tax the quickneaa or reaonrce 
of a conductor in comparison with the difficuldea, 
violences and incoherences of " the music of the 
future." Due paioa had been bestowed by Herr 
Wagner on hia own overture, — but the pains had 
been bestowed in viun, for never did new work 
making such a noise, and concerning which »a 
much noise has been made, fall more dead on the 
ears of a callona and contemptuous public. 

Though we have already spoken of this long- 
winded prelude in general terms, we must be per- 
mitted a few more minute remarks on a composi- 
tion for wUch such high honors have been claimed. 



Our impreaaton ia, tliat tbe overtare to " Tanit- 
bauser is one of the meet curions pieces of patch- 
work ever passed off by self-deluuon for a caat- 
Elete and significant creation. Tbe first nxteen 
ars of the andante maeiloso announce the solitary 
strain of real melody existing in the whole opera. 
ThisiBtheI^lgrim'Bcbant,and ia thehalfof agood 
tune in triple tempo,- — which, however, seems to ua 
no more ecclesiastic in style than the nottumo in 
Mendelssohn's " ACdaummer Night's Dream." Tbe 
secoEdi»rt of the air b made up of those yawning 
chromatic prc^resaions which seem Herr Wagners 
only bridge frran point to point. Afler it baa been 
given once, comes the whole over asun Mmply 
repeated with embrdderies. In the aUegro a rude 
imitation of Mendelssohn's faery music may be de- 
tected, both at the opening of the movement and 
in the phrases from bars 8 lo 12. To these suc- 
ceeds a scramble, not leading into, so much as bro- 
ken oS' by, the second subject This is a hack- 
neyed e^ht bar pbrase,^e commonplace of which 
is not disguised by an accidental sharp and the 
omission of an interval. Aa the allegro proceeds, 
one or other of the above " notions is repeated 
witb small attempt al working out : — and Uie ear 
is thoroughly weary ere the point ia reached 
where a busy figure for the violins, identical with 
one used in Cherubini's overture to "Lodoiaka, " 
dreasea up the theme of tbe Pilgrim andanle, 
which for the third time is presented in its int^- 
lity, with slight modifications of rhythm, none of 
harmony, and no coda by way of final climax or 
close. When it ia stripped and ait^, Herr Wag- 
ner's creation may be likened, not to any real 
figure with its bone and muscle, but loa compound 
Of one shapely feature with several tasteless frag- 
ments, smeared over with cement, but so flimsity 
that the paucity of good material is proved by the 
most superficial examination. Of Herr Wagner's 
instrumentation aa ill balanced, ineffective, thin, 
and noisy, we have elsewhere recorded our Judg- 
ment Yet, this overture is almoet the sole co- 
herent instrumental work from his hand which he 
could produce in substantiation of his claim to be 
considered the compoaer c£ the future. In Lou- 
don, we repeat, he faili to make any converts; 
either as a conductor or composer. 



IRusU ^btjiiBd. 



lABdUB, 

RoTiL Itauih Opkka. — Madame Geiai has been 
ovar-parBnaded into a uriea of "lanJoit hut perfbrm- 
aneea, after which she will positively raliie to her Tuican 
villa, so pleasantly alluded to In the bllli." The Jbttt, 
ever among the fomicoal of hei admirera, reada het a 
lectcre upon " InoonsltteDoy," and thlnlu a "faiewell" 
should be a " farewell," aad nothing leaa, oo mattac 
what r^reta It laavaa beblod. Yet harlog lluuo, what 
could they do without Giiai, and ihe so near? And 
what a feast of opera, iha, with the atats ah«ady theie, 
ensuied tbemi Her flrat re-appearance waa \aLaf\t. 
verila, (Hay 11,) with Habio, Geazuin, fte. Bar 
reoeptfon, saya the Leadtr, was gratlfyiDg, bnt not en- 
thmiaslio; but lo the laat Aet ihe took Ihe bouse bj 
storm, and " made ns all for^ve tbe lUaappolntment of 
hearing her again." This was followed by the TVomlora 
(fburtb time), and then Grill again in Soraa, with Tam- 
BEHUE for Patllo. Then came Dan Giovamti, only, 
Btraogely eaough, without Grbra Ineompaiable Donna 
AoBB, which was the more remaikabhi, condderltig bow 
anpetlative waa all the test of the oaat The foUowlng 
extract* should nuke onr muiloal Boatoolani' mouths 
water. The 2lm<i saya the presaot genantion haa re- 
oogoiiad but one worthy impenaoalDr of Don Qiovanol, 
and that la Takbdum, who, after a Ouee yean' ah- 
leooe iKm London, appeared agwn In this port. 

When we state, that the voice which wco ft? ita poa- 
lasaor the rsputaUim of the fliat of harytooa singen Is, In 
a great meaiun, eitlngulihed, and that what remalos of It 
Is not so wbolly at command u of old, we >hHll have 
traveled per MlNm the most nnweloome point In oor 
task Bi honest critics. But,"/aU< detvix" (an our al Ilea 
expreia It), Tamburinl can b«il all the qualities ofa gnat 
artist Ha alngi with (aite, eipresiion, and oorrsetaea*) 
acts with lodgment, viTaolty,eleganDe, and truth to oa. 
tute; and(lhemoataaientlal »iiDljnNnow},liispit«of 
yean, he looka more like the Don Giovanni of romance, 



Uigitzed by V1V^*.^VIV^ 



'3' 



BOSTON, JUNE 16, 1865. 



85 



and pM m b«H«r ibr tha Don Qlonniil of Hooit, ttttn 
•07 DOB at praMot on the boudi. 

Uabio wu the Don OttavJo, ■ put wUch (br wmM 
7««n haa bMD axclnilnl; UiB propertj of Tahbkbux. 
The nMMMf*: 

It ii hnpaaible t» hnegbie tnything men poftot la 
grace tod MPlhHDt, or mora tankleu In ezecvlioD than 
SicDor Hario'i dellnvy of the dMoe alt by meani of 
wEich H mut haa niaad Don Ottarlo tnm a qnail-non- 
aotilj to a mij bnportaot aod iDtemdnjt penooaga. He 
HnK ft last Dight belter. If poaalbla, Ihsn on rormar occa- 
dooa, and waa anoored with ganniDe enthnalaaB. 

Onring to the innaaa ol Mile. Nir, Uw part t^ DomM 
Anna waa takan hj Uma. BtnisitaDoarF, who la not 
vetj vannl; pralied. The veleraii Libi^c^hb wai 
taporelhk And then Boeio as Zerllna! Well may the 
fiCawJanf aik: " Can an; one ooDealve a more wlnidag 
and irtleaa eipDncnt of BaHi, baui, and Vtdrai caritu— 
two of the moK enchanting nnp ever giren to the mor- 
tal worid — than thla lad; ; and can an; ana Imagine a 
more legitimate reaton for • pair of eoosea?" Let the 
Jlmei finlah the account: 

Boain, lut night, not on]; ung th* aira of Zerllna 
with a perfection that mnat hare intisBed the moit 
aetupnloDi admirer of the mneio, bnt acted the part in a 
Ter; natural and charming manner. Thia innoratpin 
wu moBt gnteful, lince it gHTs additianal reaiona for 
eonadenliooal; praiaing one of the moat accompUahed 
aiogen llut erer ■ppeared it the Itelian Open- Batti, 
batti, and fadnw earino were both encored ) and ao well 
were the; anng, and lo thonmghl; undentoodit^Bodo, 
that we ahould not han oUeeted to bear them a third 
time. Buch eiqaiiice and Dewing nelodiee from the 
lip* of ao flniahed a aongatreaa cannot hil to enchant, 
CTcn where the mnuc alone Ii taken into conaideration ; 
bat laat night BoaiainTeatedthem with a twoful charm. 
Shswaaareal "fleah and blood" Zerliiia — not a puppet 
with a ajien'i Toice, but a loring wife, doing beiutnioat 
to conaole a jealoua huabaao under bia temporar; 
adKetJona, knowing the lemed; to be in henelT and, 
b; the prettieat poaaible bf-pla;, making the audience 
quite aa much conTinced of it aa Maaetto. We ilated 
aometfmeeineethatBaaioeowUaef.irabepleaaad; and 
we arc now more than erer cooTinced that ihe poaieaaea 
aomething elce than a lorel; loice, a Suent execution, 
and an cngaginB peraonal appearanoe. A mora eapital 
Haaatto than Stgnoi Pou»(l«l ma narer aecn. Hia 
acting while Boiio aaog Batti, tatti, waa perfect, and 
hia ^adnal icMorallon from oSended dignit; to eom- 
plaeent good hamot waa worth; of an; prmlae. So 
Rood wai Signor Polonini thronghoat that we wiab he 
had Bang, and hope he will ling on another oceaaion, 
the Ten qoaint and appropiate ait which Uaaart haa 
allotted to Haaetto, but which onlv the German Ha- 
•ettoe hare not abandoned. Another excellent per- 
formance waa that of Elvira b; Hlle. HAbai. Laat, 
not leaat, the Commendalore of Slsnor TAoLllrloo 
waa, aa n haa been often proclaimed, one af the moit 
artiaticandeScotiTepeTfonDanceaon Che operatic atage. 
In the (upper aeene — where the music riaea to a degree 
of aoleauiit; which haa left Hoiait nnapproached b; 
dramalio compoaera — the ainging of thia gentlemaii waa 
be;ond erltidam, 

pRiLHABvoHia SocmT.— Tho fbllowiag wtw the 
programme of the aizth eonoerli 

Wnlbela Ib a aalMir (MS. mpDHd >v the ndlhar- 

monteSDeWtjl Pottar. 

AiK " QoMtl anaBraricil," H«i romta (IlBgntf to) Hmn. 

ConBHto,Tlala,lf. Bateum Baathann. 

UtUiBna, Itdlli. Bohkolla lahnal FiifnlHl. 

Onitnia, " iMoota" itiiiliiirin 

UBlBnlei>]ABiaM>t,Ne,B WwHWiAn, 

Baell. "CndaLe! " Aria, "Won ml dlr," Mm*. Birii- 

knlto Vaieonl: (Don OkinaDi) Htmit. 

Regit "In<*:" SoDg,"OrndiH«thwlhesWiT" 

Harr tnmiMi (Ada and Oalalaa) Hudd. 

OTBien, "Bawlai" Spohr. 

Condueler— Hoi Blehard Wafoar, 

The S;mphon; of Hi^ Potter la praised ta b trul; 
elaasica] work, and ahowing genius. M. Sainton'* pla;- 
Ing of the Beelhorao oonoerto la prononncad maalel^, 
and the vocal mnalo axoallanL Of Wagner*! oondDotliig, 
thia time, the Jftia of Ua; tB (and the admlaakma of tha 
Ttew) an ahnoat aa atrong aa Ut azcapCiona) a>;a : 

Hendelaeohn'a "Scottish G;mphon;" waa plared 
with powerful eBbot, Iboagfa the llmea of some portions 
of it ware not illoBBther the same aa tboaa gTven by 
Handelaeohn hlmaelC Probabl; M. Wagner never hmd 
him condnot the aymphoaj. An •nthor'a own readlni^ 
of eooraa, moat be the beat; thouBh w« oeofbas that H. 
Wagner's ideas, when the; were ditfciant, did not alwajrs 
diapleaaa na. The Immense Impelnoslty which he threw 
hiCo the aOtgn gamritn gave eddltloDal modenr and 
majesty to Ihe rssomptlon of the lint subject which 
forma the finale. In tbe ovemoe to Leamnt, likewlae, 
the thne was oecastaDalt; pnaaed and ralazad hi a man- 
ner to which we have not been aaoaatoaied; bnt out 
impreaslon was that these licensee, ae the; are deemed, 
bel^taDad the Ore and vlger of diia inocoipaiabla over- 



New Pmi-a* MroaiCj— The fixuth eonoart was in aid 
of theftutdaof an eajiam, attd waa crowded. The fol- 
lowing waa the programme: 

OheniMa&em " TIh BbIbb of Attune '■ 

Air, " Jiaeeda, " fllxDorBeiMd'.V.'.V.'.'.V.' 
BoDlo fn B idIii«, (jiUiialHU, H. A1u>t BL 

■sMia, '■Obann,'* MiiM. RoraUa. 

ajB^eo;, (No. 1) 



BrmA.'imUr." _ 
PaRaanclCbMoa)... 
TMldlDiHanh. . . 



IIoye,'*Lan)V> (Solo, MUM Vovtilo) 

■ •>'>H^-»^pH(BtlMII 

V 

'ODBdnatar^br.' WjUa. 



UuBiOiLL Ubiom (Si.i.A'a). — The foliovlng programme 
was peifoimed at the third " iltting," Hay IG. 

Qnaftat, No. a, In a 

Ml, X minor, Op, IIB, Flano, Aa 

ftnlnlM, Id A, Op, IS 



Be)«, Plui>lKte. . . 



Hat 10.— ( aimqmde«:e 0/ Oe N. T. JAmosI Xa- 
*i(w>— Yon have learned from the joDmata of the peat- 
ponement of the opening of Ihe Uuiversal EipositioD, 
Arom the Brat to the fifteenth of May, and It was thought 
that (he parfbrmance of the TV D»mt h; Bbkuoz wonid 
also be deliNTed. We were deceived, aa the new work 
of Ibis compoaer waa given in tiie Cfaoroh St. Eoataohe, 
on Tuesday, April SO, a* pianooaly annoonoed. Thia 
Ti Deam, in retaining iu appoinled day, appaiMtly 
changed ita signification, and eeemed to have been per- 
fonned in honor of the aignal fUlure of tha attempt opon 



pc«ed of one thousand and flit; e'rigats, eight hnndred 
and lUt; of whom were children. We have obtained the 
opiniona vt dlffitrent oonnoieieai* of the nest oppoalCe 



,. lamroom- 

paeltimi.detBebedbrBerlteaforQieoooaalai. Thaeom- 
posllioa waa priowUy dcaigpad as the ciowniog-piace 
aod Siial apotbeoaia ofa grand splo.at once religions and 
martial. For thia reaaon, It waa genarall; Ifaoaght that 
the peilbnnaiiee waa eomawfaat oat of plaoa In a ohoroh. 
The ides* of worldiv pomp and glery, the aoeenti of 
grief and the orlea of diatiea*, which era introdooed Into 
this n iJenat, recall too vivldl;, we are assared, its 
earthly origin. Oontiary to what bad been aanonnoed, 
the organ was too much overwhelmed. Id Ita dialogues 
with the oroheatra, by the exploalDnB. k la Meyerbeer, of 
the brass inatrumenta, cymbala and drnma, and olhar 
ImnrovemeDta of Ur. S*t, that enterpffalng monopollxer 
of Infernal nolsea. 

The work commenced with a apeeiea of choral, flrat 

Sveo oDt by the organ; the same pbraae, retamlng at 
tervala during the coium of the composiC — 

_. 1__, 1..J — J.... - trinmp 



...- . . .. condnaion worked up into a tTinmphat march. 
A moat pompous fugue, Ibrmed npcn this obeni, whtoh 
is Number 1, attracted much atteaiiot). A JfiNrere, Itt- 
trodnoed epiaodioally, which (brnu a dialogue between 
the topranoe of one choir and Uie tenors of the other, waa 
nmoh orttldted b; some, and aa Ughl; extolled b; olh- 
eia. A tenor iflle, aocompanfed b; part of the otcheetia, 
achieved mnch soccese; it waa received very bvorabi;. 
A novel and cnrloos eSbot waa piadoaed b; the voices cf 
the soprano glvlog forth from thne to time the verse, 
jCof nmar nos aNtmconfia Iwa, D mwi we, acoompanled by 
brass inalTanieats. Bat the greateat aensation was pro- 
duoed by the finale, elthoagh aoma (bund In this a want 
of oieaneea. All the Ibraee, vocal and {naVnmealal, 
united with the Ibandwlng tooee of tha orpn, aioae to 
the auet powerful climax of eflbot, each as mi^t be »■ 
peoled from a master In compoalllon Hke Betlloa. A 
part of the aodlance arose during the peiformanoe of thia 
MamUa br an Involuntary movement Immediately 
after the n D»Mt waa periermed an hiatnimealal mBTcb, 
daaigned to be played wblle the Sags of the dlSb«nt aa- 
tlont were piesenled at tbe altar, tn be blessed h; the 
clergy. As we have berore said, the theme of the exor- 
dium re-anpeau«d for tbe last time, thus uniting the 
march to the hymn of thanks. 

The execution waa not the meet «tlafkclory, in spite 
of the eieotric mettODoma, whloh waa to anite all the 
masseaof pertbnnan. 



Ebrita.— In the translation entitled " The Conseora- 
Uoo of the In&Dt," \n oar tail nnmber, (Jtma Bth,) 
readera will pleaaa note tbe fbllowing wtpaidanaUa 

Sd stanza, Id line, for bringi TMd isv*. 
Tth alanu, 1th line, last word bnt one, (ur MMaorat'a 
nadeurloTs. 
Top of page f •, fiit Aa nM& i«Bd k reMli' 



fnjigW'a Jominal af gflnsir. 



BOSTON, JXTKB 16. 1855. 



Hu I«gnu)g« Trospa. 

The first concert of lime. Assx Db La- 
OBAKQS and the fine ortistB who have been ain^ 
ing in opera with her in New York, did not 
attract ao large an audience to the Mtuic Bpll on 
Monday evening, as ao rare a combinatjon would 
certainly have commanded at any other seaaon, 
even at the dollar price. Bnt a more delighted 
audience we have rarely seen at any vocal con* 
cert ance the &moua LttTD dayi. If the pro- 
gramme connoted mainly of lomewhat over- 
bmiliar juecee, yet they were good pieces, at 
least for the fint ezhiUdon of the best powers d 
the several nngera, and the singii^ ito^ waa all, 
without exceptiaQ, admirable. 

Uadaine Lagbamok is certainly a most wcMi- 
derfiil vocalist, and every bearing of her confinna 
the imprenioQ that she made upon n« in New 
York, and even more than confinna the prevail 
ing tone of European report for Mveral years 
c<«ieemiiig her. To say that her sin^ng ahows 
an almost increditide perfoction of mechanical 
execution, is not to say all. There ' is also some- 
thing beades thia ; something of nature, that was 
worth snch cnldvation and adonunent, something 
decidedly individual, faacinating and fresh, as 
nodung could be after so much study, unless 
there were the living spring of talent first of all 
and throngh alL We feel this in tbe voice itself, 
we feel it in the whole style of her ainging. Her 
voice, to be lare, is what no one would call sym- 
pathedc ; it haa not " the tear " in it, nor has it 
the grand volome for impassioned declamation. 
But it is more than a merely sweet and flexible 
organ ; if it resemble an instrument, it is not the 
flute, for it has a certun rich and reedy quality, 
an expressive ccdoring varjdng thnmghont its 
compass like a clarinet, or even like the meet ex- 
pressive of instruments, the violin ; and with a 
brilliancy like that, though at the expense of noir 
and then a harsh, hard, loud note in the upper 
regions; and even then there is no lack of sub- 
stance in the tones. Tlie compass too is quite 
remarkable ; from the low A at least, which, if a 
little husky, is a rich, tinging sonnd, with none of 
that dry, " mannish" quality, to the E and F in 
aA, which she reaches with perfect ease and 
makes as bright and strong as pcnuta of light. 
Not passionate or earnest, her song is nevettheleM 
genuine; she loves it; there is a naive chann 
about it, with all ila studied art; she [days with 
melody as a fountain sparkles in the sun ; and not 
withont the softening atmospheric changes, the 
shading and colorings from full tight to fonset 
glow and twilight ; for her gradatioiis of force, 
her altematioua from full vnce to lolto eoee are 
moat beautifuL Whatever does iteelfaopeiftctly, 
creates a legitimate place for itself in the world at 
Art. It was this same genuineness and free, 
bear^ play in the execution of the same kind ttf 
vocal feats, which made them so acceptable in 
Jennt Lihi> ; but tlus was only one phase of 
her nniveieal talent; nor is the Lagrange vwce 
to be named with hen. 

In the first piece sung by Mme. Lagrange yon 
have a &ir specimen t^ all her vocal and artistic 
peculiarities, although yon do not weary of hear- 



Uigitzed by VTiV^'^'VlV^ 



'3' 



DWIGHT'S JOURNAL OF MUSIC. 



isg her in conliniully new juecea, Any more &xa 
jou ireaiy of tlie fonntain's pUj. It wu a Hun- 
gatiaii melody, hy £rkbi>, b wild, pensiTe, rbap- 
Bodiol andante, of charming poetic expression, 
followed bj Tariationi in which she displayed all 
her morrellons runs, leaps, trills, and rapid arpeg- 
^os ia a ttaceato t£ the moat marvelloiu lights 
ness, ueatnees and precision. It was fbUowed by 
raptnroiu appliuue, and she waa recalled after thb 
as well u every other piece she sang. Jb the 
Carlo Magna finale to Emani (the quartet 
withoat chorut) her voice told finely in Ae soar- 
ing nnisoni with the t«Dor. In the duet: Z>unftie 
to ton, from " the Barber," she added the grace- 
ful vivacity and archness of t}ie best Kosina ve 
remember to all that exqninte vocal embroidery 
fbr which Rosmni's muac here ^vea so much 
■cope. But her grand triumph i^ vocal instrn- 
mentation was in the Mazurka by Schulhofp, 
Stmvenir de Vartovie, a piece written fi)r the 
]uano, but whose intricate mazes her voice thrid- 
ded with the precision aod certainty of the most 
cunning fingers. 

Yet startling and delicious as was the sensation 
produced by Mme. Lagrange's singing, it was 
Bomcthing more like euthnnasm, which followed 
with a peiftct storm of bravos the two solo efforts 
of the new tenor, Sig. Mirate. He is a man 
apparently of abont forty, large and noble in 
figure, with a nuwsive forehead, a look of intel- 
tectnality, refinement and good nature, and a 
dignified and graceful bearing. His voice cor- 
responds with his person, one of tlie nniscular, 
robust, manly tenors ; rich, wam, sympathetic in 
quality, sUghtly husky (it seemed that first night) 
in its ordinary range and when exerted with his 
ordinary power, but with a glorious, clear ring, 
and power of endurance in the high tones. His 
t^le is simple, large and dignified, and he is mas- 
ter of the pnre, sustained eanlabSe. He sang the 
Cujiu animam with more power and effect than 
we have ever heard, his voice in the strong high 
notes ringing triumphantly above tho then as 
always stunning noise of the brfuo instruments.— 
But it was in the romanza: Dtierio in terra, from 
Donizetti's Don Sebattian, that he fiurly electri- 
fied the house, really cau^ng such an outburst of 
enthusiasm as we Karcely remember in that 
Music Hall The voice, wtjch before had seemed 
very slightly inclined to flat, was now inspired 
and true in every tone ; the melody was delivered 
amply and with feeling, the pgwer and richness 
of the voice kept growing on you, till it reached 
a climax before the last cadence, where he pro- 
longed a ringing high B flat, renewing the tone 
by several snccesaivo impulses, as one tries an 
echo among the mountains, and not from exhaus- 
tion of the first impulse, but as if from pure de- 
light in drawing again and again from an exhaust- 
less reservoir. The applause' that followed this, 
after the repeat also, was aloKst frantic, and pei^ 
haps out of just proportion to the other good 
things of the evening. But nothing operates 
upon the mass of an audience tike a great tenor 
vmce ; one, which after so many that are either 
dry or feeble, lacks neither sendmont nor power, 
and boldly plants the strong shaft quivering in 
the highest mark. It is nndonhtedly the finest 
tenor we have heard, excepting Masio ; io 
power much greater than Mario, but len in ex- 
quisite beauty of tone, and in perfection of art; 
though many are ready even now to crown 
Mirate king of tenors. H« reminds one of Bet> 



TIKI, more tlinn any other tenor we have had, 
only that he seems to possess Bettini's best power 
always. He is perhaps more nearly what we 
have imagined Benedetti niighl have been, 
but we must hear him in open to be convinced 
that he b Benedetti's equal in respeat to fire and 
lyric genius. 

Sig. MoKBLLi is perhaps thus &r the best of 
all our baritones. His voice has not the weight 
or warmth of Bamali'b ; it seems not to be his 
temperament; nor has be the exi^igeralions of 
Badiali. Yet he is quite as masterly a singer, 
perfectly artistic in style, executing everything 
with truth, fiicility and taste ; a bultless judgment 
pervades his rendering, and his voice is clear, 
elastic, evenly developed, and singularly musical 
and ringing in the upper tones. In his cool, re- 
fined, gentlemanly style of singing, he reminds qs 
of Bblletti, while he has a better voice. He 
has a comic vein, tixi, and sang most admirably 
iht Largo al faclolian ; also in the duet above 
referred to with Mme. Lagrsjige; in the duet, 
/ Muletlieri, with Sig. Mirate ; and nobly sus- 
t^ned the central part in the C<uio Magna 
quartet. 

Sig. RovERE, of Alboni memory, is one of 
the best buffo singers we have ever bad, and re- 
cited the baron's dream : / miet rompogli, from 
" Cinderella," in the most approved style. 

The orchestra, under Sig. Abditi, numbering 
about thirty instruments, mostly from New York, 
is an excellent one, except, the usual &ult of a 
preptmderance of brass, which sometimes ren- 
dered voices pure and powerful as these inaudible. 
But the overture to Mmaniello, and the Proph^tt 
march were finely played. Herr Scbreibeb's 
Concerto for the trumpet h paUm was in execu- 
tion quite as wonderful as any of Herr EoBNig's 
feats, and quite as expresrave, and the compo^tion 
itself as an orchestral piece had meat in it 

Second Concert, (Wednesday evening.) The 
audience was much larger, and even more euthu- 
Hastic than before. The programme was a richer 
one, although we would gladly have spared the 
noisy overture to Zampa; but that to Der Frey- 
tchaiz was finely played and worth the playing ; 
it took its good diaro of the plaudits of the eve- 
ning. Sig. Morelli led off after Zampa. This 
time he abstuned entirely from tba comic, and 
confined himself to serious and pathetic melody. 
His soloa were the air ; Ah, per tempre, from 
1 Puritani, and the nnnanza: Ah, non aveva, 
from Maria di Sudenx, two of the very best songs 
of Bellini and Donizetti respectively, in 
which both ample dramatic melody and luxury 
of <»Ttament taxed the anger's powers and fbund 
them adequate at all points and ample. We 
have listened to no baritone mth more unalloyed 
pleasure. Sig. Rovere'b buffo talent fbund play 
in the two duets from L' Elisir (T Amore ; the 
first with Sig. Mirate, the second with Mme. 
Laobanoe, and much to the amusement of re- 
fined ears. 

Sig. MiRATE*8 voice and manner grew upon 
us. The voice seemed to us more uniformly 
pure and true. It adapted itaelf happily to the 
light, conversational style of the duet with Bo- 
vere, although that style is not hia fbrte. He 
showed his tasl« in the selection of the almoet 
always tnnitted tenor aria: Dalia iva pace, 
irom " Don f^vanni." (It has been sung, how- 
ever, in our chamber CMicerts by Mr. Artrdr- 



eOK.) This air has not the bravura of Don 
Otiavio's other song : 11 imo letoro, tmt is quite 
its equal in beauty of melody, in depth and 
tenderness d[ feeling ; its sustuned canta^U, ita 
wonderful modulations, and its chaste simplicity, 
refimng to wear any of the hacknied modern 
Italian cadenzas and effects, make it a difficult 
test of the best, though not the most showy and 
effective qualities of a Nnger. It will not " brii^ 
the house down " ; but when well sung and- ae- 
compuiied (and the orchestn has very much to 
do with it) it nnks deeply into the souls of those 
who truly love good music Sig. Mirate sang it 
like an artist, with nmplicity and truth, and with 
such warm reproduction <^ all the intrinsic beau- 
\y and melody as none but Mario ought surpass. 
The rtnnanza from Don >%6asftan was repeated, 
twice, with the same electrifying effect as on 
Monday, and Mirate reigns the king t£ hearts at 
present He has one danger, that of letting the 
storms of ecstatic 5rafM which leap out at the 
signal of his first ringing, loud high note, tempt 
him into fbroing wA notes, in the unconscious 
joy of riding such a storm. 

Mme. Laqrange, this time, did not exhibit 
her voice in instmmental pieces, but kept exclu- 
sively within the sphere of vocal music proper. 
First she sang tbe well-known Qw' Ux voce ; and 
even after Lind, Sontaq, Bosio, Gribi, we 
found no lack of feeling and expression, as of 
course there was none of artistic finish, in her 
singing of the slow, eantabiU movement ; in the 
rapturous allegro: Vien diletto, &c., her vmce 
could riot in the most bird-like luxury of orna- 
ment, achieving unheard of marvels of execution 
with meet perfect ease, and all with so much 
nuily and taste, HtM one enjoyed it like a simple 
gush of nature. There was character enongh in 
this, iMsides the dazzling execution, to make it 
easy enough to credit what the Kew York critics 
say of her dramatic talent 

The duet : La ci dareia, with Morelli, was chann- 
ingly sung and a repetition tnnsted npon. Here 
she WW singly true to the requirements of the 
music, loMug herself, like a true artist, in the ex- 
pression of its feeling. In the subtle delicacies of 
the duet from L'Bliiir, and In the brilliant bra- 
vura of Una voce poco fa, she was again in her 
own peculiar van, the truest exponent we have 
perhaps ever had of the beauties of thoee ornate 
styles of melodic composition. The finale from 
" Lucia' : Chi vdfrena, closed the entertainment, 
and never have we beard it so superbly sung as 
by these four artists. Mirate's rich and manly 
tenor soared nu^estically through the harmony, 
and the soprano partook fully of the same large- 
ness of style, crowning the whole on the final 
chord by running up an octave and swelling out 
the high D with wonderful effect 

Mme. LagnmgB gains npon her audience with 
every effort, — if effort it can be called, which 
seems BO easy. Art, carried to such height, be- 
comes a second nature. It is plain that it is no 
mere mechanical matter. There must t>e a cer- 
tain something like genius at the bottom of>it — 
genius for a speciality, not genina in its onivenal 
tense — to explain snch freshness in the exercise 
of processes so long and laboriously studied. An 
infallible instinct of good taste i^gns in all she 
does, from what is amplest to what is most eltn- 
otdinary, so that she may never mistake the right 
expression of whatsoever music she may under- 
take, and never undertake what is not meant for 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, JUNE 16, 1855. 



87 



her. At all eTenta it ii on interecting, a gennbe 
indindnalitj, tliis viiging of Mme. Lagnnge; 
and we thall rejrnce to hear again tliat wild Huo- 
gariau melody, and that TOcali)«d Mazurka. 
Her ladj-Iike dignltj aod grace of person, the 
beaatj that ia and s not, coming and going with 
her rare mobilitj of featurea, — and jet beaatifnl 
n the total ezprenkm ai if ererj featim had 
beeo apiritaBlIj monlded to the good will to please, 
— go far to complete the chann. 

Vei7 genetsl is the regret that we maj not hear 
this troupe in open. Ia not the.appr«ciatioD of 
their eSbrti here sufficient to procnra us sooner 
or later that great pleasure? 



Bofton Iluatre.— Italian Open. 
The two cladng perfonnances last week tbnned 
raiher aoanti-cliDua to theoperaezdtament Riga- 
Ictto, on Fnitj, was TOted (be most insignificant of 
all Iha opens. [Evsn VxKsi'i admiren did not 
seem to waim to ft. The chaimB of novelt]', of Mme. 
Hakktzb&'b singing in the pan of Gilda, and of a 
few effeclite pieces of for the most part light mnsic, 
were about all that saved it. The thing dramadcalt j 
is too monstrods to be eDdnrable, except as joui 
attention is eangbt away Irom the drama by the 
sparkling detail of the mnsic, or by nice points for 
Toice or oichestia. It cerlunlj is not a great opera ; 
it does not seem, nntil the last act, where the horrors 
are nnveiled, to aspire to anything intensely lyrical 
It is rather a tight play of fancy ; and therein we 
like it better than inch OTentrained effort* at the 
tragical and thrilling as 11 Tmeatort. There the 
eompoaer tried harder; here he has been happier. 
We an BtHl oonrinced that there Is more agreeatile 
mnsic, more that is new and fresh in RigclM). 8Ig. 
TaXDi has a very clerer talent for pretty masqnerade 
and dance mnsic, as we knew tiy the last act of Er- 
natd; and hers the mnsic played by a band nptni the 
stage in the opening Don Jnan-like scene, the minne^ 
the wbispered 2(lti uitt choms of die conspiraton 
who abduct Bigoletto'a daughter, the I>nke's 1^ and 
easy waits air : La doima t mdaU, Ac &&, are really 
among the pleasant things of the kind. There 
now and then a lonch of geniality as in " the Barber." 

There are some toodiing songs, too, and i 
dastiing ones that are qnita clever. In the ai 
between Qllda and her loTcr, aod Gilda and her 
father, there is some exprestive melody. The qnartet 
in the last scene is finer than anything in TrxaaUiTe, 
or periiaps any work of Verdi's \ and to deepen the 
horrors of that scene there are some orchutial eSecIa 
of a TOiy simple and scarcely mnsieal kind employed, 



As to the singers, there was litOe to praise, irith 
the ezoqitioD of the part of Gilda. VBsrrtLi ap- 
peared wholly ont of place in snch a psrt as Made- 
iena; Sig. Bolciomi'b tenor was bard and hoane, 
and he had nothing of the gay air of the sporting 
Dnke. Sig. Ahodio, as RlgoIeCto, the coort Jester, 
Gilda's &ther and avenger, had the most of a char- 
acter to sustain; but bis memory often tailed him in 

bis music, and his "make up" was too lidiculons. 

The piece was curtailed of some of ita good things, 
and some absnid things, such as the nriral and sing- 
ing of the mnrdeied Gilda in the sack. 

We were too hasty in congratnlating oar readen 
last Satnrday upon the prospect (rf bearing JUoso- 
MtOo 1h its enlirenness. We should have known ifae 
worth of theatre anwnmeements better. Of the fire 
acts only the three first were given, and those grfcatty 
abridged. Yetwhat we hoard and saw-~all save the 
painfiilly nugraceAd Fenolla — was appetising to a do- 
greeAat made onr dis^ipoiniment keen. If there 
is in great mnsic in Acssa'a opera, there Is much 
that is fresh and vivid, both In melody and hannony. 
The plot, the chaiaeters, the scenes and groupings 



an all interesting. It was perfectly refreshing after 
VsBiii's operas. The well-known cborusea, of thq 
fishermen, of the marketers, the wedding chores in 
tiie first scene, the prayer (a rich, unique piece of 
onaccompanied vocal harmony), fte., were very ef- 
fectively sang. Hme. Uabbtekk looked and sang 
finely in what little of her mnsic was retained. The 
Snke's part [Herr QniNr) wu rednced to almost 
noliiing. Sig. Bkioroi,! made an interesting Uasa- 
niello. Be had not fire enongh for the fell effect of 
the Barcarolle, bat was warmed into life in the pat- 
riotic dnet by Badiali, wliose impersonation of the 
rongh, honest fisherman, Fietro, was as plctuiesqoely 
Neapolitan, as it was new for him. 

When the curtain rose after the prayer and battle 
chorus, " a change bad come o'er the spirit of the 
dream" and of the mnsic It was Doniietti, and 
£dgardo dying once more, who has died so often, 
even in brass bands and hand organs, that it would 
be lealty a relief to have bfm make an end 
of it. Bnt it was the d^nt of our jonng friend, 
Habsisoic hIiu.ABD ; and in that we were all inter- 
ested. We are folly of the general opinion that it 
was a very saccessfal d^uL There was no great 
evidence of dramatic talent, yet all was appropriate 
enough, as it was modest. Bis voice, if not so strong 
as we iiave heard, was tbrougbout very clear and 
pore and sweet, and bis rendering of the mnsic snch 
as woald do credit to a belter tenor than that opera 
troupe poaseases. Bnt Mr. Millard, we an sure, does 
wisely to employ bis gift in concert and in parior 
singing, where bis voice and style and good musi- 
cianship are always most acceptable. 



Rustical <I[i>ititfSpondfn([e. 



Trom TAUNTOS', Xaaa. 
JmtB 13. — The " Creation " was brought ont here 
by the " Beethoven Society, " Monday evening last, 
nnder the direction of the accomplished artist, 
Thowas Rtah. The Society had eight or ten 
weeks' drill on the oratorio, and the ladies prac- 
ticed in general vocaliKailc^n under the direction of 
Ibis gentleman during this time ; so that every thing 
on the evening in question went swimmingly. The 
Socie^ consists of about fifty voices, and an orches- 
tra of twenty, — complete, excepting obbei and bas- 
soons. I doubt if any town out of Boston can boast 
of so complete an organization of the kind as Taun- 
ton. The society has given a series of concerts for 
several seasons past, at which many foil otatoKos 
have been performed, — thus have they endeavored 
instil a tovtf fbr music of a high order among their 
town's people. This and all similar sodeties 
consult their beat interests by engagii^ soch a person 
as Mr. Byan to drill and bring out worlcs of as high 
an order a* the " Creation, " becanse more deference 
is paid by the members to all remarks aod sugges- 
tions from sudi a leader, than wonb] be paid to one 
of their own memben. 

I hope, Mr. Editor, to be aUe to chronicle siniilar 
undertakings next season. 

I mnst not omit slating that this, as well as pre- 
vious concerts, was very fully attended. 

SrsciAioa. 

Trom NSW TOBK. 
Jdkb is,— Since my last the I4AOBAVOK troupe 
have given the 'Barber,' 'Fnritanl* (twice), and 
■Norma.' Mme. LAOBAHOa's Elvira pleased me 
exceediugly, as indeed it did tlie rest of the audience. 
I liked her better than Gvsi. Her singing is per^ 
feet, aod her acting, espedaily in the tliird scene of 
the second act, and in the Pmti ^ixtSo was snperb. 
Hie other artists, though far inferior, on the whole 
did well. On Friday nigfat we had 'Norma,' and a 
crowded house. I saw but a part of it and therefore 
nn say nothing as to the 'new reading' which Mme. 



Lagrange ii said to have given. Bignorina Coariin 
made a very pleasing Adalgissu 

And now, although Mme. I^grange is a perfM 
singer and actress, I feel no great admiration for her. 
She has nothing which makes one sympathise, 
nothing to carry away one's feelings. And therefore 

was glad to have the legolar company back last 
ight, even though they gave U T^vBoten. The home 
was crowded, which shows that the New York public 
prefer a good stock company to a star and a few ac- 
companying starlets. To-morrow we have ' Tell,' 
on Satnrday Liixta, with your Boston ptima 
donna, ISitt EtensLBK, whom we are all very anx- 
ious to hear. 

The present troupe will break np before long, 
(they aay), Badiali and SmiAJion going to 
Enrope. The Lagrange troupe will soon return to 
the Academy, aod probably be strengthened from 
the present company. 

Next week we an to have German opera at Wal- 
laek's. Manager, Albbbt Haxbtibk ; conductor, 
RoBBBT STOBpaL. fUeHo it amonK the promised 
operas. The week following, the erand German mn^ 
cal jubilee of the different societies through the Uni- 
ted States will open with aerand coocert on Monday, 
at the Hetropolitan. At the close of July we are to 
have JcLLiBN, with a new orchestra. It is mmored 
that he is also to be engaged io Italian opera. And 
lastly, that Dr. Jot (of tbe great English firm), ia 



^dc^rtlsem^nts. 



NEW COURSE OF HARMONY, 

■T Ii. H. BOnTHARD. 

TbsPntAlsbma 



Klij a FaAnicAL 



u OB* cmlaeativ alcnlsUd to tl^tm tba Uben 
T, uul npMlf AdTUM tb* poBtl. lilaiaithatl- 
FiGAi work, SHTlBg botli u a M^wiwi of Jutine- 
n> huiil, tai > Tett-bfuk oo lb* otba j and It Is 
. tb* pHDliir unoaiiDUl of tlH wait, tgcrUicT 
wlthUMvaylar|*aBmh*r<if*i«slasssBdUHiTlH,pi«Mols 
pat MtnutuM, (B bsth iobiriuuHl IMilMr, ovu aiv tfallu 
mrk ot Uu Uod. iHctun hIgMj eosimnl Uw ntt. Mr. 
VliuuiUASMiBTiUlsBnikiuisaivaisadln tlM ianpisH. 
Mr. aataos J. Ws» svs that H b a varti posptnaaula 
dlfltlHi,SHl1kadlaJ In ursnfHDCDt, slid nflctoitlj fioplODi I0 
■mbna all tba MMOtUs of Dw inatl d«cldB« tt aeoord. 
It «ui Itt ord*nd throDth uir nspaetable HoMte^tUtr, aad 
will bt nnt thMsA tta mall oa lbs ncelM at (bt ptke, 

UTiKumtflt. BoaUn. 



BD. Alit^ 
• shuroh tn 



Al^t^BH dHlns 



u OnulM In iOB* 

AddiM Boi lee, ifmmtK, Hue. 
I, B. HaaUlbm, J. H. WUlHi,Jb«s. 



OTTO DBBSSIi 

loa on tba pluw, snd 
__!. Tinu: — «0 ■)• 
no par qosiMi of IS In 



WII.LIAU BBRaER, 
PabllBher and Importer of Miulc, 

So. Sa West 4th Street, OlB^naatl, 0. 

KRPS HHUtuitlT m hand a Lain and flilaet fliMk ai 
IMPORTED I1U8I0, (or «!• at laatan pihM. Nai 
HBsle matvtd hj Stwmar aa aoon ai pnblWiad. A Ubcni 
dlseonnt fisntad to Tndina. All orden piDrnpUv attabdad 
U. Iliulgainafadt0 0f4«. 
l7 0*ta>acaas*«UfraaBb7mall, Aii(M 



F. MULLER, 



DIBKITOB or HUSIO A 



CAUL a&RTNER, 
TE^OHSR OF MUSIOt 

' bt Smiid at Ho. 30 Dovar Straat, mtj Ibxmoon b* 



a. ANSH^ & 00/8 

Stpsl fif fattijpi tnb fianuxtft fSait, 

IS s. nm anaar, asovb aatmn, 

(kistsUa,) PHIUDILPaU. 

jm eatalociia of imi itoek of ToidcB MihIo, and tf ou 
IVB Pubtteatlont. bu ]nM btan pnblkibtd. Hiuk aod Marie 



Uigitzed by V7V^*.^Vl^^ 



'3' 



DWIGHT'S JOURNAL OP MCSIC. 



NOVELLO'8 LIBRARY 
MUSICAL KNOWLEDGE. 

Tin. T. Hnr Rust. 



tiDD- TruuUtwl by uuua NoriuO} ftoa Oh aitfiuMl u*r- 
mu. Tbt Dndal ennipld rrrbad b; Tnotn NsTliu). 
IIorBR priM, ISt.] TsL 1., HanavBj ukd r* ' ~ 

NetLbjotilM. Tab. n. uS m., GnU* I 



M 



THOROuaH-BAM SOHOOL. 

lU, bT SuiUA NOTDUI. ^Hh 



TUUTISK ON CHOIR AND CHORDS BIHOINa. 

Tni»l»t«t(nimthf FnDEh.byLhiRiT.TsgHuHnjiou, 



F^Sr 



. [TDnaarprlea, Uftuu] ] 



MAKre, DR^ flWIRAL iroSIOAL 
AnildtoTtacbmiiid LiuDiniD n.-. ._ 

■iea] koowMi*. laiwliHJ bj Owui Hiciioiii, from th< 
oiigiiul 0«BU, •xpnnlT ftv NanUo<i tibnrr for Uk HUm- 
■kFD of HodHl KMHrMn. [Kxmupiloe.UTE.] Bmiidlm 
(JMb, prtM «1 tS, b7 Buil •! n. 
-,*0f tliknrkfln ' *- -- " — ' " — ' '" 



CHEKUBIKI'B TRIATIBB ON COVNTBRPOINT AND 
maci. Tiui4lit«l bj Mn. OowBia Ouui, ftom ttw 
orlfliu] Fitnch. TtL« mojkttl porlSOD fast klto bani sapor- 
Tlitd br Mi. Jdsub Pimuii, OnulU of Unwla'i Inn.— 
[loniMr ptlM, ST BS.] Bauiil In deth, prica •! SB, bj audi 

HOTELLCa UOBBD WVtlC WABZHOUSE, 

88e BROADVAT, NKW-TORK, 
Aod at flB Sbu Mntl, BiIm Bqiiu*, uA U PooUiT, Londan. 



JOHN SRWAED WKIGHT, 
^imlft, ftijaniit ant jiiitctoi of fflbtslt 

T TEX MnBlO BALL, (Rx. Tuosou Piuia'i Soamn 

airsa ihstruction on thx piano. 
BmUmim, 18 ATny Street. 



FIASI8T AND TEACHER OF JtOUC, 

tnolor Id tb* hMwr bnodm 



H of Nusur BrauuMOM, 3 



MlB K. 1. Prtof, Bafu. 



THOMAS BTAN, 

TEACHER OF MUBIO, 

IB PIZ FLAOX. 



B. D. ALLEN, 

rZ.^OBEH OF TBE PI^lTO-TORTm. 

Lcttcn mneWd an of tlMtua Rlohudnn, bq. !81 Wuh- 
Initiiii SlnM. 
RDonoH — 0(W SmoI, 1. HulUon, I. L Kunraod, Rigt. 



L. H. SOUTHARD, 
TEACHEB OF music, 



CHICKERING & SONS, 

lumrFAonixiBS 01 

PATENT ACTION 

GRAND AND SQUARE 

or XTXBT DK80&IPIION. 

W AKEBOOmS, 



_ m>'WABD I.. BATJ TTTi 



SUPERIOR TO ALL. 

UGHTE, lEWTOir miDBOBTS FUiOS. 

NATHAN RICHARDSON 

Wnia Kipeetrall; inlbno ttao pabHo tbU ba bu takaa tbt 
iMtaej Au lb* Nev Enilud HUUa, fti (be ak of tb* iboT- 
«l»bn"' '-" --" ■ ■ — 



iDitmiiigata, ■ full uioruiHDt of Kbiob wQl 

MUSICAL EXCHANGE, 

S82 Waabingtmi Street, Borton. 

Ttan IiutiiiiHiiMan wtmaCcd la all eaiwi, and pot op hi 
BKDn boxM, ttmttwatam. In tmupoRaUon In ua dli- 

laon ^^1», NaTimm ftoa dl pam of Knap, ud 

i.i rim noatrtd •• w m ai poUUhtd. oUeli, IHR^Oie with 

Tark^Df Bb>*(lliulo'loUllnnllnUHDB<tcdSI>bM. Th* 
moat Ubnal dbuimt mad. Is lb* Tnda and kmlaailia. 

CUalofDM unt lo ut addnu.frsiu,— Snpciloi HnoDion 
•lav* OB hud.— FIA80B TO UR, «• Um uniu. 



KB. BABBIBOH HZZiXiAB]), 

(TBI40RB,J 

TEACSEB OF ITAIUH VOCAZJZATTON, 

Ko. ST^lcr St TnaWOpirqDuUr. 



PATENT AMERICAN AOTION 

PIANO-FORTE, 

Kum^starr, 370 'WKaUnsMn f»»at, 

BOSTON, MASS. 



TODIG UmiS' WAl HDSIC SCHOOL 

B. R. BI.AHOUARI>, Tushwr. 
Thli Bahool ti dtalguM] fbr tbo*« vbo vlib to annln th* 
ibUitj M naif maalo nadilj » ilEb[,andti jwrtlcDlmrlr adapt- 



Addnia,eangtO«i. J. Wabb A:Oi>., ) 



Wl 



MK. J. C. D. PAKKER, 

b* bappj lo glT* iDitnietloii iB FUno-ftart* and 
Orfan pla^lni, and (h* IbioiT of M oile. Addna*:— 
" ■ "■-**. I[aj2e. tf 



MEYER & TBETBAR, 



BU'FF.dfO, Hr. 7. 



IC^AOEirTB Ibr tbg PdUHUbi 



•• of G. U. MZTZX, 3%. 



vma SCHOOL foe the puio-fobte, 

vbkb !• aclUMwM(*d bj tti* moat amlnul BiaMdau of 
Bonv* and Auufck ta b* tb* BBST laitrastloa Book that 
haa cvw ben nabllihad.— ^^PtIm ^iTva [>oUaA. 

lb* UUBICAL BZCHAMOB, BoMon, and 



Mb. J. g. WETHERBEE. 

(BASaO CANTANTB,} 
So. IB TRBMOnT TKUPLCB, pOHTOlr. 



J. TRENKLE, 

TEACHER OF THE PIANO-FORTE, 



C. BBEU8INO, 

IMPORTER OF FOREIGN MUSIC, 
701 BBOASWAT, HBV XOKK, 

Depot of Erard'i Grand PianoM. 

OIROirLATIHQ HUBIOAL LIBRAST. 

tty" Ooutantlj <a hinil i 



ADOLPH BAUMBACH, 
TEACHER OF TEE FIAirO-FOBTE. 

AppOeatloB ean b* inad* at Risd'i Unrifr^tan, or at Um 
nartilk Hona*, Roxbnrjr. Bcpt S 



Zi. O. EUEBSOir. 

Za^n a( ttt ^Ima-^atU. ISignt, ft iSfnsfng, 

OROANIBT AND DIRBCTOB OF UtmO AX 
BULVINCH BTREBT OHURCH. 

Unit Btam imdtr ilu Owit StiUau; 13 £id>aH il. 

BOSTOn. 

Al^Uatloni BUT >1m> b* mada al OUnc IHlKn>), IIB WaA- 

IngtoB Bt, to whom ha li p«rmltt*d to rttat- 

MPSIO Agp J OB P HIM TOTO OFFICB. 



ORGAN-HARMONIUMS, 
MASON &. HAMLIN. 

rp&B OTtan-HuDDslam la ao aollnlj new (pataot) Binibitf 

r ft. FrlHlpat ■ i. ylnu ; E. Baardon'; fl. fiaatbor ; 
ip\tt, IL ta dadfscd toan ((paclBlIf fci 

toclDiv.niomB, and abtt laifv pabLto 

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tb* propm; vt qoaUtr of lao*. II ■■ apteUlj adapiad to 

(ba nae of orfaa-taaabm and -^' "-' ._._... 

■DbaUmi* tot orvan-praaUe*. 

TttMoa ft Eanliii'i Kodel Kdodaont I 

BaeoiBBtadad bj tb* bMt maaMn* and Dr|aBlt«a )b th* 
DoantiT. faaaDFikJoa (4>alJ otbert.1 among whom vr mtDllDti 
B. Bradborr, a«onii I. 
Id Ih* Hanncink U^loa, 
0*1, li. U. BcBtbaid, M. 

"""' '"' '"'PHOM from *eo to •17a. 

QT'OlRnilan csnUilclng a fnll dtantpdon of tha Undal 
Hdodconi aiat to an; addraH, on appUoatInn to tb* nnd«- 
ilia«d. 

■maT lUwir. ) MASOIT A IUJHI>I1I, 

nnoHi aumx. { OaaOridf Si. (cur. nf Ckvbi,) Auisn, Ui. 



). W.^lorKl 



r.:T^ 



8CHARFENBERG & LUIS. 
XnfPOBTEBS OF FOBEIGN RIVSIC, 

Vo. T68 BBOASWAT, eonM of Kiath Bt 

HXW lORK. 



TEACHER OF HTTBIC, 269 Wuhington St 

RBSIDBNCX....U SHAWHUT BTRRET, BOSTON. 

A OOOS TDCB TO BUBBOBZBEl 

DWIGHT'S JOURNAL OF MUSIC, 

% ]lQt): of Sit Kxll SLftnirtiut, 
pRbUilMd narj Satorddy, M SI Mud St BoMob. 

Tvro I>oIl«rf par kiib*^ 1m itJiaiiaa. 

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baa mat with seutinBallT IncnaalBf bnw, and It *t*t«l 
Dpoa It* 8BTENTH TOLCUB with tlu BiuaJMC ftn Batord^, 

It* antanti niata valBlr to tb« Art of Kuno, bat with 
(laua* at tb* wholaWorldsfArtandar PnUtBLlutanr* ; 
li»laafaig,(nmlI^tatliM— 1, OrlHealBartewiofOoBcartg, 
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pacftnBitd, aoamuta of ttadr Ooapawn, Aa. S. NotJtaa of 
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poDdene* from ua^oal penOBl and plaeai. 5. Baaaji ob 
Dsateal Mjlea, •eboolg, paifnda, anthart, «nnpo*lt>OB(, In- 
NraBt«tta,thMiil*«;oBllaalealHa(iatioB;« KmalotB lu 
Man], aaolal,.aiid RallflaDi baailBci; on Moate In th* 
Cbnnh, tha CoBDeil-room, th* Tbaatn, tha Ghaubar, ant 
th* Stmt, fto. (I. Tranalatiana [imn tha bat Qmnasasd 
FrenehirritallDpOBMiuioBad Art. T. OecadODal Notle** of 
Boulplon, FatatlDc, ft*. B. Original and Saleotad Fosmi, ke. 

IT^Btak Bomban, from th* sommtneaBant, atn b* far- 
nWHd. AiUnaa (pon-pald) 

J. 8. SWIOHT, n BoBon Si. BofK«. 

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tkn* la i» bcttar m^eal crlOe in tha aonnBr than J^n 
S. Ihrlfht, of EhMton, and fM> men ai« abl* la tipma what 
thv hara to tj ahoal mule In a maaB* at oh* •* poatle 
and pntlaa. Hb arttcM an lan to ^aam the Uarwd ia 
made, aBd to ddeht Ua loTam. V* «aaun*Bd hb }oamal 

u able mnnlBC ooDmantarr Bpon mnsleal annt*, *I(»e(in| 
finim (Mh Kt rinldeaBco, nqrbif It* Briilaal BMIeaa of DBile 
and DtuMaBaTeoth nawand <dd, vllh UograFbIca) and «DMr- 
talalni datalli ; and tlwaji troe lo itbat i> Bioat lBt«nallBa 

FVwm tXt BAttvn KpAifu IVomrr^. 

Whorarar tbat* la a plano-ibrlB, thli JonrnaJ oo|ht t0b« 
IjbvaDlt. 

¥ttiK Hi* AbMi .Alio*. 

V* naad iaat iBoh a paper. Ob* whkh la nbaarrlnt to bo 
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intaliBlaMtB. Ob* whlah lalla mlr lAat la good and what 

bbHI, In IbahOMateoiTlotloaa of the writer Mr.Ilwlght 

aoflM mon qaaMeatJona to bold th* Jodf*** ebalr than anj 
othai writer with wheat pawan wt ai* aaqaalDlad. Ula isbUI 
warmth of ftellng U naitHl to an acute penapUoo of tlw 
beanttg* of Kieantloiial Art ; whll* a lon( and eameA etady 
of Ih* fnat eoupoaere of Lb* world baa renderad him *^"*'^Pt 
witb, ud aB appractator o^ their nobl* worka . 

TEKHtB OF ADTEBnSIMO. 

nrNtMartlon,p«rUB* UeU. 

■aeb enbaaqnent bunthm, per line ftj||. 

Itor one odomu, <U( UBetf int hwerHon. . . , .-.VlB 

Do do aMh nbaeqaant fCflV 

Bpaidal noUMe Ilaaded), aaoh biaMloB, perHaa SDcta. 
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— lartarlj In adTanoe- 

Jr oT'ar'BOHOOir'BTBEET i^ 

Uigitzed by V1V^*.^V 






Whom No. 168: 



BOSTON, SATURDAY, JUNE 23, 1855. 



Vol. Vn. No. 12. 



PUBLISHED EVERT SATURDAY. 

TMBHB : B7 Hall, 93 par »»mTnn, In adTaoo*. 

'nrhan laft by Otiita, *3,S0 " 

J. S. DWIQHT, EDITOB AIR) PKOPRIETOB. 

EDWASD L. BALCH, PSmTEE. 

ST" OVnoS, Vo. 91 Behool Btr*et, Boobm, 

SUBSCRIPTIONS RECEIVED 

AttbtOTnOI or PUBLICATION H SotHnl BL Boftoa. 

Bt NATHAN RICBARDBON, 3S WitUaston Bi. " 
" OIOSOI P. RBED t CO...iaTnmoDLR(nr, •' 

" A.M. LELAHD, ProTUeiN, &, I. 

" a BKBDSING, TDl Bnuliru, N*w ToA. 

■> BCHARFBNBBRO k LUIS, TSaBnwJw, " 

" OIOROI DUTMN, Ja EortMtw,N,T. 

" O.ANDItl k CO..,.19SoBthNlBlliBt. PhlluliilDhI*. 

" JOHN H. UBLLOR, - TCiulxm. P> 

•< MILLBR t BIACHAM,. .181 BkII 

" OOLBDRN * riBLD, 

•• HOLBBOOK k LOHQ 



BoeduiTen'i Bymphoidw. 



X'. 



In file Fifth Bjtnpbmy,' ia C minor (6Ttli 
woil), BjtETHOT EN .strikes qnite othe r, Muhe^ - 
^bord g/^Thiaajmphooyhaaalwayi'beea reguded 
mtb peculiar {oadaem and even as tbe n« p^iw 
ultra of BTiupbonic art by thoa^ BeetliovenistB, to 
whooi the last syniphonj of the muter has re- 
mained mi»e or leas a riddle, and -who bare re- 
cognized in BeetboTeo clueflj' tbe sorrow-amitten, 
strolling genini, attuning to jc^ and cbeer&l- 
ness 0DI7 throi^h grief, while thej have not 
enough appreciated the pure eerenitf and joyful- 
MM -with wluch he ii filled in the setenlh and 
e%hth symphoniee. In &ct this woA exerts an 
infinitely ma^cal infinence over those, irho have 
just fix* the first lime reached the outer tLreshtJd 
of the Beethoven sanctnuy. This magical effect 
is oiring partly to the pr^nant and proQOunced 
tone-pictares, and partly to the sharply separated 
contraata in which the work more^ /ITyoiTtale, 

^the Grst movement of this symphony and c«tipare| 
it with the same in tbe Eroica, you perceive at , 
once the epigrammatic diortDese (so to say) of 
the fbnner, the simplicity of its thoughts, as op- 
posod to the broad, extended treatment and the 

^^T<jTe!i periodic rtrnctore rf Uie Irtler./Tbe 
contrasts of light and shadow in the fifth are 
Hw A bcJdetJtMt n in t he third. - Uoreover&boot 
,no work of Beethoven has there been so much 
'poetaxing, as about this ^Qiink only of Htffinann's 
PAan/flnfwnate. ~". ' ■ - " 

Bat let ns approach this tone-creation more 
fRy. As Ihe ideal subject of the work we 
may dengnate the stmg^e of tbe human soul to 
eocj^ the narrowing limits of pain and sorrow 



and attun to inward joy and cbeerfolness. Hiis 
stmg^ is announced to u* in the first movement 
How rignificant already the fint tonee, of which 
Beethoven thonghtfiilly has s^d " So knocks Fate 
at tbe door I" It goes on developing in true 
dramatic coarse, in punful conflict, the soul is 
filled with deepest woe, is in a state of veritable 
wretchedness, dismay and angiush 
of the feelings; now the soul seem 
to these nocturnal demons, to sink exhausted in 
the battle ; and now it gathers itself up again, 
giving uttenmce in violent spasms to iU pain, and 
approaching nearer and nearer to the goal of 
absolute deapur. But through this night there 
sounds fmat time to time a soothing, mildly re- 
conciling voice — tiie second leading theme — as if 
to intimate that even this night is not wholly in- 
conscdable. Still pun and sorrow constantly re- 
gain the upper hand, nnlil toward the close they 
fill the a^taied soul exclusively and with an in- 
creeeed power. In painful conflict the move- 
ment began, in painfhl conflict it condndea. 

Then resound in the second movement die 
sweet tonea a! considing hope, and quicken the 
soul that has been steeped in woe. What repose, 
what soul-kindling consecration reeide in tbie first 
theme I What a healing, strengthening spell it 
wo^ in the shattered soul, which presently, in 
the second theme lisea to inspired courage, to 
joyAil presentiment of snceesi. These moods of 
all-cons(ding hope and of inspired and jc^^ous 
courage fill alternately this wonderfol piece of 
music i these compose its ideal subject-matter. 
Words are too predise and limited to afford any 
Airlher indicati". of die sool's mysteries, which 
are here nnvdled to ns ; one shrinks from bying 
to give intelligible expression to this ma^c, for 
" feeling is aU." Let me simply allude ta the 
tnui^Mrting and cdeelial pass^ where the k^ 
of A fiat minor enters; to the swelling gush of 
sweetest feelings near tJie cloae, to the impetuous 
fervor of the sad and SSdbanbeibreIhe end. 

In the Third Uovement, the Scherso, the sonl 
seems beclouded anew ; but these are not those 
demons oi tbe first movement, that are bu- 
sy here ; they are nther shadowy cloud shapes, 
^lich get peaeeaaioit once mora of the seal already 
filled witJi hope and courage. Hie soul is once 
mora spell-bound in a state o! inward misery 
and discontent, from which it seeks in an infin- 
itely hmnoTons way to &ee itself And the 
attempt succeeds. Toward the conclnnoD the 
compoeer stn^Ies in a most magnificent moacal 
climax out of the gloomy C minor into the fiill 
light of C nu^jor, and in a ^eitdid trinmphal 
march annonncca the achieved bliss of a cfaeOTM, 



Indeed in this concludii 



ing tnove- 
ment a whole world-aea of tones spreads out. ^ 



wavee of the most blisribl jtrr are heaving an 
sinking, an inexhaustible ocean of delight Bi 
the characteristic at this joy world is, that it : 
not one immediately found and given ns, not on 
created out tS our snbjeolivie will or humor ; bi 
it is a yfj wrestled iat and won through Ht 
deepest conflict of the soul, a joy bom in sorrov 
a moral fruit of sufiering. But so hot was th 
preceding liattle with sonow, so deep the tract 
it has left in the soul, that even in the julnle 
of joy tbera mingles yet agun an echo of thi 
misery, — eoon^ from the third movement in S- 
measnre — but only to betray its utter impotenci 
for instandy tbe joyous juldatioa is begun anev 
and with the enlnnee of that theme in the forty 
third bar befora the beginning of the Presto, — 
theme that breathes the meet cheerful conscioui 
nees of victtHy,— the soul seems to swim in indit 
turbable fulness 1^ enjoyment and revels nea 
the cloae in ever swelling floods of dithyramU 
inspiration. 

This is the ideal snbetance of this mighty tone 
poem, so far as weak woiks have power to ei 
ptesa it, so ftr as it is possible to ntter the Oi 
utteraUe. After Beethoven in the. Fifth Syn 
phony had lifted himself by hard conflict out c 
the depths of sorrow into a cheerful region, int 
the realm of bliss and rapture, he lingered som 
time in this paradise, aiid in this state of miu' 
composed tbe sixth, seventh and eight sympboniei 
thoee ideal [ictures of purest serenity and jo} 
until in the ninth symphony he sncceeded i 
reaching a yet higher paradise, not to be wo 
however bat by conflict and by sufleiing as b( 

In the Sixth Symphony, (F majw, 63th woik] 
Beethoven 'fills the sphere of absolute nuui 
with a new element It is the life of Nairn 
which environs Man, that forms the ideal unit 
and ground work of this taae«reatiaa; hence il 
name, " Futoral Symphony." But it is no sou) 
less copy of the phenomeoa of Nature, no no 
poetic material taoe-painling, that Beelhove 
gives ; it is ft real poetic representation of th 
idea of Nature in tbe first jdace; and then th 
feelings and unotions, which poness man whe 
he contemplates and loses himself in this world 
but above all the lepresentatioD of Nature s 
reflected in human fe^ii^, of Nature, so to saj 
transfigured in the human image ; that is to sa] 
not literal, naked Natue, but Nature rebor 
in tbe human spirit Instead, therefore, ( 
a mass <£ sepantte natural pbenootena, we hav 
an intdlectnally cmidenaed pcture cf the mot 
general lif^ ti Nature ; and mily in the Beeon< 
and third movementiaf the work are some singU 
definite phoiamena of Nature introduced; bu 
here too Beethoven does not loee Umself in sen 



Uigitzed by V7V.^*.^VIV^ 



'3' 



DWIGHT'S JOUBNAL OF MUSJC. 



be onlf gives the qMiitoal 
qnlnteflsence. 

Thus in the First Uorement, ai he saj-i himself 
in the supencnptJoD, he represents the awaken- 
ing of cheerful emotiooa on arriving in the coun- 
try. He does not describe to us the fields and 
meadows, the ploogfaers and the reapers ; he only 
depicts the mood tk feeling with which the citizen 
come* longingly and joTfiilly home (o rural life. 
Hatdn, as Fbamz Brbndel says, is very beauti- 
ful, the child of Nature himself^ who has grown op 
in intimate relatioiiship with Kature,a part (/her; 
but Beethoven is the man of (he city, who con- 
sciously Tesgua himself to Nature's life. It is 
the mood, so strikingly indicated in Goethe's 
"Faust": 

Forth from the uch'd and gtooni j gate 

The muUinide, in bright unj. 

Stream Ibrth, ind >e«k the ma's warm ray I 

Thslr [isen Lord they celebrate, 

For they thenuelies have aUo liien to-day I 

From the mean lenemeDt, the sordid room, 

From roofs' and gables' OTethanging gloom, 

From the clou preunie of the narrow street, 

Thsy'va issued dow Ihim daiknes* into Ught. 

This ground tone of feeling the composer pursues 
into the finest nuances and portrayB it in the richest 
and moflt various play of colors ; if in the outset 
the soul seems mainly moved by silent joyfolness, 
yet presently it begins to breathe with periect 
tVeedc»n, to exult aloud, and revel soon in the 
most glad and merry waves, till at the end of the 
movement it returns again to tranquil, musing, 
penave cheerfninesi, for now the clear and quiet 
brook is rippling sweetly near. 

The Second Movement Beethoven has charac- 
terized as the scene by the brook. This is deci- 
dedly a definit« natural image, and acconUngly 
the mumc aanuues a more determinate and indi- 
vidnal coloring. We perceive the wavy motion 
of the bro(^, we listen to the sweet vcHces of the 
lurds in the woods; nay, finally the sound of the 
water is entirely silenced, and we only hear the 
song of lark, cuckoo and nightingale. This 
is " tone-pmnting." Certainly, but so &r from 
being a soulleM, material copy, it is the most 
soul-fut, most naive, ideal e:ipresdoD of a partica- 
lar phenomenon of natural life. It is a fact not 
without significance, that diese living, natural 
voices first appear distinctly only at the close of 
the piece ; so far frmn being a product of the 
mere ari)itrary will and fancy of the poet, these 
" tricks," as some are pleased to call them, appear 
rather as the necessary last result of the ideal 
development of this movement; they extricate 
themselves fl>om the more or less diluted tone- 
picturea — we do not nse the epithet in a dispara- 
(^ng sense — which lead ideal expression to the life 
of the brook and forest, detach themselves there- 
from, and represent this wde of Nature's life in 
the most sensuons accuracy and directness, re- 
vealing the sted&st striving of Beethoven after 
the utmost possible definiteness of expression. 

In the 'Diird Movement Beethoven describes 
the merry meeting of the country people in the 
most original manner and in the most speaking 
ontTines, so that here all poetic commentary were 
superfluous. But soon this joyous festival is in- 
terrupted by an approaching thunderstorm, and 
now the masses of tone as they whiri onward and 
spread out upon the grandest scale announce the 
spectacle of the unchained energies of Nature, 
the rolling thunder, the howling storm and the 
flashing lightning. But presently the angry 



chaoa is quieted, the sky is cleared, the setting 
sun shines forth, the herdsmen's horns resound, 
and in every creatnro are excited " glad and 
grateful feelings after the storm." To these 
emotioDS Beethoven ^ves expresnon in the last 
Movement. As in the first movement, these fbel- 
ingi are at fir«t gently stirred; but soon a^in the 
heaving waves of heart--felt joy expand in the 
most inexhaustible fulness, and with the moat 
various incUviduali^, until at the end all is blend- 
ed in the feeling of sincerest gratitnde to the 
Creator, and the work concludes in a devont and 
holy mood. So Beethoven reproduced Nature 
and her thousand living vmces in the poetry of 



{Cenol 



*-) 



Hiilita«ii and Hendelsflohn. 



Deab Ma. Editok: — Ai one of the fashion- 
able novels of the day draws public interest to- 
wards the subject of a distinguished musical cele- 
brity, his extraordinary genius, his charm of per- 
son and manner, his marvel of pianoforte playing, 
I have thought the following anecdote might not 
be unacceptable iust now, as showing how Illtle 
the absolute realities in delight of Art-life are 
transcended by even the moat florid imaginings 
of Art-KBuance. 

It was once my fortune to be present on an oc- 
cauon, which " Charies Auchester's" bichest 
flight of rapturously described scene could not 
surpass in profound gratification, although very 



quietly enjoyed. 
At an English p 



English professor's house in London, a 
few friends were once assembled, after the soberer 
mode of a past day— when an evening^s artistic 
and social pleasure was more the object than 
stylish party-giving, and when steriiog music 
proved the staple of the entertainment, rather 
than eupplementary footmen, plate and glav for 
the nonce, with unwonted exolics and ices. The 
guests were told that Maria Malibran De Beriot 
and her husband had promised to come ; and that 
Felix Mendelssohn Barthotdy was also exnected. 

In the meantime, those already arrived— meet 
of whom were musicians, and either played or 
Bang — joined their host in performing some of 
their favorite pieces, vocal and instrumental, as 
the fancy of the moment promnted. During an 
interval, when conversation baa succeeded to a 
trio of Beethoven's, one of the host's children 
(just Bucb an infant fanatico as tbe boy " Auches- 
ter'' defines himself) being on the eager ear- 
watch, heud the sound of an arrival, and crept 
to tbe stur-head, in hope of catching the first 
glimpse of the coming glory. Peeping through 
^e canisters tbe child beheld a lady who had 
just thrown off a hood, leaning upon the aim of a 
gentleman, who turned, as he prepared Co ascend, 
saying to those who waited to know at what hour 
the carriage should come: — "Half-past ten." 
"Ten, Charles! Oh, pray tell them ten 1 These 
musical evenings, — these partia, are so ." 

The arch movement of the flexible eye-brow, 
the petulant curve of the mobile lip, the slight 
though significant emphasis on the word ' parties,' 
and above all the tedium expressed in the ca- 
dence of her voice as she paused, sufficiently 



light of the staircase lamp, and of the opened 
drawins-room door; and tnen, as she entered, a 
burst of greeting welcomed her, and she was in 
an instant surrounded by admiring acquaintance, 
who led her into the &ruier drawing-room, where 
the music was going on. 

With her own grace of courtesy, Ae offered ta 
sing, knowing her host's delicacy would not allow 
him to propose it ; and when she asked him to 
choose her song, he mentioned the one she had 
tbe day before given at the Philharmonic concert 
— Mozart's " Non piu di fieri." 

She bad scarcely begun that delicious Btniin of 
inefiable regret, when a young man of slender 



figure, bat of irrenstibly striking presence, came 
^ntly in, and placing his finger on hislip, dropped 
mto Uie nearest chair, mere^ eschaneing a nient 
shake of the hand with the mistress of tbe house. 

Entranced and spell-bound while the aria con- 
tinued, — at its cl:Me, all (he company in the room 
where she was, drew round the singer, with ani- 
mated looks and words of thanks. 

Still, the last-entered guest kept his seat quiedy, 
just within tha folding doorway which divided tbe 
two drawing-rooms, signing to tbe lady of the 
house to say nothing of his arrival to the host. 
To the latter, Malibran had just turned with her 
beaming look, and said : — " My dear Mr. — , I 
want to sing one one <^ your compositions. Are 
there none here 7 " One was found — a " Sancta 
Maria" — which the hastily looked over, and then 
■ang. With such intuition of what the right ex- 
presNon should be — with such devotional fervor, 
with such anticipative truth of conception in her 
rendering each passage, as only genius itself can 
inspire, aid she execute this motet, which she had 
assuredly never seen before that night The 
composer's delighted praises, her anditon' irre- 
pressible plaudits, excited ber; and she sat down 
to the instrument herself. First she touched all 
hearts with the tender sweetness ofa little French 
air, with words as appealing as its melody; and 
then she suddenly struck into a lively mariner 
ballad, with a burden all jocund and free. 

In tbe midst of the tumult of laudation that 
followed, De Beriot stepped to hernde in his calm 
way, and whispered something in her ear. 

She started up. "Mendelssohn here!" she 
exclaimed, with a whole flood of sunshine smiles 
pouring over her countenance, making it one 
glow of bright color — I never saw a face speak its 

fladness in such candorof vivid suflTusion as her's 
id, upon any sudden emotion — and then she rsn 
into tbe next room, to meet him. In another mo- 
ment, he was the centre of a welcoming crowd. 
He roae to salute his friends, and jcnn his thanks 
with theirs for what she hod just heard. "Ahl 
you were pleased? " she said, with ber touch of 
foreign accent, and cordial voice. "Now, my 
dear Mr. Mendelssohn, I never do nothing for 
nothing; and therefore irou must come and play 
forme. She seized his arm, in her sportive 
eager way, and drew him over to the instru- 

Then came the wonder. He ran his fingers 
over the keys, and launched into one of his mas- 
teriy improvisalionx. First he introduced the 
divine beauty of Mozart's impassioned aria. — 
Then, with solemn measure, stole in the holy 
purity of the " Saneta Maria f then came the 
phrase full of loving earnestness, and voluptuous 
ardor : " Ahl rien n'est doux comme la voix qui 
dit je t'aime ;" then burst in, with frolic gaiety, 
the sailor's ringing crv ; and lastly, triumph of 
triumphs — he worked tbe four subjects tc^etner. 

The torrent of eulogy that succeeded, warmed 
every one into a state of excitement that nothing 
could sa^sfy but more and more muuc Piece 
followed piece, one still bringing on another. 
De Beriot played a fantasia with his own incom- 
parable skill; a rare combination of fire, and of 
exquirite softness; of imjiulse, vigor, and admi- 
rable firmness, and a richness yet delicacy of 
tone, which to my taste, has never been equalled. 
Mendelssohn gave us some fugues of Bach ; and 
Malibran sang again and ^ain. 

At length she caught ber husband's eye, with 
Bomcthiog of a lurking meaning in its expression, 
which occasioned her to exclaim, with her spright- 
ly tone, " Ah I It is late ? " Be Beriot composed- 
ly took out his watch, and held it before ner. — 
"Past midniofat: Then two hours the carriage 

has ." The playful smile which sat so well 

upon that mouth, concluded the sentence. On 
taking leave, ae she grasped both her host's bands 
in hen, after her own frank winning fashion, she 
said : — " Thank you for a pleasant time, dear Mr. 
. This is what I call a musical evening I " 

It was a musical evening which will never be 
fornotteo, while life and memory lasts, by 
Your's, Dear Mr. Editor, 
" Thk YoDMaBBT Ween of Hine." 



y Google 



BOSTON, JUNE 23, 1855. 



Bellini OlBiido. 

A« w6 advance in time, and u we become 
famili»r with the follower of Bellini, it really 
M that ihiB eompeeer, whow works, during hw 
were considered a very ttierked degradation 
of the moiical geniui of hie nation, has now nsen 
to tucb a pilch as to appear almost clattk. In 
fact, the epoch of Robsini and Bkllini, com- 
pared with the following one of Donizetti and 
Vkrdi, can actn^ly bear the same clawification 
which, KHoe forty years ago, people ga^e to the 
M Italian Khoof, comparing it with the tnipro- 
prutie* of the farfeur, Boasini. After' snch an 
experience, we should really nol wonder if com- 
inf times should place even Verdi amongst the 
clasMcs, and Bellini's style u a rieorous one, unfit 
for all imitation. In tlie beautiful field of music 
and hannony, the last fifteen years have made so 
many so-called impossibilities very possible, so 
many plants which were thought entirely nn- 
snitable to the ground have grown and ripened 
into the meat astonishmg fruits, that we should not 
feel at all surprised, another fifteen years hence, 
to see this very field cultivated by some extraor- 
dinary hilherlo-nnknown means, and producing, 
with an enormons success (of conrae, not a miser- 
able iucces d'isHme,) musical effects which ordi- 
nary beings now conuder as jost the revone c 

Beliini classic ! Why not 7 H simplicity— 
purity of subject, of conception, and of senttment 
are prominent features in a work of clasMcitv, 
Belhni's music must doubtless appear exceedingly 
clusic to a man who is compelled to witness the 
efforts of a modern Italian opera troupe. Take 
all his subiecia, even Noma included, how simple 
are they, bow far ttom all that, which is called in 
a modem sense romantic I Bellini has, in all bis 

3«ras, very little to rely upon but himself, almost 
•rays a calm action, tery few opportunities of 
displaying brilliant sceneries, no decorative points, 
very tew exciting scenes, which have to do the 
whole work of impression, while the composer 
adds only a sort of musical drapery ; he has noth- 
ing but hia melodies, the parity of bu eentimenta, 
and a sort of musical naivety, which beautifblly 
reflect his own nature. It is said that Bellini, be- 
fore he wrote down the music, repeated the words 
to himself, until they received a musical accent 
and phrasing, a very reasonable proceeding, and 
not often used by modem opera-corn poeers. It is 
meet probably on account of this that, wfaenever 
the cbuBcter of the words and the ntnation in the 
open sympathize with his own predilection and 
Datute, he becomes really dramatic, at least as 
much as an Italian with so little musical knowledge 
as he had can be ; while, if this is not the case, his 
muMO appear* sometimes unbearable. To illus- 
Irafe the latter remark, we cite only his Liberty 
dw in the second act of / Purilani, which is as 
trivial and n eiTiinaless as possible. Poor Bellini 1 
what did he care ur liberty and independence 7 
His very nature conld only develop itself by 
□niting irith other natures, by living in the light 
of love, friendship, and, perhaps, such feelings aa 
are ezpreaed in Caita Diva; and whenever be 
has to refer to these, he shows truth, ideas — in 
short, all the resources of his oatnre. The finale 
of the fint act (f i Purilani is a striking proof of 
j this. Here, the sentiment of loyalty on the part 
of Arthur, the love, in its joy and despair, of 
Elvira, the jealousy of Kcbard, are all rendered 
full of life and dramatic truth ; and as Bellini, at 
the time he composed this, his last opera, had 
made a decided progress in his art, we cannot 
wonder that this finale is ibe best and most artiatie 
tiling be hss written. Ve Dremune it was on ac- 
count of Ibis finale that a distinantsbed musician 
sud tbe oUicr day : " Whenever I listen to / Pu- 
rUwU, I forgive Bellini for having written 
yorma r^Mm. Bevtev. 



ted that aba attracted m large an audience wttli 
the elements and an off-night agunst her. 

The opera selected for tie occasion was Doiri- 
ZBTTi'a » Linda di Chamounix." • • • • 
On the appearance of the debvianle the house 
applauded with encouraging pllantry. Without 
any perceptible nervousness, Miss Henslxr c«d- 
menced the opening scene, and at once enlisted the 
sympathies or the audience. Luce di qual 
anima followed, and was given with fluency and 
grace, but not otherwise remarkably. Tbe duet 
with Carloe, A consolarmi, was artistically ren- 
dered so far as Miss Hensler was concerned, but 
the clumsy tiaecalo of Signer BtttONOLi did not 
contribute to its effect Throughout the first act, 
Min Hensler preserved the favorable impresnon 
■he had created, and was called before tbe curtain 
and pelted with bouquets in the most approved 
manner. In the second and third acta, she felt 
more at home. There was a perceptible improve- 
ment, not only in the quantity of her voice, but in 
her management of it. The duet with the Marquis, 
and the final portions of the opera were in all res- 
pects, the best efforts of the evening. 

The quality of Miss Uensler's voice is ^pa- 
thetic and sweet It does iK>t command admiratioo 
hut beseeches it, and is precisely the voice to 
strengthen with practice and study. If a conscien- 
tious regard be paid to the latter, there can be bnt 
little doubt that Mise Hensler will eventually take 
a high rank amons eminent sopranos. Her meth- 
od is the pure Iiafian, and so far as it ^oes, admira- 
ls. We should do an injustice to Mis Hensler 
and to ourselves, were we to imagine for a moment 
that her studies are ended. In the delivery of her 
voice and in fluent phranng she bas much to learn. 
On the other bandj she has no mannerism which 
it would be desirable to foi^t What she doee 
now is bnt a promise of what she will be able to do 
hereafter. At present, a quiet neatness of style, 
correct intonation, and a charmingly sweet vmce 
are the characteristics of her singing. The com- 
pan of her voice we should lake to be about two 
octaves aod a note or two over, of good soprano 
quality. The lower notes are deficient in round- 
nesi and sonority; the upper ones clear and de- 
licions. The register is smooth and well connected 
throughont. Id personal appearanc« Min Hensler 
is yoontf Mid interesting. Her deportment on the 
stage might be materiiJly improved without Inaing 
any of i« attractive modesty. In a dramatic pcrint 
of view Miss Hensler has everything to learn. To 
sum up, Mia Hensler has a delightful voice and 
some still, but she needs more practice before she 
can do full justice either to the former or the latter. 
Her d&ul was triumphantly sncceaifal— sofficient 
ly BO, we hiwe, to secure her an engagement for 
next season. Three or four mont& bard work 
before a critical audience would do her immense 

The criticisms in the other New York papers 
are quite in harmony with tbe above. We will 
only add a portion of the remarics of W. H. Fbt 
in the Tribtme : 

" The puritanic antecedents of Boston are in 
striking contrast with the facts it has lately shown 
in the musical line. Several native-born Boston 
amateurs of music are now in Italy studying ; Mra. 
Biscaccianti too is known to operatic fame ; Mr. 
Cbaries C. Perkine, bendet, lately produced a 
Cantata or Oratorio ; another, we hear, is ennged 
on an opera— and Miss Hensler, if considered also 
of that latitude, is yet a fresh evidence of the 
changes which have taken place there in the arts. 

MisB Hensler has a sweet, frauk,_ ingenuous, 
expresNve face, a dark, symphathetic e;e, and 
considering her c^portnnities, exhibited talent in 
dramatic action. Her figure is tA moderate 
height, her age about nineteen — so she has ample 
time for culture and improvement. ""- — — ■■ 



she was warmly applauded by a nnmerona audi- 
tory, and called for eageriy at the cloee of the 
penormance> " 

KazMantzsk. 
The popular Conductor, " hero erf nineteen 
opera campaigns," &c. &c., took his benefit at Ibe 
New York Academy of Music, Moqday night 
The Times improved tbe occauon to give the 
following sketch of bis career. 

Tbe vicnntodes of Mr. MABxrzrx'B career 
afford a striking illostratioa of the mutability at 
human riches, and the utter vani^ of all earthly 
glory. Seven years ago he landed in America 
with nothing but talent and a woeden bdloti. To- 
day he has nothing but talent and a wooden bdfon. 
In the interval he has made and loet several for- 
tunes. We find him conducting the opera for 
Mr. Fry in 1848 ; commencing for himself in 
1849; progressing npidly lo fortune in 1860; 
tumbling down suddenly in ISSI ; and from that 
time to tbe present making and lonng money 
with strange rapidity and nonckalanee. For 
seven years he has been the hard working pr»- 
pagandist ef the Italian Opera. He has done all 
tbe work ; received all the kicks ; made all the 
enemies ; and conferred all the benefits of the 
lyric muse. In return for this, he is Moaeal Di- 
rector of tbe Academy and has a benefit to-night 
Rather hard in a wordly, but highly beautiful in 
a moral point of view. 

It may not be inappropriate on this occasion, 
and certainly will not be uninteresting, to refer to 
some of the New York campaigns of Mr. Maretcek. 
It will be seen that the artistes engaged by him 
were not of third or fourth rate class; and that 
really to Mr. Maretzek New York is indebted fi« 
much of its beet musical educadoo. 

In the autumn of 1849, Maretsek pve a senei 
of fifty performances at Astoi^place, with Tkcffi, 
Bebtucoa, Foeti, Behedetti, Bkmevbmta- 
KO, and NovELti. It was carried through snc- 
cesrfnlly. In 1850 he gave another series of 
fifty performances, with Pabodi, as weU as the 
other artistes. In the Spring of 38S1, In com- 
menced a season of sixty nights at Castle Garden, 
with Bobio, Tbcffi, Sal VI, Bettini, Babimj, 
Mabini, Bemkventano, and Coletti. This 
great company performed at fifty cenU admism» 
onlv. The seaeon and itt profnises were earned 
out faUy, bnt in doing so M^tcek k)st $30,000. 
The next year he tried another campaign in Aft« 
place with SxBrrEKOME, Bobio, Bbttini, and 
btft rf tbe others. This wm recnpeiBtiTe-*o 
much so ti>at a fresh season was commenced eariy 
in the Spring. But in the meantime an oppoalion 
sprang up at a rival house. The result was Oiat 
both Companies were utterly mined, after a bril- 
liant but erratic career. Maretaek, with the re- 
mans irf his Company and an orchestra eonsutrng 
of three performers, (including muMcal director,) 
left for Mexica After an absence of eight moutiis, 
he returned and commenced another season at 
Castle Garden, (186>,) with Soittao, Steffe- 
HONB, Salvi, PoziOLiMi, Babiau, BEKBviar- 
TAKO, Mabini and Eoaai. This season was 
successfully carried out, and another undertaken 
at NiHto's, with Steffekonb, Salvi andothere. 
It was to have been fifty nights long, but temina- 
ted on the forty-ninth in consequence of a difficulty 
with Salvi. Our readers wH remember the 
interesting and exceedingly abusive correspon- 
dence which took pl»ee at the time. La»t je" 
Mm Haretiek went to Europe and retoraedwith 
Bkbaldi. Gbaham, Gomez and otbera. Thsae 
artisteepOTfonned tiiirty-«x Dighta at Castle Ga^ 
den. Tka season wasnnsnccestful, and terminated 
in vexations losses to every one. Since thw, the 
Academy has possessed Mr. Maretzek. In the 



Sebnt of Xim Hender. 

(n« llH X*w YMk Hbm ef Jbm l&l 

There was a good attendance at the Academy 
of Muaie on Saturday night in smte of tbe rain — 
than which nothing is more diaconra^g to an 
open goer. Miss Henbleb may feel complimen- 



a high sopiBno— capable of rendering such Mrts 
as £at of IJnda in which she appeared. Posi- 
tivdy soprano voices have seldom or ever very 
great bocly, but their compensations lie in deU- 
cacy and flexibility. Hence Mi» Hensler's voice, 
though not masnve, is pure and agile, and com- 
manding hu[h notes readily, is eauly heard 
throughout £e theatre. It is proper to add that 



have been tatrodnced to the pflbbc, m addrtionto 
thoae of the cnstomarr repertoires and a number 
of revivals. SometliiBg worth remembering, 
•orely. 

The Bbokeb Statue of BEETHOTEHr— The 
Adeertittr pnhlishei a couple at lettera from 



Uigitzed by ViV^V^' 



'S 



iC 



92 



DWIGHT'S JOURNAL OF MUSIC. 



Ifanich, od oecinon of the exbibhioii of Crav- 
'■ noble atatae tbera at tba festiral commem- 
orative of B«ethavea'i deatb. The fintttf these, 
deecribing the fertiral, we bare already giTen 
tnbstantiallr. The other, addreawd to Hr. Fbr- 
XTMB, is from the dietingiiidied compoeer nod 
Royal Hone IKreetor oi the King of Baxaria, 
HeiT Franz Lachnkr (not Swehner, aa the 
AdeertUer hai it), and if aa follom : 

Udnicb, Htrcb SI. 1SU. 
be common feeline and reverence for Art and 
tnafltera of Art which eiiib on both ndes of 
the ocean, amons the cultivated nations of the 
New and the Old Worid, i« a tie which nnitei 
them altboi^ Mparaied from each other by 
■pace, in CMtooM and aocial forme. That rever- 
ence tot Beethoven, Kreateat of all the composer* 
' onrcoontt?, which ha* eo lonrlived in all the 
idc-loviua nearti of hie native Europe, it now 
rticipatea in by a great and noble peopla be- 
_nd tM ocean. Tbe Beethoven will toon iland 
ID BoMon, ■■ a viiible and ipaaking proof of tbe 
noble commaDit; of thought existing between tbe 
'o continent!. Mnnicb, highly eeteemed as the 
irting point of modem Art, liu given being to 
-_ii monnment, bo grandly modelea by one of tbe 
mo«t gifted artists c? America. The muacal com- 
mnnity of our city took occasion of the comple- 
' a of this mcmDment, to give a musical ffite in 
memory of tbe great master on the anniversary 
of bis death. (He died, as all tbe world knows, 
on the S6lhof March, 3827.) Confident of your 
cordial sympatby, they placed it in the Concert 
Hall, llie cing, the members of the Boyal family, 
and a select and nnmerona audience assembled 
on tUs glorions occsnon. Conatant applanse 
doring the whole evening showed the deep sym- 
patby of tbe inhabitants of Munivh in this cele- 
bnUion, tbe memoiy of which will long live in a 
thousand hearts. Yon will see bv the enclosed 
programme what works were selected for per- 
fonuuice at tbis admirable concert Tbe prologae 
which accompanies it will expt«ss to you the sen- 
timents of 1M tistenere. And now receive fn»n 
me tbe well-deserved thanks of all German artists 
and Art lovers, which yon and Crawford have so 
well won by the creation and erection of this noble 
mODument May this bronie image of the great 
oompoesr take with it acroM the ocean as a great 
blessing, the power to preserve and spread among 
yon tbe love of classical mnnc, so that the art o( 
mnric, in its deepest and truest nteaning, may give 
tbe holy consecration of a tme feding for Art to tbe 
rapidly developing people of Amenca. 



Pusii^al <!i-a\inti]fonitn^t. 



Traca NBW TOBK. 

Jim 20. — All Ae newipspeis will tell yon that 
onr lair joimg prima danns, Miss Hkhslbr, has bad 
a brilliant sneces* at the Aeademj of Hade. 

And yoti will not be sorry, perhaps, to hare the 
estarance of a private cdliicn of Iha parqnetle that 
in this particnlar instance the newspapers have told 
the troth. 

Mill Hensler^ snccess was an honest, handsome 
and lalisroctory snccess — a success highly gratifying 
to all her friends, and fall of encoaragement for her- 
self. Tha traditional New Tork dislike of things 
and people Bostoniao, seenu to have been stxspended 
In her favor, and I have ranly wimessed a more 
demonstrative and hearty andience. They rained 
IS, and thnndered ^jplaose. And (which was 
'a sAtisbctory] they looked admiringly and lis- 
tened approviogly. The hoase was perhaps not 
quite fall, bat like Charles Lamb in the omaibns, 
each indiridnal seemed to be "fall" of good will 
■ad satisfiMion. 

The choice of the opera was very jodidons, the 
nnsic of Linda giving good scope to the peculiar 
cbarmi, the freshness, delicacy and sweetness of the 
d^batante's voice, white it oSen but few of those 
temptations to florid and ambitious display, from 



which a young ^ger is apt t« take ham. In sadt 
a rase as that of Hiss Hensler, a d^bot ts to be 
jtidged wilhreference to the future; it is the blossom 
and not the fruit tbat we go to see, and those who 
took an interest in the lair lady's fble hoped to Bud 
in the performances of Saturday night assurance 
of long seasons of delight to come. Tbis aBsarance 
they found. The very faults of Mist Hensler's inez- 
perienee were recommendations, and I am snre that 
no competent person could hare listened to her 
Linda, without being convinced that she lacks no 
quality essential to tbe rank she aspires to hold on 
the lyric stage. 

Ton irill hear her in concert, and will be delighted 
with her voice and method. But as I know yon 
agree with me that the legitimate triuoiphi of vocal 
music belong to the Opera and the Oratorio, yoa 
will reserve your best satisfaction in the return of an 
accomplished countrywoman, till you can see her 
fairly installed in (he constellation of that " Opera 
of the Future," which is destined, 1 hope, to shed its 
benignant influences upon us fbr season after season 
yet to come. 

I heard 'Mum Hensler again last night, at Mabet- 
zek's Iwnedc, when she was good enough to lend her 
sweet aid to tbe ovation of the unlucky, cross-grained 
and energetic ex-impresario. I say nothing of last 
evening, for I listened notcritically, but comfortably, 
to Miss H., after being exhausted and obAiscated 
with a pot-pourri consisting of 



Lt ProptiOe, 1 scene. 
Don Baixphak, 1 scene 
I always enjoy MuonieUo, and Bugroli sang welL 
But tha aodieuce was as confusing a* tbe perfbrm- 
■noe. One's sentiments were painfully wrought 
upon by the way in which the people cheered the 
smoke-pipe end hot lava of old Vesuvius, whistled 
for the curtain to rise, shrieked cat-calls at the snper- 
unmeraries, and did so many other things uninitabla 
to an operatic house, that I dare say peanuts were 
eaten in the gallerie*. No nun knows better than 
yourself the imporlaace of " atmosphere," and yon 
will eamly understand my unwillingness to venture 
any observations on such an evening. 

I may mention as a crowning indintion of the 
odd nature of the assemblage, that Morctiek, the 
beneSciary, was not called out at all. 

The people had sense enongh, however, to honor 
the SIgnorina Elise, and she looked, sang, and acted' 
mndi better than sacb a house deserved. 

I think tbat I shall tiy to dreg myself to Niblo's 
to hear Balfb's " Daughter of St. Mark," or rather 
to sat tbe same, and If yoa wish, will " drop you a 
line" apropos thereof. 

Fsithfally yourt, X 



Jdhb II. — On Wednesday last the Academy 
troupe produced " Tell," and never did they play it 
better. The orchestra gave us the overture in a per- 
fectly exquisite manner, and all the singers, solo and 
chorus, afterwards did their beat I have got to like 
the overture and two first acts so well, from frequent 
bearing, that to port for them for some time, at least, 
makes me quite sad. 

On Friday evening the house was about as full as 
it coold be, and then there were several hundreds of 
the gaaa hano crowded in besides. The occasion 
was the benefit of the New York favorite, Tebttau. 
Of (he third act of KgeltUo tbe least said the Inner. 
Tbe next piece on the programme {in order to con- 
tinue the horron) was the third act of "Romeo and 
Juliet," composed for Mme. Malibban by V>ccAi. 
It seems Mme, M. was not contented with Bbllihi's 
last act, and thercfora procured this. Testvali did 
vrell in (he poor mtuic, hot SrarvAirOHB was rather 
too large and old for Juliet. To show you with what 
poetical genius the argument in the programme waa 
written, I enclose it-. 



RoDHoutin, ^th dbons, auddMini tfa* towbof Jattri 
totnopnwL Hi cnnaMt hli usalih, " DauiM sTaiT twut, 
loakdamapaBttHarfirarUijfbDiludlUthftillan." tto- 
BHs takta polBii, wfaui JulM taiin\j mvai. "WkM, 
know rco DBt mr dH(h ni Mfiwd," Bbt silM. Bono diM 

Is not this beautiful 1 No^e the wonderful climax 
at which the nuknowu poet arrives in those grand 
words, " She cries T 'Tie strange, but SteSonone did 

The performances closed with thesecond and (bnrth 
acts of TVevaiore, or rather they dosed with a speech 
fl«m Miu Vestvali, as our New Tork p^ei* insist 
upon entitling her. 

On Saturday evening Miss Bbitslbb made her 
dAut in Linia. On aeconut of a heavy tain the 
house was not crowded, but the attendance was very 
fairnevertheleso. Hiss H. was at fint a little timid, 
but soon took courage and pleased exceedingly. — 
She Is veiy young yet, and when her acting has 
become more perfect by pr^ee, and her vcnce 
more full and developed, she will be a very valuable 
acquisition to the lyric stage. And even as it is she 
is a very pleasant singer, and in a girlish part like 
thatofLincfa does very well indeed. Bhe was en- 
thusiastically received, and at the close of the flnt 
act obt^ned a perfect shower of bonqnels. She baa 
made a very good impression upon ns New Yorkers, 
and we look furward to her i^iture career with much 
pleasure. Rocco mode acapitalMsrqnis, Baianoi-T 
a fine De Sirval, Basiali an excellent Antonio (he 
conld not have been better either in tbe making up, 
acting or ainging), and VestvaL a very charming 
Pierotto. 

On Monday evening the beneflt of "our Max" 
came off. First we bod the three acts of Matanidh 
which yon had in Boston two weeks befere. The 
notice of that performance In your last will do fbr 
this. I enjoyed it very mncb, all bat the dancing. 
Then followed a scene from the PtvphOt, inbodndng 
the beggar song, by Hme. D'Obht. It ms well 
given. Sig. Bocoo then gave ns most capitally a 
most capital buffo scene, from the opera of Dot Bu- 
eephale, composed by himself, representing a young 
composer at the rehearsal of his opera. I have seldom 
laughed more heartily In the same space of time> — 
The performances closed with the second act of 
Linda. Hiss HxKa[.>u did even better Iban on 8at- 



This vras the last nl^t of tbe performances of the 
regular troupe, and at the dose, those Initiated ad- 
journed to the operatic " bier-kneipe " in 3d Avenue, 
where pretty aoon about tiie whole Teutonic portion 
of the troupe and their friends (including many Tod- 
iMea) were assembled. Even the p<diceman, detailed 
at the Academy, came. I heard a gentleman ask 
him if he understood German : " No sir," he answer- 
ed, "but I understand what tager^bier means." 

IFrom this "house of the muses" we proceeded to 
the residence of Mr, Pbaur in Uth street, to whom 
the otchestt« broogbt a fine serenade. The some 
was then done to Hiss Sihsueb, at the Everett 
House, Mr. Coir, (tbe other manager,) in Sih street, 
STirPANOHB, in Hooston street, and Mix, in 4th 
street. And then, it being half past two o'clock, I 
left them about to proceed again to the " house of 
the muses," and I think It likely that they didn't "go 
home till morning." 

And now I must briefly cxpreu my thanks to the 
whole troupe, from Uessn. Fhalen and Coit down to 
the lowest call-boy, indnsive, for the pleasure they 
have given me this winter, and, to be less selfish, fbr 
what thej have done for the establishment of open 
in this city, and for doing away with tbe "star" 
system. I only hope that our next season may he 
as good as this. The task of manager Is a hard one, 
much libor and often mneh loss. But if Hessrs. P. 
& C. will undertake the Academy again next winter, 
they will bare some experience, and tw able to get 
along with less ironble than this year. Let tbem 



Uigitzed by ViV^^^^Vlv^ 



'3' 



BOSTON, JUNE 23, 1856. 



93 



ketp "ICu/'and get rid of "nanghtf Huij," Mid 
tbay wUl do well 

To-morrow enntng tbe Lagnngs tnnipe open at 
the Academr, wtlfa Norma. I TudenEaad Ibst ve 
■re to Nkts Dm Oimatm before long, -with Lx- 
OKAVOB u Zerlin*. Who are to (ing Uie other two 
female parte ie ankiMwii. Romore are yet rife of en 
■dditioa to the present ironpe of tome from the late 
■'r^;n1ar''one,uid ifae ptodnctioD of the /W^iUl<. 

At Niblo'*, B^lte's open of The Daaghttr of St. 
Mfark, wu prodnced on Mondfty, with, u all the 
p^Nni concur in lajiog, a moit mUerable lack of the 
reqnisite splendor. And t on believe it, for in the 
porertj' of its decoratioiu, etc^ Niblo'i is odIj bz- 
eelled b; Baitoa't. 

IiMt night wu a rainy one, and consequently but 
a poor audience usembled to hear the " Daughter 
of the Be^ent," at Wallace's. The orcheitn was 
■ very good one, and D'Oxvt made a capital Uarie. 
Next week FVJh'u tabeprodnoad.with D'Ormyin 
tlie title role. The orchestral part of the perform- 
ance will no doabt be good; of the rest I am not 
quite so sare. R. 



" Come," said a respectable old Boston merchant 
to a young amatenr pianist, who wu liiltiog his 
bmily one evening, " Come, can't yoa play m a Idt 
of a fit.gA for mj little daaghter to dance b;<" 
Not so impoiilble, after all ', for only a ftw nights 
after langhing at the story, we happened Id at abont 
the middle of one of the balleu of the Bavel family, 
when Terilj u one of the principal danseiUM began 
to cut ber pigeon wings, the orchestra began scratch- 
ing through an antique sounding fngne. Why not, 
ejnce ne«riy all the modem forma of melody were 
orj^allj aasodated with eeruin dances * 

Among other things to be sung at the great fetti- 
ral of ^ Qennan Miionercbore next week in New 
Tork, la the scene from the tecond act of " William 
Tell," that of the gathering and oath of the three 
cantons. It is said that about a thposand male 
T«ie«e will take pan in it, the nnclaus of whom have 
been eoinetime reheaning it under the the direction 

of Cabl Bbkomakn The original Oibnuiia 

HoeiOAL SociBTT, with the exception of two or 
three memben, will meet, in July, at Newport for the 
iommer eeasoD. We hear thoy propoM giring a 
series of .concerts in the autumn- 
It is wed atU by the Loodon TTnus, and might he 
laid as truly in New Tork or Boston a* in Laiidon : 
" If half the care lavished on il HvMon were be- 
stowed on Den Gumanni, at leut a dozen overflowing 
audience! might be counted on in the progress of the 
■easoo. Will directors never be penoaded that in a 
musical theatre the first essential ie the general com- 
pleteness of the mnaical performances 1 Why not, 
^owc,intbeabsence of attractive novelties, make a 
desperate efibrt, and pttsent Den Gvmnm u Uotart 
wrote it, with every seenjc and bistrioaic accessory to 
render it perfects No opera offers greater scope for 
the actor, the icene-painter, the decorator, and the 
singer — to say nothing of the beauty and variety of 
0ie nnsie, whi<}i, np to the present time, remains 
unequalled." 

ProA. TainiDnt, RoHK and Cboooh 'reapedfully 
place before the mntical community of Philadelphia 
and naigfaborhood, (he result of a carefol Investiga- 
tion by them for establishing a teriee of Bacred and 
Secular Concerts for the approaching seuon.' The 
number of concert* to be twelve, on alternate Tues- 
days. Among die compositioni to be brongfil ont 
are Mendelssohn's '- fit Fanl ; " Mazart'i " Be- 
qoiemj" Hehul's "Joseph" (as an oratorio); Bom- 
berg'a Cantata: " Song of the Bell"; " The Morn- 
ing," b7 IU"i Lome's "Macbeth" music; and a 



aeries of ancient Madrigal* at the 19th and 16th 
centuries. The professors pUdge their proAulonal 
(landing, &c., for " fidelity of anlhorsbip" as well as 

artistic rendering The "Salem Choral Society" 

recently gave a vet; pleasant mosical soirde to a 
large nnmber of invited friends; the flntpartafthe 
programme coniisting of vocal solos, qaartets, qnin- 
teta, &c., and the second of choruses, with orchestral 
accompaniments. The sodety is composed of some 
eighty of the yonug singers of Salem, beside* an 
orchestra of eighteen performera, all nnder the able 
directorship of Mr. Mahitil Fbnolloba. It hu 
been in operation only abont three months, having 
been organised by the originators attd leaden of the 
□Id " Salem Academy (f Hosic," after that wu 
revolutionized by Know Nothing influences. The 
Choral Society have been practising Mozart'* 12th 
Mass. 

Mfta, Jahmov, in ber Oommoa-Plact Book uys : 
" Talking once with Adelaide Kemble, after she bad 
been singing in the Figaro, she compared the music 
to the bosom of a fnll-blown rose in its volap- 
tuons, intoxicating richness. I said that some of 
Mozart's melodies seemed to me not so much com- 
posed, bat fonnd — fonnd on some sunshiny day in 
Arcadia, among nympbs and flowers. " Tes," she 
readied, with ready and felidtons expression, "not 
immtimt, but txuttnca*." The same genial author- 
ess relates that, old Oeorge the Third, in his blind- 
ne** and madness, once insisted on making the selec- 
tion of pieces for the concert of ancient mnaic, (May, 
181!) — it was soon after the death of Princess Ame- 
lia. "The programme included some of the finest 
passages in Handel's ' Sampson,' descriptive of blind- 
ness; the ■ LamenlalionB of Jephtha' for his daugh- 
ter ; Purcel's ' Mad Tom,' and closed with ' Qod save 
the King,' to make sure the application of all that 

Paris papers report the marriage of Mile. Wiv 
BBLXiirA CI.AIISB, the celebrated pianist, to M. 
Fbkdbbic SzABTAiiT, formerly secretary to the 
Hongarian embassy at Paris, andfouUletonigtof the 
GaMOx dt QJagne H. DsLTEAt, tba oldeet in- 
strumental mtuidan, as M. Dabids wu the oldest 
singer, in France, lately died at Lyons, at the age of 
ninety-nine yean and three hundret days. He wu 
projector of the flnt "monster concert" in Prance, 
which took place in IT91, u part of the funereal 
honora paid to the offlcen who were killed at Nancy. 
Then, under the direction of M. Delphat, the over- 
ture to Daaophan, by Vogel, wu executed by 1,200 
wind instnunents, accompanied by twelve lam-tam*. 
A flute of honor was decreed to him by the city of 
Nancy, which, on hii death-bed the old man begged 
to have placed in bis coffin. 

The Vienna correspondent of the Signak (I^ip- 
zig) thus reports a canple of criminal cases that bave 
come before tfae tribunal of good taste tbeie : " The 
first offender is of the female sex; name Thniata; 
father, Terdi ; mother Neo-Iealia ; oocnpation name- 
less, see Zknns aux Camdita; crime: exciting of 
public discontent through tedionsness. The second 
offender is called Harvo VubohH; lUhtt, Petrella; 
mother, Neo-Italia; occupation : murder and assas- 
■inalion-, crime: qualified iheft in the third degree 
and concealment of a mess of borrowed trifles ; and 
on the second connt, excitement of discontent through 
tedionsness." Verdi, he says, i* a Titan to Pe- 
Irallal 

At the Rhine Mnstcal Pestival at DilSKldorf, on 
the STth, 9Sth and 3Sih of May, Hme. Jbhitt Liin> 
OoLDscHMiDT WU 10 ting some Mazurkas of 
CB.om{\) besides ariu from the ZaaberfiBU, and 
Statrke di Tada. FzaotHAXD Hn.i.n wu to 
conduct. It is also stated tiiat Mne. Goldsdimidt 
will sing three night* in Paris after the festival. 

LiazT has lately attended a performance of an 
Ave Maria of his own composilian in the Catholic 



..THlLBaso's opera, "Cbris- 
1* to be bronght out at Vienna 



chnrdi H Lelp^. 
tina of Sweden," w 
onthesetiiof May. 

Halbtt's new opera, Jt^uarita, hu met with 
great snoceas at the ThAtre Lyrique la Paris ; tiie 
bvoriie singer, Mme. Cabbl, surpassed herself in it. 

A German paper relates the fallowing of Boisibi'i 
journey to Paris. He arrived at Aix from Niiza 
without stopping at Marseille*; his nnmeroos ad- 
miren in that city had pt«pared him an ovatjon, 
which he ww obliged to dedina, his disease, u it is 
wdl known, oDnsisting in the most extreme nervous 
iiritability. Arrived at Aix, and weary of the long 
journey, he resolved to take the rail-road to Paris. 
He wu taken in his carriage to the villsge of Bognac, 
through which tbe railroad passes from Marseilles 
to Paris. No sooner had he reached Bognac than 
the train approached ; he saw far off the smoke of 
the locomotive, and heard the rumbling and scream- 
ing of Iha steam whistle. Ho grew deadly pale, a 
violent tremor seized his whole body, be wu hi a 
state of the greatest excitement, and under this fever- 
ish inflnence he ordered the posdilion to drive back 
to Aix. Then he changed bones, and resolved to 
go to Paris in hi* carriage by short stages. The few 
penona who had the fortune to see the £smona 
maestro, give sad descriptions of his shattered and 

melancholy appearance. We read also of a still 

more curious instance of his nervous terror in Paris. 
Being invited to go to the Grand Opera, the scene 
of his triumphs, he refused ^m pun dread of meet- 
lug his own statue, which iCands in the vestibnle I 

Mme. Stevfavohb (or Steffnnone, u it bas lately 
become the fubion to spell It,) sailed this week in 
the Africa, for Europe, intending to lead ~ 
a private life in Italy. 



SuJt^ht's j0m[nHl oj ^vimc. 



BOSTON. JUITE 33, 1805. 



Crawfind'i Statue of BeethoveiL 
Decidedly the great event in this oar corner of 
the worid t^ Art just now, (at a time, too, wben 
we are otherwise quite rich in srtiBtic noveltiea), 
is the arrival of tiu» g^orioas statue of the gr«M 
composer, wboiBore dun any other has Mined the 
dewiest chorda of eoiwcbI feeling in tlie hearts of 
tliis communitjr. It stands there in die Sculpture 
gallery of tlte Atlietimim, where it daily drawa 
delisted crowds of reverent admirers. We utay 
trvlj say that we have never seen any work oC 
Art call forth so muoh emotion, among the l^- 
Manders. Eyes grow moist, strangers cannot 
seem content to be strangers in its presence, and 
petite go from it ezdted as tbey go from listen- 
ing to the Fifth SymjAony, the " Leonora" over- 
ture, or the Eroica. For onraelf, speaUng u 
one whose life hu been pretty thoroughly tteeptd 
for sune yean in the mnsic of tbe master, we 
want wortiB to express the gstia&Ction that we 
feel in CKAWVOSD'e work. It is the Bbei- 
ROVBN of the Symphonies and the SonaUt, 
whether it tbUow the best aotool portiut or not ; 
it is modelled aAer the living, personal form and 
featuree diat ^ow (hrou^ aU his music (whioh 
is his tmeat life), if it be not a literal likeneea of 
(he man as at any given age be walked the street 
Bntit confbma to both; ituatonce ideally and 
liteimUy, physically true, so &r as men have now 
the means trf' judging. Germany baa nnctiooed 
it with joy and pride; and verily the scnlptor 
may feel happy in a rare succeas, in that, while 



Uigitzed by ViV^^^^VlV 



■a' 



94 



DWIGHT'S JOCnNAL OF MCSIC. 



innning Ameriean gratitude bj hi* Waahingtoii, 
he bu alao toaehed the G«ni>aiu in the penott of 
tbeir great man. 

The itatne t» colosul, seven feet in height 
^e material, the Munich bronxe, ia beautiful, 
much lighter thftn the conunon bronze, of a rich 
^ellov, almost gi^dea color; and it is well re- 
lieTed, on a green pedeadal, againit a background 
of green, ae it waa at the Munich fettiTaL 

l!1ie iritde ^ure ii in the highest degree ma~ 
Jestic fud imposing ; it liAi tbe thoughts upward ', 
it stands aloof from all the trivial ikucies, affec- 
tations, bshions of the hour, a thousand times 
more real than them all. There is the stamp of 
the absdute upon it, allying it with all thiugi 
great and enduring, and it ia worth7 to keep c<xa- 
paaj iu that room with the " Daj aud Nighr, 
the colossal head of Juno, and the Apollo Belvi- 
dare. The composer slanda with head erect, 
earnest, straight-forward Uxik, the bodj quiet, the 
&ce indkatiTe of intense mental action, the hands 
dropped looaelj' crossed before him, the left hand' 
grasps the score of the just completed " Choral 
Symphony," and over it the right hand holds a pen. 
EBs dress is plain and historical, the open neck, 
the coat buttoned, the substantial German boots. 
So:., all in keeping, and the wbde figure envel- 
<^>ed in a large cloak, thrown over the right 
shoulder, whose folds the sculptor has disposed 
with admirable grace and largeness of efiect, 
enhanced by the fine hue and texture of the 
bronie. Upon the music sheets which he holds 
are inscribed the first notes d* the choral strain 
he inDodnces in the symphcmj, with tlte wwds 
fiom Schilles'b Hymn io Joy : 



" Joy, bri^t spaik <£ Ddlj, daughter of Elys- 
ium," ice., &C. And what seems a happy pcdnt in 
the sdsction, whether the artirt so dengned it or 
not, the strain is not here quoted as it is first 
introduced in the symphony in its most simple 
fbnn, which is in a sort of reciting fou^fbur 
rhythm, but as it is reproduced afterwards iu a 
e excited lyrical moment of the compontion, 
where it is caught up as it were and moves on 
tip-toe in the nx-eight rhythm. For it was the 
happy and the bold design of the artist to repre- 
sent Beethoven in the fulness of bis genius, at 
the most triumphant height and climax of bis 
artistie striving, when he realized the ideal to 
wluch bis great fiKulties and pasMons had been so 
devoutly and severely consecrated, and, seizing 
opon its text in SchiUei's ode, he sang <^ Jot 
and the embrace of myriads. 

It is this that justifies the whole treatment of 
the mbject and explains whatever has been ques- 
tioned. The &ce to many appean young, at 
least for tliat period of his life. But it is the 
character, the genius, the eve>Iiring portion of 
1 that is there. It is the ideal Beethoven, 
le t« appear, as all men do who are inspired, 
of no age. 8cme say, he does not look savage 
enovgh ; thet« is not the absent, wild, dishevelled 
look, which we see in most of the portraits; the 
deep lines of suffering and disease, the prema- 
turely aged look, are softened down, and there is 
■e of tbe air d health and strength tiian we 
have been wont to see portrayed. So there is and 
H there should be; tbr the portraits naturally 
have exaggerated his peculiaritiea, or dsgnerreo- 



typed and fixed tbe casual look of single mo- 
ments. Beethoven vxu the great sufferer, the 
lapt and inward seer, the proud, uncompromisiDg 
foe of life's frivolities and shams ; he was deaf 
and he was harsh at times. But the artist's tri- 
umph was hia no less than the struggle ; his music 
is all full of both, and every work a victoiy; 
love and sweetness were the basis of his nature, 
and gushed out in spontaneous melodies sweeter 
than any other man has written, if we except 
Mozart ; and it was fit that he should wear the 
everlasting young Apollo UxA of genius. All this 
the statue has, whUe in the bee and head you re- 
cognize all that is vital, all that ever seemed quite 
real, in all the other busts and portraits. There 
are the compressed lips, and the deep lines about 
the mouth ; there are the swelling veins about 
tbe temples; there is tbe searching, inward 
gazing eye, the beetling mass of forehead, deli- 
cately intellectual at the same time, with the 
well pronounced ridge ou the comers, which the 
phrenolagists call Tune, and above and behind 
all the grand cloud of bur, altogether making 
one of the noblest and most effective subjects for 
a sculptor. It is one thing to catch him in 
Punch's or Eladeradatsch's diorama some day, as 
he saunters in the street, and another thing to 
see him iu the full glorifying sunlight i^ his own 
great muaJc. 

So has tbe artist modelled him, and so may we 
hope literally to see him, when the atatue sh&ll be 
erected in the fitting place for which the liberal 
first snggester and present owner destines it, in 
our noble Boston Music HalL This will be done 
with all due ceremony in the autumn, marking 
an era with the opening of our next musical 
season. The thoughts above expressed, if a cor- 
rect key to the artist's design, ought, as it seems 
to us, to settle the yet mooted question as to the 
precise locality for the statue in the hall. It 
ought to stand upon the stage, iu the middle ot 
the arch that ikow screens the temporary organ, 
fiiring the audience, reared upon a pedestal above 
and behind oil tbe musicians, so that we shall see 
it Oirougk the grand mnnc to which we shall mt 
there listening. When a permanent organ, wor- 
thy of the place, shall be set up, (he statue in the 
same pontion may be eaaly built into its front 

Meanwhile it is a proud day for musdc-loving 
Boston to beccme the posseteor and abiding place 
of such a work of Art ; and our thanks ore due 
to Mr. Perkins, to the Sculptor, to the directors 
of the Bi^al Bronze Foundry in Munich, which 
is really an artistic institution, to the founders of 
the Music Hall, to those who first taught Boston 
to love Beethoven, and to all who have helped to 
prepare this triumph. That we do not over- 
estimale its artistic importance is proved by the 
elevated enthusiasm shown by German artists 
and Art-lovers in Munich, upon formally taking 
leave of it, and affectionately consigning it to 
their younger brothers in Beethoven of the New 
World. This is the Beetiioven whixn Gerroany 
accepts and feels ; and those into whose soul Beet- 
hoven's munc bos most deeply, truly penetrated, 
are those who will most deeply fed the truthfiil- 
naas of Crawford's statue. 

A fiieud has jdaced in our bands a translation 
of the programme, and the prologue that was re- 
cited at the Munich festival, and with these we 
may fitiy conclude this perhaps too long article. 
It ^11 be observed that the translation is strictiy 
literal, making no attempt to reproduce either 



rhyme or rhythm ; but the notnlity and apponte- 
ness of the thoughts, in themselves, make them 
interesting, even without the muwc of the vcne. 



B. EltgUn Sons. (Orehtitn ud Chcnu.) 

4. Trio fMB " ndaUii." 

5. OSariBCSani: Solo Vol« ud Chonu, 

1 Mmh ud CfaonB fl« tb* "Boluef Al 



Oftn with havT iHut on tba lia^hon I mt 

Uk* ft BOW mob*, niplBs aj lo« chndnn, 

Aj bdi uid diLiic1it*n wudcnd gl«dl j Cvnnlt tho West, 

UlM tiIi<U thM mifnU, nniMBilaibla, axnlUnf to dipart. 

Thna ftom th* Kolhoi tu«t bn baaltb ud blood, IBu vibii, 

Tbe OmnAn ibnomi, wlrb MoleD flow, Tirmirinf diw. 

Bh hov Uw buBOT, Tieta In Orbiu fUn, 

BajoDd Um AUuUo, Kbiit tho na rinki, floUL 

BhIIt: 

Ooui-^puiiilBff Colomt, ffUdlj ! 

In trlnmpb, brlllio-Hko tuliit Omnu; ud Anarln amwn. 

fll«*)OS»! Tonr fEOtlHt dolpblo, Atloit41ki to bair hin: 

OsM mon, woodfrinilj, *-*"* b* fow, bAold Ub ; 

Yft, nch hi wu, itnmf , flnu kod Iron, trtrj ton* b bab, 

Ob tb* Mohod broT Uu itunpof ft itnnif nUonlilDpnil; 

TbftI b»w oload.fMlslitod, that <7* of lJ|taailii( flub [ 

It tU dbAi of th* 



OtftB-flowlDa rtMluwa, dM^wUnf , dftik ftDd diwaj. 
Brmtt imftfo of th* fnfttcflt Buitav, vlth nwuo* ■* Infta. 

fQml« lb**; 
BtuduhadM, byroad th* t*ub tftpse* n dm*, 
ImU th* N«w WMn o*t>, (Ud |lru>t •tnuBit tbj (QWlit 
pnuii of Ood'i fnal T*ai^ l*k* Ihr ptft** ! 









Tb*n, ia tb*dftn ofnawftit*, lliiblrthofBtw loiigiMi, 
Aald lb* obfto* of BOW iplilti, ilgBMtut, to iCftnd ; 
To ni ft Bilk of Ih* (ttaliHd fo*], to Ui*bi ■Aa MIo* sR«r 
A baean, nidi fuldliic, thn' tb* <tonB,»ad Blfht ftMlwlBd. 
Whan a baa of th*tr«iBg*Bii(hiDaBpoB th**, 
Tbn MdnnftD-Uk* MHiBd llnth, u In thli hiU t04l*r, 
Blfta ont, thon (p«k oTDalti, bil<fat Usht, ahlH IMtb ; 
Benndkiod IhatrloiBph of dinted Ion, IMeUo! 

' Tit tnanrit piuiait fivm lU immd an t/ " FiMit " laai 
A*n ourodwid.] 
But '■ ft mlibHa ooho wtkm bom NoHh ud Sontti, 
TbftB JODT nksDO Ihondtn, toot ?n*c>n'i lUl ; 
And, a aba OiphMU pl>T*d, th* bait* iltftBd, 
As baton AapUon, atona do duo*, it •Bohftsoac- 



Ym, It ta h*, OBT AKW.U11C, ' 



rjB, ftftd BOB* wlUHIlt ft ttSJ 

M endkd by tb* Bhin*, 



To bnthRl *sd to (toBKH IftU, opon that dMut Aon, 
Kr that asm* OanuiB land, u bond ud baiftld tb« an nBt, 

nal Oamuj wUiih, with prkMlf fln, ud wftirlnn' bkiod, 



Uigitzed by V7V^V.7VIV 



■a' 



BOSTON, JUNE 23, 1855. 



95 



ThiH,iiilil tb>itoiB>o(*ni7 UaMaaliiB, 
Bpu «ltb tbilrniBbo* uili both ■■ ul lud) i 
In OnUlnllaB^ dkWD, « toHk* Dflilaaar War, 
Th*7 soBa wkh Coltonl IVit) *ll>' P*1b of P««- 
Stiaiai Ihtt bi BOX njal hmx. In Eba Bandu land, 
A kam thaj ban tnnd, ban nar, aad Mom and Hi 
111 Ok Ibi ButH Mil w, tad irith fialahl heattt, 
Tkat If ankk can II u, M aU vhi) Ma, dHlan. 



CONCERTS. 

Tn LutmxJiaw Tboufb left oar public wiib an 
appdlite. Tlie third and lait concert in the Moaie 
Hall, on Friday evening of latt week, ahoired no 
Kbktemsnt oT eothiuiMai. It was to tsKuiiailj like 
the dnt two, that it offer* little lo remark npon. — 
Hme. Laqkimo* wu faudly in m clear voice u 
ninal, end labored a little in the beginning of the 
lir from "Lucia": S^)argi ttamarl) pianto; still the 
lang it with ezqabite grace, and her Ttnce infflced 
n the main for rich, large expresiion, aa well a» for 
those fine, delicately gleaming pai^agei in the highest 
■ in which she wrer failg of purity. The bril- 
liant walB, of her own, afforded a new chance for 
her wonderful display of insirntnentAl vocaliiatioa ; 
and we were glad again to hear (hat wild and 
pensive Hungarian melody, in which ber voice per- 
fectly take* the peculiar and very varions color of 
ts lentimeDt. To ni it seems the most individnal 
and charming Sower of all her melodies. We were 
never mndi Inlerested In mcie vocal Instrumenta- 
tion ; bat in Hme. LxoKAXaB It seems a thing of 
uaiare and of character, and not mere sindied 
artlAce. 

In the hnmoroui duet from 2.' Eliiir, and in the 
trio from Lucmia and the quartet from iMcia, her 
voice (old adminbly, and ihe was ably seconded by 
other artists. Sig. Uobelli sang TT meoito with 
his nsnal qniet and manly ' aitistie grace and com- 
pleteness. MiBiTB sang a romanis by Hercadante, 
another ftom Verdi's Lovita MSUr, in the same 
large, robnit voice and style, which t^es yoong 
Boston and yonng Italy right off its (bet, and whan 
recalled again iodnlged them in the height of ecsta- 
des by repeating his crack piece, the air from Dm 
Setiutiim. He nirely has a noble voice and sings 
with energy and great abandon ; but is not, as an artist, 
I a medium of pare mnslcal expreuion, to be 
named with Uabio, in spire of oor imflammable 
yonng friends. It is every common thing for lood 
i* in a tenor, especially when accompanied with 
good looks, to be mistaken for feeling; and the 
danger of Mirate seems to lie in pore physical over- 
doing of the thing. 

The orchestra, under Abditi, played a rather 
learned and classically conslracied orertnre by Boi- 
TBaiirt, and thr..fV^scJllUi overture again, remarkably 
weU. 

Miss Glisk Hehsleb, on ber retnm from Italy, 
greets her mosical friends with the announcement of 
a concert in the Mnsic Hall next Tuesday evening. 
She will of oonrae meet with the warmest welcome, 
and we anticipate a lively pleasure In realising with 
own ean, the good reports of ber lucccs* in 
Milan and at her recent d^at in Ifew York. We 
only regret that we also may not hear her in an 
operB. We give to-day two letters from our corres- 
pondents, as well as extracts from the New Toik 
papers, showing the good impression made bj her 
d^Dt. From prrrate sources, on which we folly 
rely, we learn that the papers rather under than 
overstate her success. BapeciiUy are we told that 
•be shows tar more dramatic talent than the Jlaut 
gives her credit for. 



Tet after Vsnni, the Oiet stialns of even iftnto were 
somewhat lefreaUlng, and not nntil tt came to the long, 
tedioos "middle pausge," the Adslglia sugsry dnet 
bnsloass, did our patience give out. It wss worth while 
to go, simply to hesi Mme. Laorance la Catta Diva. 
Never before, with the single exception of Hme. Gold- 
BCHMiDT, have we heard It song nearly so well. The 
lofly, remote, splriloil oharsoter, which the priestess 
wore la her impersonation, was qaile itrlking. Her 
holding ont of that eiqnltltel; pure, dlvery higbest note 
at the end of tba recitative upon the altar, wss marvel- 
Ions. In the slow movement of Oatta Dim, wbleh she 
ssng mostly la a snbdued, supplicatory, and religions 
tone, there was rare pBTfecthm of phrasing, and a really 
spb-itnal fineness oTeipreMion: and the raptaroni qnick 
movement following was given with a dsizling briillaney 
of exeention wfaleh no one before hueqaailed. Drama- 
tically, altogether her Norma wMaTeryhiirti perforro- 
anoe; but vhen It came ID UiedennneiationoF Poliio.we 
were folly conflrmed in our old TeeiinK thst it was best 
to let NormH end with ORtBi. Whel Grisi did not do— 
UBS the only gntt muslo In the opera — Lagrange did, 
and wonderfully well. 

Polliolsin anKfticiona part, and MiRATa'a larfn voloe, 
so br as we heard, did not redesm Its dnlnaai. Mobbuj 
wu a fine Oroveto; Knd Mme. Stedehbubo a sweet bnt 
feeble Adnigiia. — We did not witnesa Mirate' > deatb- 
sceneof Ednardo, for wbioh he of eonne reserved bis 
beat strength, but learn that il fnlfiiled every eipectitioa. 



Umb. LaoKuiaB in "Hobiia." — A single opentlo 
performance was voachiared by these admirable dngen 
on Honday night. The Boston Theatre was quite well 
filled, allhough it would he Impossible to find two pieces 
mote baeknied than iWrrasa and the last seene of Zuda. 



Xnsit ^bttoafi. 



aemumr. 

LxiFSir- — Our Gewandhnni concerts are overj tbe 
qnirlal miritt are at sn end ; and the Stadt Theatre is to 
be elcnied on the 1st of Jane far three raonlhi. Tbe 
closing of the theatre Is a fact hitherto nnprecedented, 
and createa no little sensation. Not only the artists, 
whose ulary will he sufpended, hot the pnbllo are 
evidently discontenied. Of late we have hsd no laek of 
operas, and avea IbniAduKr hat been given twioe, to the 
DO amall satisfiiction of the Wsgnerians. But the perfw- 
msnee was not very ■Dceeaafni, partlv owing to Ihe 
Tnnnhuser (Herr Eppic) and the Sliiaheth (Mile. 
Uhriaub) — both from Hamburg, and both vary bad— and 
partly from want of rehearsals. 

fierr MItterwiiilser, from Dreadan, has been performing 
here with aneceH, and was Krealtj admired ai Ham 
Helling, In Hamchner's opera of that name. Mile. 
Tiqfens, Aram Vienna, has appeared in Otcroa, Bit 
HitgaaOtn, and other opera*. She is a grest ravorlla. 



Towded homes. Ha is Ihe best barvtone li 
The new opera, Der Erbe mm Baktiitj 



Gar- 



..j« opera, Der Erbe an Baktiugk, i 

by flanaer, was prodnced on Iha 18(h insL to a foil bonso 
in aid of the "Theatre Pentiont. Fonds." The HbrtUe, 
by Herr EmMa Davrient, confsms nothing Interesting. 

On Tbntaday, tbe llth IniiL, Liizt came here and con- 
ducted bia raw m«t«, at tbe Calholio Cbarch, for four 
men's vt^eea, with orgnn nccomiinnlment. I am hnppy 
to be abieto inform you that Robert Schumann i« tn s nur 
way of recovery from his long and severe llinen. The 
1rs( aceonnts we heard of him were that he bat again 
begun to read and write, and play the piano. He ia vary 
fond of playing dnets with friendn. His memory does not 
seem Impaired by sickneaa, and strong hope^ are now 
entertained of hit speedy restoration to health. — Carr. 
London Itia. World. 

CoiaosK. — The Jflmerofsmi^etrnB gave their last 
cracerl of the aeaaoa on tbe ISth April. Tbe whole of 
tbe Brat pnrt net occupied b; BinalM, acRntatx for solo, 

Siarlat, chorus, and orrhealni, compowi by Hen- Max 
mob, a pupil of Ferdinand Hilter, and who for the'iaal 
three yeara hu held Ihe Mosarl Scholarabip In Frankfort. 
This wan performed fur [he Hrrit time; and in the absence 
of an orciieelrB, Iha accompaniment, arranged for two 
pinnaronea was played by tbe componer and Herr 



few mora snch oompoillion*. Instead of overwelming 
with Sdndclm and ViiUalieikr. Tbe eecond part w« 
made np entirely of snch iiuipi^titt, excepting a violin 
solo, by Herr M.PIils(VBriat[ooa of Vianitemps) and 
Hendelssohn's iicis md Wait, compared to which ail tbe 
olliera ware as "wslor lo wine-" The thirty seceders, 
with tbe additka of some others, have fiirmed a new 
Society (SjugtrimJ), under the direction (^ Herr 

At (ha tasi aiir^s for ohambtr^imsio, beeides Hen- 
delssobn's qointet In B flat, and Beetiioven's quartet In E 
flat. Op. 74, s trio for violin, pmnofottt, and vIoIoDeello. 
by W. Niela Oade, Op. t«, was Introdnoed. It ts eolilled 
JwMJfcUtn, and consists at Bve distinct pieces, food 
enough lo alone for the affectatton of the title. Biller 
pUyed a sonata of his own — a masteriy eompoaition. 
Carl Reintbaler'a nralorlo, Jrpithnh iind teint Tbdilrr 
(US.) was performed for the flnt time oomplen in Elber- 
fold, under the direotion of the crnnpaner, on the 6th 
April. Herr Relnthaier la the aon erf a Protaatant clergy- 
man, and was himself intended for the ministry, but 
Heaven seems to have willed tliat he shall edify the people 



by bis maslD rather than by tia pteachlng. Tbe oratorio 
contains many besntles, the cnomset eapeeially: (he 
whole la olevariy inatrtimented. Tbe oompOaeroond noted 
with energy, and at tbe conclusion, amid Iha plandltt of 
Iba andlanoa, the blowing of tmrnpeta and the beating of 
drums, was crowned by ^Iklr hands." — Cbrr. Lorn, jUtit. 



J-do^rtiaeiR^nts. 



k GompUmeatary Concert 

MISS ELISE HENSLER, 

BOSTON MUSIC HALL, 
On Tuesday Brenlng next, Jmie 26tli, 

Se'aloek. 



Oa this ssBSitsn lUw atnilir will b* aahhail hy 
Hr. BABBIBOH' iH rTT.T.swn uid 

Hr. ansTAV SATTXB, 
Who hsva fansnnasly effsrad thtir aarrlHa. 



BMenUy PnUuhed by 0LX7XR DITSON: 

THB OBHMANIA ; a OollKtieii ft OtamOe Aiis, Ifaavbts, 
dnkkattpa. Polkas, Vsltiaa, Daoias, ka. Atta atad Ihr lbs 

Br B. 1. Bordltt •l.O). ' ' ' 

TEra WLUnm -. a Collsedon of Mast Ttvle arrui 

tlia Aoeordeon and FJntlna, ineLodlfaf msnj popular 

with words apjMndtd. Pries M — *- 
'SON'S BaURT I 
SBia, (eaa bt naa 

bkllatwaBHstOoRMta; tbm Bllat Canats; two X 
ila*: two B Oat BaiHooaa l ODS B flat Brass Tabs « 
Hda: one B flat or F Bran Tata; Saas Dram ; CjailMls, 
■■'-'' , Amafsl by B. A. " — "" ■"-"-• ■- 

ET-Sold bj aU MMtaDealn. 



NEW COURSE OF HARMONY, 

BT I.. H, ■OOTHARD. 

Tba PoblblMn call (ha attaatlaa of the m^e^ proMdoB 
(0 thli WDik, as SBS saaMaliy aslBBlatsd to Ifahtaa (bs labors 
of lhi(aBehaT,aBdiBpM]TaaTaiHatb*paplL II la Haphall- 
eallr a PaiotioiL work, sarrtaii both as a HaBOal of laKne- 



d,aBdBT«t-boDkoi 



>) and It Is 



baUand (hat th< pi 
villi (Iw vary )st(s at 

wnrk Df tlK k^. ' 



Mr. Osossa J. Wasi lajs that 1) is a work iisnpleaoastB 
dieHoB, mattiadleal In arranfaniant, and BaBrian(lj eeplova lo 
cBibixM all (hs sMiDllsla of tlia (ananil doMttas of aeoard. 
It can bs ordrrvd ttiroagki any nupaelAbta Hofie^tLlar, and 
will ba sent Ihrwnh tba mail en Ih* nedpt of Iba Pllai, 
(BI,TS,)ina(a|aBi«iaVi. 

eSO. p. RKBP * OO.. PwUlahna, 



B..°.i 



[ dolna a dtoatiOB as Orgsalsl la aaDS 
UB. Addnai Box 18$, Wnetaur, HaaL 
« mil, B. HaBUUB, 1. e. WIUsiH, Bsqs. 



OTTO DBESXL 

Olna iBMRMCtaa so tba pleiiD, and aisj la stUwaasd St 
&mas Housa, Tamu : — BK) vm qaarUr at M Its* 
(m a wesK ; UQ pv qnsitsT at 13 iiwnna, sua a weak. 



WILLIAH BEBQEB, 
PnUlsher and Importer or IHnsIc, 

Fo. IS Wait 4tb Street, Clndtmati, 0. 

KIEFS eoBstanblT en bsad a Larn and Bateet Stack Dl 
IHPOKTBD HDBIO ' ' ■ -- "- 



dlseoantnaDlad to TMc 

Is. Uoog airanaed 10 «t 

Z^ OsMloCMS Bsal crada bj Bail. 



It mblMHd. A Ubsial 
rdtra pnaupUr altandad 



MULLER, 



OARL OA.BTNEB. 
TEJlOHEIt OF MUBIOf 
Vitj b* ftnud at No. SD Sorst Btnat, <na7 Assoooa be 



a. ANI1B£ &■ 00. '8 

JBifnt nf fnt\%it anil jiBmutfc SUtiit, 



Mnalg, aad of «ui 
■Bile and Ha^ 



Uigitzed by V7V^V..fvlC 



DWIOHT'S JOURNAL OF MUSIC. 



NOVELLO't LIBRARY 

musicajL knowledge. 

ToL. I. Now BUBT. 



..imiUWilbj Bi»iu . 

mu. Tbi BBrinl innpl** HTiwl by Tibodt Nitillo. 

BimMr w<t«, Mi.t ToLl., BiniiciiiT ml TharOBih-Biia, 
iiM.b7iii>UM. VoU. IL ud III., QaU* W Oompiidtkn, 



_ ■TBORODGH-BASS SCHOOL. 

TngaM^rromltMOHBU, biSuduNSTmo. Xb* 
mndiKl (xunplta tutIihI bT Joiub Pimui. [ronwr pilM 
•ITS.] Inpcpwnppwtlat*. bjBillffi. 



JlTl 

TVriB' TBKATIBK ON 



[rsnwr prtn, Uftdist.] In ptpK wi^pn W eU. 

MAUn, DR., QKNXUL HnHIOAt immUCTION.— 
An aid M TnebM ud Imumti In tniT biu»h nr Hb- 
rioal kDowlidi*. Tiuilstod bT flioui Kiouoii, fn»i Uh 
ochdMl OtTua, annialT te N«t«Ud'* UbnT* lOr tli4 DWu- 
rimarilDdBdKiNvMf*. tromw pika, M TE ] BmuXllB 
(Mh. priM •! «t, br Mil n 76. 

■.■ Of tUi iHTfc fln Uin (dlOou bin bwn piial^ in 
aHHU,b^dHbrii>|i^tlBMilnButfud. II UmpntaMdl 
Lpluukin or inrj mnrical uUfr, bom tbt gn- 
menu, Ibiengb Uwnrloai alibanaiiu of AjUun, 
f uniH, laiCnuBHiti, (ItnoDtMr ud utMlg (bnna 



gertind 



rOQUK. Tnubud bj Kn. Cunmi Cuiu, ftnm 
grlflul InBoh. Th( miulal portlm bu sIh btm *Dp«- 
Tl>td br He. IiNUi Pimu, OinnlU of UkoIh') Inn.— 

Emw piiia, •? BS'l Bound In dotb, pilM 91 68, bj maU 
T6. 

aonuo'B BAOBxs msio wabzhottse, 

t» BKOASWAT, NKW-TOBK, 
And at W Sou Knot, Bobo Bqnus, uid X Pmllrj, London. 



JOHN SEWABD WRIGHT, 



BwidvBM, 18 Atmt StIMt 



FUHIST AHS TEAOHBB OT KTSIC, 



OrRBS hliMcrtMiuwIsMraolaTlntlwUitwbii 
of Pluo pUflnt. Mr H. may Uoddi—Irt th« 

•Mnt ol NiTaAV * 

B>D k On. II Ti 



NinuT BxlElUtOl, Is VtlblBCIMI 
■- II TlUHM Bdw. 

:— Hit. C. W. Loilni, nu. Tiram St. 



MlH K. a. FrtUM, SdML 
MIm Hkbota, 30 BoBtlk Bl. 
IIlaJiV,SriHUlaFlH*. Itb.U. 



XH01IA8 BTAM, 

TEAOHER OF MUSIC, 

KmSHIfDl, Fa. 15 DIZ PUCE 



B. D. ALLEK, 

TEJLOBER OF THE Fl^KO-FOETE. 

dlnetolnn of Hithu BlohudioB, Biq. 381 Wuh- 



L. H. SOUTHARD, 
TEACHEB OF HVBIC, 



OHIOKERING & SONS, 

KAintr Aonmns or 

PATENT ACTION 

GRAND AND SQUARE 



WABEBOOns, 



SUPERIOR TO ALL. 

UGHTE, lEWTOV ABRADBUBrs FUVOS. 

XTATHAir RICSARDSON 

WDold TspKtrallT iDlbTTD the pabJIo tbu h« bu ukn lb« 
AfOH) •>( tba Hon XB(Und iSuaa, tn (be ■>]• of ibi >ban 
oolabnUd loKniBitntii, » fnU HKitmnt of wblcb slU son- 
DuUr bi fcepi U bli 

MUSICAL EXCHANGE, 

2B2 WatMngton Street, Botton. 

TboK iDiCniDHnliininmiitrdln ikll ouw ud put op In 
I of expenvt, fbr tnniporteaoii to ■nv dW- 
Nir HDSUl IMb all puu « BORip* ukd 
M pabUihcd. vblvb, teceOwr wttb 
IB* Um luiMtNoot uid tnntaM 
nilWof SbMtHiuloMbofMadlnUiirBlMdBMM. Tb* 
BCM Ubcnt dlBODBt nuuU to Ibo TrMk and SaarinarlM. 

Catalo(itw Mnl ta anT addnaa,(ral<f .— Saperisr UaoBMn 
alov' <H> band^PIANOS 10 UT, «• Uovl unu. 



Hrioa HHlTad « 



(TKNOBB,) 

TEACHEB OF ITAT.TAW TOCiXIZATION, 

B*. A Trlar Bt. Ttmii WO pn qnaftar. 



BOBTON, UASB. 



Tome usm vocu lusic school 



Thli Sehool li dMtpMd Ibt tbe« wbo wlib W asaoln the 
ablUtj to nod BulBnadilT at iltbt,aBdli putiniliil]' adapt- 
ed ta Iha '■uiti of ctaoae vbo dedn to fli tbemialm ta iMch 
dnflHi In iebiMla, or to noHn iBcCnollan, tm tb* b«t BB*- 
toi. In the CuItlTBtlon Dt tha Ttlca, Btjrie, ka. 

AddnH, «n of a«t. J. Wabb & Oo , Ho. 8 Wlntaiitnat. 



MR. J. C. D. PARKER, 

nriLL be bappr to (Itb InitnetloB Ib Plano-brto and 
VV OrtBB plaHag, and tbt ThBi»T of HdiIo. Addna:— 
Mo. B Hajward Flaaa. Ha; U. tt 



MEYER & TRETBAR, 

Smjniditi onii 3^shlu^i nf %m^ 

aXJTTAI.0, H. T. 

ET-AGnm te tha PablUilo( Honai of &. II. MZIIB, Jl 



IT JOB wl* la laan lo plar Ib the ihatial Ubb po«riblt, baj 
RIOHARDeON'S 

■ODQH SCHOOL FOB THE FIUO-FOBTE, 

wbleta it aaknowladfad bj Um Be«_aalBiat bb 



Ml. J. Q. WETHERBEE, 



J. TRENKLE, 

TEAOHER OF THE PIANO-FORTE. 
BMklcBM Ho. M KaMUsd ItiMt. 



C. BBEITBinci, 

IMPORTER OF FOREIGN MU8IO, 
TOl BROADWAY, NSW TOBK, 

DipSt of Erard't Grand Pianot. 
onouLATina mmoAi. librabt. 
17- OoMlaBllj on bMid * 



ADOLPH BAUMBACH, 
TSAOHSB OF THB PIAITO-FOBTX. 

Ap^fcalkB «a bt mada at Raad'a Harfs^Hn, « at tha 
IhtHk Baoaa, BBibWT. Bapt ■ 



Z.. O. EKEHBOH, 
8ut)it at Hi yins-^tiU, fttgn, ft jSinjJnjj, 

ORGANIST Aim DIKBOTOB OJ imHIO AT 
BULTINOH BTRKBT CBUBOH. 

HmkS—mwtifaiOmrA BaUaif, 13 tidtou It. 

BOBTOn. 

itlBBi nay alaa ba aada at OHrar DHam'a, IIG ir 

I^IobSI., Id vboB ha b renalttad to re*r. 

" ~ jmwAiiD~£.~BAiim, inraio aitp job vaumsa oirwum. 



ORGAN-HARMONIUMS, 

MASON Sl HAMLIN. 

fllMB Orias-HaniHiBliun ti >d anttniT aaw (palaat) UBilea) 
X InMnwmt of ttw mad ipaclai, bartni two manDali, or 
iDwa of keta, and alfht atna, aa Mlo>a :—l. DUpaion ,- 1 
DnlcUna ; 8 Prinetpal ; 4. FlDte ; E. Boonkm ; S. H^utbn ; 
T. Bipnaaioii ; 8. Ooopler. It ii dwlgnad mora eapedallr fcr 
tba sea of eborebia. featon-noBia, aad otber luf pibUg 
taalla, biTJBf power Biai-Ij rqaal to a tboBBnd dollai arna ! 
It la alBD capable of laaoT eoloiBMIa, and baa treat tartetr la 
tba propan; or qaalltj of tooa. It le MpKUJ; adaptad lo 
tbtnaavt or(aa-taaataan awl atsdaBta, balB( aa adBinbla 
aabadtala br DiiU'praetlea. BuoiaaaontnD all IntanaHd 
li napaetmilr (DlMled. 

XuoD ft BJunlin'i Modd HelodiMnu ! 



Imniiini), 8. A. Baninft, L. P. Bean, L. H. Boalhanl, 1. 



NEW AEBTHETIO JOURNAL. 
TBE CBATon, 

A WaAlrPapaidaToladta ART, oOanltMlflothtatlaBtlaa 
of bU who an latanalad la the aknUof and Tfaalai hifln- 
*BC«i of Beantj. Aaiong the ooBtribfllon to TBI CurON 
ainadjai* Batin, Lowiu, OrtMMi, BnnuaDi Piua, A. B. 
DOURD, Praddanl of th* N-tlaoal Acwtaaj oflkrifB, Diam 
RoBTiBaTaii, HniH K. Burnt, and aaunfat thoaa aafafad 
m Lonruoir, Bitiu TaiLoi, Oaa. Wn Ovmnt, %n7B. 
W. Buoan, B«. Babdii, 0»o«ob, Rtt, B. W. BoMva, Bon, 
OuiLIBBunBB,aiidotbenof OBrmntanlunil wTttan. A 
aiilcB of w«a bj BcutH, and eaaara left bf tba nnlBant 
aenlptor, Boutu Oiubooom, add to tha lalaraat of Tba 

From Uu Oataiimaii Oaiittt. 

Te ban alieadj etiDB(l} ronmniandad Tai Obiiob, and 
nan BDScaadlof noBbar pnrea It to baaonaadBHiBiiantaT 
of ^wahanaaldlnliapnlga. No Joamal, diTotad to Art, 
baaatBT ban to aU; eondnetad, la tUa eonmrT) and Kit 
Biaata wUb tha (Bppcat It ta rkhlr deaama, «* han BO donbt 
that It will EurlaBaatwhokMBahianaMaaton tha taala 
oftbaaaooMT. 

PnbUakMl br trriLLKAN k DDRABIh No. m BamtiaS, 
NavTork. TaiBa, W par aBnnB,lBadranea. Back noB- 



SCHARFENBERG & LUIS, 
inPOBTEBS OF FOBElOIf MUSIC, 



(TadilnstoB fl 

tUI, BMTON. 



A OOOS TIUE TO BVBSOBIBEI 

DWIGHT'S JOURNAL OF MUSIC, 

S 9Kf II at Ktt mi I,<ttiitQ», 

PvUlidi*d BTVj fctnrdVi at SI Sohool 8(. BoiWn. 

Tir* Doniim psi iinnBBi, IB adnuic*, 

DmlBi tha (hrea Taan alBoa It wu eatablbhad, thl> Jounal 
hei BMl «llh onatliiDallr iDanaalni BiTar, and It antarad 
npOB Ita BKTENIH TOLCIU nlUi tha nOBbo fer Batnrdaj, 
April Tlh. 

Ita eoBtaata ralata ai^nlj Is tha Art of Mnia, bat with 
flanaaa at tha whole World of Art and of Pnllta Ulantnn ; 
Inelodlllg, fioB time totfaBa— I. OitlcalBaTiawaafOoBeaTla, 

OraMrtni, Hpei at . ailhUBalj ^iialjaaaiini iilalileTTiabt 

IBM of thalr OoBpoaara, Ita. 3. Notfcai of 



poDdenoa ttoai noaiaal pataoBa and plaoaa. E. BaHja on 
BMle*I atrlafl) aahosla, petloda, lathon, aoDpoattioBB, In- 
■tonBaDM,tha»laa;oDBub»tBdHMIoB; on HnalelBlla 
HaCBl, BoaU, tmt BaBfloBi baaitngii db Baale In tha 
Ohareh, tha Oonean-man, tha TtaaaH*, tha CbaBbar, and 
the Stiaat, ka. 0. TiaaalaUoitB froB tba beat OamaD and 
PmabwrllaiBBpoBllBdeBDdArt. T. Oaeaaloaal Notleaa of 
Seolplnia, talntlBtika. S. Original aad Balaotad Poame, ka. 
DT-BaA noBban, ttaB the ocaBuaeaBwnt, cut ba fBf 
nUud. Addiia (poat-paldj 



J. B.I 



iT,n B< 



TERMB OF ABVEBTI8INO. 

IbrtlBaartkiB, par line 10< 

■aabBBba*qaaBlhueitlaB,wlbga S< 

PaioHea)BBn,(iaeilaa«iBiallBaaitlon tU 

Do do <aah anbatqaeal tt 

Bpvlal Botke* Daadadh aaab loaamon, not Una Ml 

P^aoBta required In adTanea 

iMivl; lo adeanoa. 

No. ai SCHOOIi STREET^ 



Uigitzed by V7V^»^^VIV^ 



'3' 






Wholb No. 169. 



BOSTON, SATURDAY, JUNE 30, 1855. 



Vol VII No. 13. 



PUBLISHED EVERT SATUEDAT. 

TEBM B : By Kail, f S p«r Bnnnm, In adnuio*. 

'Wlkan left by Cmrrlsr, «S,SO " 

J. S. DWIOHT, EDITOR AND PROPRIETOR. 

EDWABD L BALCH, PRIKTER. 

ID~ 0:17101, No. SI School Btreat, Boat<m. 

Sf/BSCRIPTIONS RECEIVED 

AttlMOmCBOr PUBLICATION H Srtaool 8t. BaMan. 

BiMATHlN BIUHAKI»0N,3«IWiMili«uaS(. " 
"QKOKaBP RUED & C0...1ITt«DonlKmr, " 

» A.M LRLAHD, PnTld(D», R. I. 

•■ a BRBUaiHO. 701 KnuliuT.NM Tort. 

" SCHARPItNBIlRO k LUIB, 7W JtooHllriy, 

« GEORaB DDTTON, Jb Horbwltr.N.I. 

» e AHDRX ft CO....10S«aUiNlBthB(. PhttXtlptik. 

" JOHN U. UBLLOR, Phi.b«n, Pl 

" HILLBR k B8ACH*K,..181Bal[liiui»St B>Jilii>«n. 

•• COLBDRM k FIELD, GtnelnlKiU, 0. 

x HOLBROOS » lOHfl CWnlud,0. 



BeetliaTen*! Bympbmiei. 



The Seventh and E^hth Sympboniei (in A 
major, and ta F major, ninety^ecoiiil and ninetj- 
third work«) give expreaaion in tonei alike to one 
idea, the idea of the fullest gensuous aud Bjnritual 
enjojinent of exi^leuce ; they are difTerent vari- 
ations of tliu one theme. In bodi aj'mphonies 
alike the e^ipreMon of thii idea rises toward the 
close to the highest posinble vivacity, to the great- 
est sensuous excituiDciit, to the boldest extrav- 
agance, to the maddest jntnlee. The tone inwgei 
in both Torka attain to the highest Bensuoos 
realit}', and these creations saf what they will in 
tones in the most distinct and penetrating man- 
ner; wkh them therefore a poetic cnnmentary 
were Offeeiallj superfluous. Here Beetbove?! 
reaches the highest Individuality and definite- 
oess in his tooe-forros, and frcni this pcnnt of 
view THBOi>OEe Uhliq is right, when he seea in 
then works the centre of gravity of the Beet- 
hoven instrumental muMC. As it regards the A 
m^or symphony in (he first place, we m^ht 
prefix to it as a motto the words of Luther : 
WLo loTflfl not woman, wine and song, 
Ranoiaa a fool liui iriiole life long. 

He First Uovemeat begins in sust^ned traies ; 
the soul is filled first wiih a silent, nippreMed 
joy, but soon it begins to tremble with gladness, it 
can no loiter conceal that with which it is so 
full ; and now it openly announces its secret 
with ever increasing fulness of expresnim to the 
end of the movement How dranwdcally that 
BCMXdled organ point a little before the close por- 
trays the deeply suppressed feeling of joy press- 
ing toward tomultuous outbreak, just as it rids 



itself of narroiring limits and pours along in 
roaring streams ! In the Second Movement the 
Bonl, after this full outpooring, is a^a moved by 
tranquil joyfuluess ; but this joyful mood wears 
in the first theme in A minor a, w to say, sweet- 
sour character; ilseemsuif a slightssdnesstrem- 
bled through it, bnt only to eweeten the sweet 
charm of joy still more, as the wound made by 
Cupid's arrow is a sweet one, and the rose is not 
without thorns. But this grallo sorrow expressed 
m an ever more eochauting tone-coioring, ispres- 
ently sweetened by the lovely theme in A major 
whichisjoinedtoit At the close of the movement 
it comes forward again and keeps the upper hand, 
but sad as its presence .seems, for the very reason 
that it poors itself so fully oat, — I might almott 
say weeps itself ont, — its power is broken, so that 
it softly dies out at the close. But bow unsatis- 
factorily words describe this infinite magio of 

In the Hiird Movement again the hveliest 
cheerfiilness rises (in the magical middle subject 
in D major) in the plenitt|ili of bliss, floaling aa 
it wen upon the waves of ecstacy, to tke expree- 
sion of a c«rtun scdemnity, thence to res^n itself 
anew to the moet unrestrained career. 

But in the Fourth Movement the joyful sool 
celebrates its Bacchus feast; here the emotion 
rises to the most unlimited jubilation, here all the 
nerves are struned op to Ibe highest pitch, a 
"jutulaDt kiss seals the embrace." It is this 
work, kept throughout in dance rhythm, which 
RiCBASD Waqneb strikin^y calls "die very 
apotbeoRS a! the dance, of the mofement of love 
ideally embodied in tones.** 

L) the same feeling and s^t b the Eighth 
Symphony compooed. There breathea in it tlie 
same cheerfulness, raised to s pitch bordering on 
excess. But it gives in smaller form rather a 
mininture of serene soul's life ; it is more a naive, 
child-like joy, too, which pervade* the whole ; 
a Haydn-like spirit breathes in this naA. This 
and the small fbrm, in which the symphony moves, 
have misled many into supposing it an earlier 
production of Beethoven ; but there cannot be a 
greater bttot. Any one who has become deeply 
acquainted with Beethoven, and who compares 
tiie first quite Haydn-like lymphony of Beet- 
hoven with this, his eighth, cannot help feeling the 
infinite difference between them. Outwardly, 
indeed, the ei^di symphony is not more compre- 
hensive than the first; but to apply a mere 
space measure to the hi^iest spiritual products, 
is to be gni% of the grossest error and beQ«ys 
the most trinal and nnortistic standpoint But 
the inward relationship of these two works is at 
the same time an outward one. The form of the 
first symphony is the Haydn form ; that of the 



eighth symphony is the genuine Beethoven, sncli 
as the mastcir created in the Eroica. And then 
the striking miginality of the tone-pictures in 
this eighth lymphony, this bold, seKconscions 
humoristk life, this bubbling overflow of animal 
spirits, — what a contrast to the above described 
contents of the first ^mphooy I That is the pure 
Haydn spirit, married with the manly spirit of 
Beethoven, a mediated product, aa intellectual 
re-Krth. But the eiglith symphony is in truth a 
product of the ripe, developed Beethoven. A 
naive, humoristic joy pervades, as we hare svd, 
the wfa<de and nnfolds itself in the finest nuance* 
and shadinfp. If in the firstmovement this char- 
acter is depicted more in general, the two middle 
movements give us two particular sides of it ; but 
in the last movement comes the highest climax, 
giving scope to the maddest humor, to the most 
jovial rnood, such as was never before pro- 
duced in tones. 

Beethoven must have been in the moet joyfnl 
state, inwardly reconciled irith himself, when he 
conceived these two creatiooa. But, as has al- 
ready been remarked, this paradise did not suf- 
fice fw him; he soon aspired after a higher, and 
he created the Ninth Symphony. 

About no work of Beethoven, perhaps about 
no work of Art, have views and opDions been so 
different, as about die ninth Bymph<Hiy ; indeed 
no creation of Art has had to battle so hard ere 
it gained admittance, as tins grandest work of 
abaolnte mnsic. Twenty years ago the work was 
conndered demnged, a mere aberration ot Beet- 
hoven ; ten years ago it was only half deranged, 
while in recent times the understanding <^ the 
same has brcken a continn^y deeper path for 
itadf^ and the wotk with die cnltivalad anisical 
public has acquired a certun popularly. What 
formerly seemed a confiised con^omeration ef 



niii I'wwiji e xp i CTW on of a sublime idea of feeling- 
Tbe union of words with tones, which formerly 
in such a work of pun instmmental mnnc passed 
for an arUtmry wUm, a something abnormal, 
an extiavaganxa, is now recognized as an artistic 
necessity. This change, this better nnderstanding 
or feeling ot ita meaning, is dne partly to repeated 
perfiwmances of tins difficult work; partly to 
deeper penetration into the innermost nature of 
Art and of Beethoven in particidar; partly in 
fine to excellent eommentaries on die woric, such 
especially as f^ANz Bbendel has given in his 
Histofy of Muoo, and Bichakd Wagmer in Us 
" Programme" to the Ninth Symphony. Hence- 
IbrthisrecogiuzAd, as dteidea pervadingthe en- 
tire woik, du vietonf-erowntd ilririttg of the sotiJ 
afier the higkett Jot. To show bow Beeiheiven 
lends expresBon to ttua snbbne idea, and devd- 



Uigitzed by V7V^*.^Vl^^ 



'3' 



DfflGHT'S JOURNAL OF MUSIC. 



ope it organicaUy, we irill once mora follow 
Richard Wagner. 

In the Fint Movement we Bee, conceired in 
the Bublimcst sense, the conflict of the sod] stH- 
ving after joy agwnst the pressure of that hostile 
power, which rears itself between us and earthly 
happiness ; only in isolated gleams of light do we 
catch the sad sweet smile of bliss; the demon of 
joylesmess encompasses as agiuD and agvu, and 

I in Tain that we contend against him. We 
exclaim with Faust: Eiitbehren lolUt du, tolht 
enlbehrtn; Thou most renounce I (See Journal 
of MuNC, Vol n, p. 137). In the Second Move- 
it a wild delight seizes us, hurr}-ing ns on in 
the pursuit of a new, unknown bliss eren to gid- 

esa, to reeling ecstacy, until in the middle 
periods scene of earthly pleasureandof satisfied 
contentment opens ; hut to suuh narrowly limited 
cheerfulness we are little disposed, we plunge 

w into that wild intoxication. In the Third 
Movement, on the contrary, the soul seems filled 

it sweet remembrance of a purest bliss en- 
joyed in early life. This is the first theme. This 
remembrance awakens in the second theme the 
tender bnging of love. That hope-promising 
first theme auswen again, then the second theme 

iwise returns, and now it seems to ns, as if 
love and hope had iawardlj joined hands as if 
o reconquer their soft sway over the tormented 
spirit. He bleeding heart seems healed and 
I be manning itself to courageous aspiration. 
But ^th the beginning of the Fourth Movement 
the sont falls hack again into that joyless night, 
until the instruments give out a simple song theme, 
which swells op to a mighty climax, and finally 

itao's voice, after the instruments have been 
again hurled back into the conflict, sings : 

" Ye friends, not these (ones ! But let us attune 
% sweeter and more joyful stiaiu." 

And now light shines amid the chaos. A 
chorus of human voices chants the lofty song of 

f : "Joy, bright spark of Deity," &c. Then 
in the high enthusiasm of joy bursts forth the 
utterance of unintnat love of Man : " Embrace, 
ye millions.' Tbb is the pureit Joy, the higktit. 
Now leaps from tbe breast anew the about of Joy I 
Joy ! Jubilant, in this fulness of emotion, we clasp 
tlte whole world to our breast I 

Such is the idea of the Ninth Symphony. 
Considered from this side, as the representation of 
this idea, it is perhaps Uie sublimcst work of Art 
of all times. On the other hand il makes an 
epoch in the history of Musii!, by the fuel that in 
it the Word of the poet is married to pure instru- 
mental Muse. Bui this iutroducllon at the word 

X to be regarded as an exceptional extnva>- 

sa, as an arbitrary whim of Beethoven ; forthe 
word straggles out as a necessary result frton pure 
tone, is the or,ranic ofispring of the tone. Beet- 
hoven, who in his symphonies shows a striving 
after more and mora distinct individual expres- 

, who in every one of these works presents 
an actual poetic subject-matter, and who there- 
fore is before all the true lone-poet, arrives in the 
ninth symphony at a point, where mere tones no 
longer suffice for what he wants to say; hence 

nnst cbQ in the Word as a more definite ex- 
pression d* his thought 

Beethoven, the meet absolute musician, arrives 
It the verge and limit of pure instrumental 
mumc; he removes the boundary. Hence with 
the Ninth Symphony, viewed in the light of 
prineipUi, the last symphony was written, and at 



the same time the actual organic marriage of 
Mutie Kith the Art of Poetry prepared. And 
from this pcunt of view must the progressive 
develtqiment of music since Beethoven be re- 



Whitmntide Hnsic on the Bluno. 

CilORLET, of the London Athtnaum, true to 
his old love of Glermany and German munc, has 
been over to the DiiBseldorf Festival, and written 
to his paper the following vivid description and 
criticism thereof We must allow (or his strong 
English prejudices in what he says of Schu- 
mann's " Paradise and the Peri", — a work by 
the way which MaNDKLSeOHS, the Englishmusic- 
lovera' oracle, was the first to introduce to the 
musical world in Germany. On the other hand 
Cboriey seems to hare "eonc]uered his preju- 
dices" with regard to Jesnt Lino Gold- 
BCSMIDT, whom he fonnerly liked not loo well ; 
his very exalted estimation of her singing now, 
therefore, is a fact of some ugnificance, and goes 
far to offset the thousand and one newspaper re- 
ports about the decline of the vocal powers of the 
world's truest and greatest Queen of Song. 

The thirty-third annual music-meeting held 
during Wbil-week at one or other of the towns 
on the Lower Rhine — one of the most important 
(tatheringa of its' class in Germany — took place 
this 3'ear, as the readers of the Atltentrum hiv% 
been duly apprized, at Oiiaseldorf, under condi- 
tions of more tban ordinary interest It is uni- 
versally owned to be the most brilliant Festival 
which has taken place sinire that great niualcal 
summer of 1816, wbicb included the Afiuit-Fest 
at Aix-la- Chapel le, — the Jesuit Festival at Li^ge, 
for which Mendelssohn's " Lauda Sion" was writ- 
-tbe assemblage of upwards of three thous- 






d part-singers at Cologne, — and the production 
" Elijah "^ at Birmingham. It seems only yes- 
terday sint^e we weM partaking of ihe^e excite- 
ments and pleasures: yet what a whirlwind of 
change and destruction has passed over Art in 
Germany during that interval of thrice three 

SarsI Tbis DUsseldorf Festival would have 
en well worth a visit, whether it be regarded 
as illustrating tbe amount of what has been lost, 
and what is retained, in tbe Lower Rhine-land ; 
or conudered merely as testing tbe present state 
of that strange thing, German opinion. Apart 
from all philosophies and comparisons, however, 
it has been a noticeable meeting. 

Our English privilege of beginning eveiy mat- 
ter in dcbale with a prelude concerning the 
weather does not coqie in amiss Ibis Whitsuntide 
—since the sudden outburst of summer in all its 
glory, after so long-drawn and dark a winter, has 
given the whole district the festive aspect of a 
garden freshly decked and garlanded for some 
joyous purpose. Never were seen herbage of 
such an intense and tender green — such floods of 
golden flowers on the Gelds — never such piles 
and coronals of blossoms on everv fruit-tree (ma- 
king a delicious harmony with the red-tiled roofs 
of the homesteads, and the quaint towers of tbe 
old churches) — as those we swept past while 
taking the line from Aix-la-Chapelle to Ober-Cas- 
sel. Tills holiday clothing, too, was at its brightest 
in and about Diisseldorf. JEvery one knows 
the charming gardens which belong to that town, 
and it was fortunate that tbe lilacs and the chest- 
nut bloom should have "kept back" till Whitsun- 
tide. The hall where the musical perfc 



ting which belonos to (Germany — was pitched in 
a aarden, and betwixt fit and fit ot the long 
and laborious rehearsals, and part and part of the 
concerts, it was pretty to see the cheerful and 
cordial audience streaming out under the cover- 
ing of those lovely fresh leaves ; and pleasant to 
know that one could loiter without among objects 
" refreshing Co veary spirits, yet still hardly lose 
Goldschmidt's singing voice, 



"resbing to Tea 
«of Msdomo 



and hardly a piano of the most elaborate chorus. 
Thera is much, after all, in scenery, — as the res- 
pective impreseions produced by sacred music, 
when it is heard in a cathedral and in a town 
hall, will prove to the least imaginative ; and it 
must be allowed that a garden in the Lower 
Rhine-land (due festival weather granted) puts 
heart and mind into better tune for music than 
tbe streets of our provincial towns, streaming 
with their factory population. 

The material for such a meeting — orchestra 
and chorus numbering eight hundred, and twenty- 
six executants — has been, on the whole, excellent. 
The voices, particularly the female ones, have 
'been more tunable than those which are some- 
limes to be heard in Germany on like occasions. 
The stringed Quartet in the orchestra has been 
admirable, animated to no ordinary point by that 
kii>g of orchestral violinists, Herr David. The 
wind instruments were lea satisfaclorj'. All were 
tested to the utmost in some of the works selected 
for performance. All stood the test capitally. 
The fi rst evenine's concert was made up of a Sym- 
phony by Herr Hiller, the conductor of tbe Fes- 
tival, with Che motto, " E» must doch Friiiling 
werden"~i>n the whole, perhaps, the best work 
of its composer, and the l>iest German Symphony 
of a later date than Mendelseohn's. The ideas in 
three of the movements ara good and well con- 
trasted, the structure is exceHent (some lenglhi- 
ness foi^ven.) and there ara many charming de- 
tail), which fill up the outline without obtrusiva- 
ness. It was noticeable that tbe Andante, which 
is the most vague and tormented of tbe four 
movements, seemed to be most relished, especially 
among the young professors and practitioners who 
thronged to the rehearsal. Af\er the Symphony, 
Haydn's " Creation" was performed exceHently. 
Somehow they make more of this work in Ger- 
many, and less of Handel's Oratorios, than we 
do in England ; and (sad to say,) in spite of tbe 
sareastic pity of the " men of the future," old 
Haydn's picture music was rapturously received, 
— in part, because, after all, it u muuc, and not 
mystical noise, — in part, owing to the wondrons 
singingof Madame Goldschmidt. Wondrousthis 
was, and of a perfcction which I do not think she 
ever raacfaed in England. If her voice solTerad 
from her American tour, it has entirely recovered 
its brilliancy and lustre, — and the style seems to 
have gained (as must be the cose with every true 
artist) in warmth and dignity. Praise, too, is 
well deserved by the tenor, Herr Schneider of 
Leipzig, who was mentioned in the Atkenizum 
three years ago as a tenor of promise, and wbo 
possesses what so many German tenors want — 
charm aiid suavity of lone, without any bad habit* 
of delivery. After ihe tasteless bawling one » 
used to hear, which " sets up" for heartiness and 
energy, unaSected refinement, in but a modest 
quantity, is a welcome rarity. Herr Schneider 
ought to make a good career, if he remains unvis- 
iteu by the smbition which killed the frog in the 
fable, and which has destroyed so many a singer. 

" So far, so good." The second concert, which 
contuned the "peculiarity" of this Whitsuntide 
Feslival, was Full of matter rorstrangecomparison 
—if not for sad thought. The pn^ramme consis- 
ted of Mendelssohn's ' Meerestille' Overture, Dr. 
Schumann's Cantata, ' Paradise and Ihe Peri,' and 
Beethoven's C minor Symphony. To those who 
think as we do in England, and who ara not used 
first to set up idols and then to pull them down, 
the juxtaposition of the two first-named composi- 
dons suggested the abyss into which German taste 
has mode haste to plunge since Mendelssohn's 
death, by accepting Dr. Schumann as his successor 
and (say the " men of the period") his superior. 
Never before Sid I feel so strongly how great was 
one composer — bow very small the other ; never 
did I seem so intimately to touch, taste and handle 
the bitter and faded fruit* which spring from dis- 
order sown by a rebellious spirit that asserts pro- 
gress and destruction to be one. There wera good 
reasons, it is true, why this Cantata should be 
elected. Dr. Schumann having been long a resi- 
dent at Diisseldoif, there are reason* why bis 
works should not be sought out with censure loo 
well known to all kindly and considerate 
here to call for recapitulation : — but if Art 



Uigitzed by ViV^^^^Vlv^ 



'3' 



BOSTON, JUNE 30, 1855. 



99 



exist. Truth in Art mart be rindica- 
ted, — and the CrDthmuBt be told, that to select aneh 
a work on the occMion of a preftt German festival 
ia 10 own to Europe that German}- has no more 
grest men, and tbat any one who pretends lo their 
" purple and f^ld" will find subjects (whether 
igrcophant or sincere, who shall determine ?) wil- 
ling; to awear that he is f;re«ter than any Oreatnea 
win has preceded him 1 

Yean airo a brief anal^iis of this Eastern Can- 
tala was oSered in jour journal ; when its mono- 
toay and triviality were pointed out, and the 
pompous nothingness which a roan poor in ideas 
could araome, in the hopes of appearing deep, 
simple, and sentimental. On hearing the composi- 
tion capitall}' executed fand the principal part 
fousht for by Madame Goldscbmidt with a vRliancy 
ana power which did her honor) — the meagrenesa 
— the absence of true expression— the want of 
artiatlc simplicity in ((rasping the eubject and dis- 
tributing its component parts — made themselves 
more felt, even, than on perusal. — " It is much 
more amusing" (said one capable to judge) upon 
the pianoforte than here," — and piteous was it to 
tbink of the time and the good-will which had been 
wasted in dragging through a work which did not 
really please (ea was evident from the tepid ap- 

EtauM bestowed on it), and which cannot last, un- 
>ss ennui ia to be mistaken for Ihoocht, — thread- 
bare phrase for the niteranceof emotion, and want 
of color for ideality in description. The final 
bmcura of the Pen, — fierce and uncouth enoogb 
to padlock' Heaven's gate' against such asbriekins 
and pedantic perron forever and ever — the frivol- 
oas aance of toe Bayadera round about " Allah's 
throne," (like one of M. Adolphe Adam's t^o 
opera tunes worked canon-wiae) — the dismal 
■wearineai of the acene of the Pestilence— and the 
irrationst manner in which the singers have to pass 
from narration to personation, and vice vertS, — 
sounded ten times more fierce, frivoloas, dismal, 
and irrational, when ibey were beard, than when 
they were read.' And yet the amateur, — who is 
rococo enough lo demand only melody, only vari- 
ety, only propriety, only interest, — is told by 
" young Germany" that this Cantata ia a work 
written before its composer had wholly shaken off 
the trammels, — in facC '* qifite i^d inuaii-," as com-. 
pared with the munc of the hour and the music 
of to-morrow. — There is no pleaanre in laying 
these things— lu there i* no comfort in controversy 
or dignity in disagreement ; — but even the stran- 
ger's amallest wonl may help, — if it only induces 
one student to pause and consider what made hia 
forefathers great;— and Europe owes too much 
to the giants (rf Germany, to see one of music's 
provinces lianded over to dwarfs and deformed 
rulers, without a pretty rtrong protoccd-work of 

The ArlUl's Concert, held on the thinl evening, 
ofiered anion): its noticeable features, new to a Lon- 
doner, Herr Gade's Overture, ' Im Hochland,' and 
a clever but incoherent violin Concerto, by Herr 
Rietz, who like Dr. Schumann, belonged to Diissel- 
dorf "once upon a time." This was admirably 

S'ren by Herr David. JJastly, the ovations to 
adame Goldscbmidt (who has sung, I believe, 
gratuitously) wera such oa lo clium mention in the 
record of the meeting. At^er her first aria, Deh 
rieni, from ' Figaro,' a positive /eu detoie of bou- 

Siets waa discharged against ht-r bj* the Ladies of 
e chorus, with the customary flonnah of trampets 
used in German orchestras for the greeting of 
favorite artists. After her second aria (a cavatiiia 
from Beatrice di rentfo, which, indeed, she execu- 
ted ma&nificently), a roung lady pressed forward 
from the ranks of the amateur choristers, and 
crowned her with a wreath ; and while Madame 
Goldscbmidt shrank away from this, the ceiling 
opened, and a rain of flowers fell around her. 
Afler her third aria came another shower of small 
ribbons, imprinted with the legend that Heaven had 
sent an an^el to aing at the Thirty-third Lower- 
Rhine Festival. We must not measure our cousin- 
Germans' fancy for honorinE the honorable by our 
own colder modes of procedure ; but such ecstatic 
compliments could but be painfully oppressive, to 
tbeir victim : — and so, indeed, ahe appeared to feel 
them. How could it be forgotten by sonie of 
Ihow who saw the rapture and beard tho riot, — 



^at after having alao seen Mendelssohn crowned 
at Brunswick, in years gone by, — and on another 
summer night the whole city of Cologne turned 

out to honor bint with a torcb-proceasion, and to 

E resent him with the freedom of the town — one 
as live^. to hear him spoken of by many as a 
well-trained musician. — ludustrious enough, but 
without poetry or philosophy in his compositions. 
" These violent deiifthla have violent ends"; and 
those who have seen the fickleness once, thence- 
forward mistrust the fervor. But the shower of 
roaet and ribbons suggested something pleasanter 
than the thought of past triumphs followed by con- 
tempts. Waa it not alao an evidence that the 
lovely art of singing, as a branch of musical exe- 
cution, and inaomesort a partaker of the Creator's 
inspirations, can still hold its thousands thralled I 

Such have been a few of the features of thia 
animated and succetuful muMC-meeting on the 
Rhine. On the opportunities of meeting old 
friends and making new ones, and of hearing all 
that ia lo be— as well as much that should not be- 
in German music which the Congress hail afforded, 
it is needless to dwfll. — The next rear's Whitsun- 
tide music on the Rhine will beheld, it is purposed, 
at Cologne. 



BoHdni in Paris. 

A correspondent of the Mnnilevr writes; — 
" Rossini has arrived in Paris. This is the ban- 
piest and most important mu^'alevent of the weelc. 
To this excellent piece of news I can add another, 
which is still belter and equally certain — Ibere is 
every hope that the health of the sovercigD muMfro 
will be completely restored. 

" Che aarni g\\ allri come squils tdIs." 

" AH that science can do to preserve such a 
valued life for many long days will of course be 



tinguiahed members of the faculty in Paris. If all 
who owe totheimmortalautborof' William Tell,' 
' Moses,' and the ■ Barber,' hours of ineffable beati- 
tude, of exquisite enjoyment, were to leave their 
names at Roinini's door, we should see an immense 
procession from sunrise lo sunset for days without 
number. Many private- fnenda of llie master, 
however desirous they were lo contemplate those 
fine and intelligent features which age and suffer- 
ing have changed but very tittle, contented them- 
sefves with leaving their cards and ^ood wishes at 
the threshold of his august abode, and abstained 
from feelings of delicacy from any attempt to dis- 
turb the privacy of the first days of bis installa- 
tion in Paris. Others, either less timid or more 
intimate, could not renst the denre to press to their 
hearts the old friend so long absent, and who had 
been represented by correspondence as much more 
serionsly ill than he really was. Those wlio suc- 
ceeded in penetrating the sanctuary were delighted 
when they aaw the great man who had been 
reported to be so broken down. Although he bos 
greatly suffered in various ways, they found his 
mind aa sparkling, his temper as good, and hia con- 
questions about his health, he complains of a little 
weakness and au absolute want of sleep. His 
malady seems to be purely nervous. But, notwith- 
standing his illness, he has resumed his favorite 
Eromenades upon the Boulevarda, where he may 
e seen strolling as of old, with his hands in the 
pocket) of bia long frock coat, while he curiously 
observes the many transformations that have taken 
place during his absence. When any one talks 
to him of music and the recent success of his 
Mathilile de Skabran, he looks at his questioner 
whh an air of astonishnient so well oseuaied a* lo 
appear nai/. and, bowing his head replies with 
almost imperceptible irony, 'People are really loo 
good to trouble themselves about mv old things. 
All that munc is rococo. It has qnite gone by.' 
The otberdayscsne one was vaunting the wonders 
of magnetism, and proposed that he should consult 
a somnambulist 'Ah,' said Rossini gaily, 'she 
would ask for a lock of my hair; I have but five 
hairs left, and each of them has a nunc. I am 
bald enough as it is.' Be came to Pans by short 
journeys. Rossini likes to see the country be 
passe* through ; to breathe the air at leisure, to 



sleep at night, and, in short, to take the longest 
way about, like the good La Fontaine. Aa to 
those modem means of communication which shoot 
men and luggage, as from a cannon's mouth, a 
hundred leagues before a man has time to enquire 
the way, without having either that fear or dislike 
of it which has been pretended, be does not see 
why one who has no occasion to hurry should adopt 
thia mode of travelling. He says capital things 
about the inconveniences as well aa the advantages 
of progress. During this lotig journey, which took 
more lime than Torquato "TasBO and Benvenuto 
Cellini would have done to perform the same 
distance sword in hand, Madame Rosaioi watched 
over her partner with a pious and maternal 

'■ It is said that the management of tbe opera will 
celebrate Rossini's return to Paris with all tbe 
/clot due from a principal theatre supported by a 
state aubvention. There ia a talk of bringing out 
MoUe on a grand scale ; Wiiliam TeU and Couni 
Ori/ will also, we believe, be played. This homage 
to Rossini will be at once an honor to the Opera, 
a gn>at Joy for tbe friends of Art, and a solenin 
reparation for the inconceivable neglect of tbe 
great works of the master of masters, of which we 
were at one time guilty. 



Fkib th* New Tent Tribmia. 

The Orand FioMo of the Gehnu 
Soeifltiei. 
Tbe fourth day of the ^ntt Festival began 
cloudy, but at nine o'clock, just at the time of the 
meeting(rf tbe great bulk of tho ungers at Wash- 
ington Hall, the heavy clouds dispersed and a 
fine sunny day favor^ the grand excursion. — 
Tbe Singing Societies, Turn era, and military 
Companies formed in proceaaon and marched 
through the Bowery. Chatbam-street and Broad- 
way to the foot of Canal-etreeL T^e procsstion 
was an imposing spectacle on account of its num- 
bers, the brilliancy of the emblems and the entire 
arrangement of their proceeding. In front 
marched the Carabine Rangers, Capt. Bechtel, 
and tbe New York Riflemen, Company 1, Capt 
Johnson ; then came a body of Turners in rank 
and file, then tbe vocal Societies with tbdr gay 
banners and standards; another body of Turners, 
the New York Hussan, Copt. Eeiser, and the 
Washington Artillery, Capt. Schnorr, bringing up 
the rear, in this way taking the Singing Societies 
in their midst. The streets through which they 
paMed were thronged b^ people, and thousands 
of men, women and children viMted Elm Park 
during the day. There is no exaggeration in 
estimating the vast multitude at forty thousand, 
who, from 8 o'clock until evening flowed to the 
beautiful spot selected for the great Festival. 
The grove was thronged. The prtices«on num- 
bered about three thouaand peraons, and proceed- 
ed in several steamers to Stryk^r*) Bay and ihence 
to Elm Park. 

In the Parii tho various scenee of this " Watd- 
feat" (Festival in the Woods) were (Nquaat in the 
extreme. They were new and aatonishing to 
many native Americans who were present, who 
never witnessed the assemblage of such an im- 
mense multitude of persons oondnctii^ themselves 
with the most perfect decorum. The occasion 
was full of sweet reminiscenses of the happy days 
of the truly beloved Yalerland. Every society 
and company hod their banners suspended in a 
certain place, and numerous friends gathered 
round them. There were forty or fifty of these 
headquarters. At each the parties enjoyed them- 
selves in singing, in drinking, and in dancing to 
the music of five of tbe finest bands of music, and 
in filling the air with their bnrrahs. Suddenly 
the scene changed, the rattling of drums called 
t<^tber the members of the Tumerbund, and 
ither marched through the thronged multitude 
amid enthusiastic applause. They appeared in 
Jke full vigor of nealth, yaath ana beauty. — 
Crowds gathered hive and there to listen to some 
orator who appealM to the old German love o( 
liberty, and tnerefoie to the love of their new 
Valertand, the headquarters of the future libera- 
tion of the world. Inen the mighty haimany of a 
great cboms swelled through the woods, and n- 



gle 



100 



DWIGHT'S JOURNAL OP MUSIC. 



minded the liatenera of the ronuntic banki of the 
hine and Neckar, with their old castlet, their 
_eiTy vineyaHs and rich citiea. Then followed 
the drinkinjr round (B(indtrinken) from enorm- 
oui BirSxnkeimtn or trinkhoroB, or giant diver 
cupa, of which wo saw one specimen holding 
about four bottles of wine, belonfiiag to tbe T«u- 
tonia Goungvereia of New York, with the da- 

Wcr Dicht liebt Tub, Wein and Gesang, 
Der bKlbt ein Narr geln Leb«n luig. 
(Who does not love nina, wife nod SODS, 
Will bi 1 rool bia tirs-Iime tonft) 

and embellished bj tha haut relief figares of lore, 
liberty aad son)>. 

Here met old friends, brought together by this 
FmUvbI frooi the most distant parts of their new 
Vaterlasd, and remembering old times both here 
id 00 the orher side of the Atlantic, happy and 
id days, revolution, barricades, prison and oanish- 
ent. Then in another place the strong old Ger- 
man choral music or fugue could be henrd, of 
whicih the old Lutheran warrior song of the thirty 
years' war; '• Eine feile Burg Ut un*er Goti"Ca 
fait stronghold in our Lord,) was the first and 
fundamental »tecimen. Those who have wit- 
nessed these Fesrivals in Germany must confess 
that (his German national characteristic is gaioiog 
a hold upon the new world, and that German song 
will by and by be a characteristic not only of ihe 
German population but of tha whole people of the 
United States. 

luld be impossible to give a full and true 
picture of the whole affair with all its freedom 
connected with the utmost order and harmony. 
There was the vast crowded multitude and ringla 
couples and parties in the more remote places of 
(hu larjie Park. Here tbe loud euhmng of a 
thousand voices, there tbe still happiness of family 
circles with wife and children and tbe stiller tones 
of tender loren. And above all these manifold 
B were viable the mind shadows of gentle 
trees and the rosy clouds of the sinking day. 
Certainly the German people found bera a nome, 
an Ileimalh .' Tliis grand Festival was certainly 
the moat brilliant of all Festivals ofthis kind held 
in this country. 

At about 4 o'clock several speeches were made 
from the steps of tbe Villa of the Park, but the 
crowd prevented ona understanding anything that 
was said. It was said that the Mavor made a 
speech and expressed himself much pleased with 
toe order and good behavior of his tienn&a 
fellow-cititens, to whose service* he had ordered 
1 hundn^l and fifty policemen as a 
guard against native aod adopted rowdies and 

' ' 6 o'clock, cannon-shots and the roll of Ihe 
^.^..^ aiiDOunucd the hour of a^in forming in 
procession to proceed homeward. Soon they 
marched in the same onlcr as they came, ibrougb 
the alleys of the Park down to Strj'ker's Bay, ao- 
companied by the Cbouaands of their friends. 
Several overloaded steamers were required to 
transfer them to the City. 

i memory of this Festival will undoubtedly 
linger a long time in the minds of all who wit- 
nessed its proceedings, giving the love of the 
vigor among the Germans. 



liberal arts a n 



Bnsiitat ^oin\ts}foyiittt^e. 



Vtoox NISW TOBE. 
—In regard to the quantity of masic 
sfTonled us Guihamiies at present there is snrcly no 
r complaint. Tbe Academy opened its 
dooit last week for a few more nighis with Mroe. 
Laoranoe, Messrs. Hoiiei.i.i and Mirate. These 
I have sang in A'onaa and I Purilani, end 
to have given Don Giovanni last evening, had 
)t the indisposition of Morelll and Mme. F*8B*ai,'* ^[enerally remBiobraiicos of others, were heard from 



a d^utantain America, compelled (he postponement 
of UotABT to Wednesday evering. It is bte in 
season, and amid the musical snrfeit of the hour 
they have failed to draw as numerous audiences at 
they deserved. I hope Dm Giimaai will better re- 



ward their labors, and it it rumored that the man- 
Bgemootbave noijet abandoned the ideaof getting 
out La EaguauOt., that exhautler of UiiEBBBSB'a 

originalily. 

The German troupe,— mainly the tamo which yon 
heard laDerPryidtiiU at Niblo's some weeks since,— 
have taken possession of Wullack'a cozy little thea- 
tre ; but in spite of the lealous alTbns and rtatiy 
good leading of their director, Hr. Robebt 8tob- 
PEL (a broiher-in-taw of William Vixcbst Wal- 
LAOB, and recently of the Princess' Theatre, Lon- 
donj Die Ra/imenMocAler has twice attracted but a 
few liilenen. To-nigbt we were promised the Cmr 
tfnJ ZinUKBTMUuif but for some unannounced reason 
a German vaudeville basbe,!Q snbstitnlcd. Rehear- 
sals of Piddio have commenced with Hlle. Lbb- 
KANN, Mme. D'Orkt having wisely concloded lo 
confine herself to rSles depending less upon artistic 
singing. She is a very acceptable Msrie, the vivao- 
d'An, but Fidelio should have another represenca- 

But the musical eventof the week is the gathering 
of the German Saeugerbund, Maonnerchor, Lieder- 
tafel, Saengeminda, Orpheus, Liederkrani, etc., 
(there are as many names at societies for otie and 
the same thing) to their general Saenger-Fett. On 
Saturday they poured in upon ns, and visited our 
main streets with their torchlight procession. On 
Sunday they gathered at their head-quarterB, tbe 
Washington Ilotel, and there marshalled under the 
Atnericao stars and stripes and the Gennan revolu- 
tionary Iri-color, they rehearsed, exchanged greet- 
ings and consumed a sufficient number of barrets of 
Lager-bier, to reconcile the brewers id the Haine 
Law for one month at least. Yesterday, with flying 
banners and military, (foi detailed accounts of which 
tee tbe dailies) they took possession of the Metropol- 
itan theatra, and the " OeneralprDbe" gave promise 
of an acceptable evening's entertainment. Carl 
BsBOWANir had been selected as " Fest -Director," 
and this appointment will satisfy yon that all that a 
condnclor can do was done. For the last few weeks 
this most modest and able leader has been most 
indefatigable in his preparations, and numerous re- 
heataals of the large orchestra and the New York 
societies have not been without their effect The 
Festival-Concert was on Monday evening. 

Carl Bergmann is amhitioua lo bring before an 
American pablic, works to which they have oat 
hitherto listened and which represent the modern 
phase of music abroad. Waqbbb'b overture to 
Caia di Rieaxi, and the Reception March from Lokai- 
grin were therefore the iastrnmental pieces selected. 
The Aienzt overture is one of the musical reformer's 
earlier eflTortt, produced at a time when Meyerbeer 
was his attraction, and of course can be considered 
in no secse as " music of the future." Hy position 
nnfoctanately was directly in front of the brass in- 
strameutt, consisting of four boms, four trumpets, 
four trombones and two ophicleides, supported by an 
immense dram ; and these instrnments in a Wagner 
overture are not left to rust, you well know. Of 
course I conid not judge of the Riena or tbe Lahm- 
grin; bat I heard enongh during the occasional tnt- 
pensions of brats, to convince me that the lUam 
overture contains some choice bits of melody, — 
actnally "absolute" melody. 
The first vocal piece of tbe concert was a " Lieder- 
. ipiel," or species of vocal Cantata, hy Jclios Otio, 
entitled /m WMe, consisting of soli and choruses. 
•This was a very pretentions composition, written 
yith orchetlral introdactions, interludes, end descrip- 
Some pretty common-place bits, 



. effective of which 
nade for tenor solo and chorus ; but the whole com- 
position was meaningless and foolish; the several 
numbers being coonected together with ordiestnl 
pastagei, which reminded me strongly of the ' 



Indet of some of onr country organists, having no- 
thing more to do with the pieces themselves dian 
the interludes referred to have. However, 7« Walde 
pleased the audience much better than the Chorus of 
the Priests from Moiart's " Magic Flute," excellently 
given hiter in tbe evening. Among tha other selec- 
tions of Iht evening were Winltrlitd chonu, very 
trivially composed by V. E. Brckeb, and lifelestty 
sung by the Baltimore societies ; the " World's 
Prayer" chonu, by Zobllkes, very effecUvely per- 
formed by the Philadelphia socieiies ; Ki;eckbm's 
Warrior's Song before battle," the bcM singing of 
the evcninn ; for Mr. Bergmann had carefully trained 
the Kew York Societies ; FatHCHEa'a Xn^ffenctae 
chorus, which closed the pn^ramme, and which 1 did 
not hear ; and the finala of the second act of WiUioM 
TtIL This was by far the most effective perform- 
ance of tbe evening, notwithstanding the weakness 
of the accompanying terzett. The full hursts of the 
large chorus, now instantly mounting from piatiit- 
iin» to fortiuimo ijbrzajido, were magnificent indeed. 
How liule do our open managers appreciate tbe 
eflecu that may be produced by a powerful and effi- 
cient chorus 1 

The next festival is appointed for Philadelphia, in 
18S7. To-day Elm Park IBSd St.) is ftlivc with the 
Turners' Pic-nic, which closes the «x 
of tlie week, and at which it is safe to predict 
siderabla quantity of lager-bier will find a 
tbelie receptacle. 



Vrom WABHINOTON, I>. C 
June 23. — You see by the enclosed circular that 
we have in embryo at Washington a Musical Journal 
to be called tbe National Mvatldg Maiieal Magaxiat. 
I have seen the proof of the fini number. It will be 
chiefly a pnbiication of lighter music — wal ties, opera 
aits, etc. — in a suitable size for binding. The reading 
matter will be secondary. It has as vignette a beau- 
tiful engraving of the National Monument that 1$ lo 
be, if the E. N,s who now have the matter in hand 
don't sorronod it iritb ■ plat/om and leave it so. 

Last night ws had the' &tst really Olatdc concert 
which bat occurred in tha city since I have been 
here. It was given hy Mile. De Bote, a resident I 
artist of admirable qualities, hut never tnfflciently 
known, she being a student of high Art, and Wash- 
ington having but little wcaltncss tliatn'ay. But sbe 
was induircd by those who knew her value to adver- 
tise a concert, whereat she was assisted by artisU 
hero and in Baltimore. It came off last night, and 
was so successful, that I trust it will be followed hy 
a series of subscription concerts neit hi\, which 
would be something new for us ! 

In the C minor Trio of Beethoven, and the Con- 
certo in G minor of Mendi:lBeohn, Mile. De Boye 
gave evidence of such a real entrance into the spirit 
of tbe masters as we are heie strangers to. AHBEitD'a 
'cello is eKqnisite. He gave us flnely for tolos Schu- 
bert's Bommage i BertiOTOt, Finale of Zvcia, and 
" Souods of Home." I could hut reSect when the 
first of these was announced at a " Theme from 
Beetlioveo," how remarkable a compliment it it to 
Schubert, that his homage to Beethoven shoald have 
so inspired him, that this entirely original piece 
should have so widely passed for the composition of 
the great master, and been published as such in Lon- 
don and America. You may remember that when 
Schubert's earlier compositions were attracting no- 
tice, and especially his songs : Dit BargmMJl, Oit 
Junge Nonna, Oaai4at'i GaSnge, Die Grenu der JU™- 
sc/ieil, Beethoven was deeply interested in them, and 
exclaimed, " Wa/irlich in dem Sdu&ert vohnt ein 
geiUie/ier Fanke," (Truly in this Schubert burns agod- 
UkeSrel) 

I have said that this was the only really Classic 
concert we have had. I do not forget HsLLEa'a 
entertainment, fhalf music, half necromancy,) of 
which i wrote yon. He did give ns the Sonata 



Uigitzed by ViV^^^^Vlv,. 



'3' 



BOSTON, JUNE 30, 1855. 



101 



Pathrtiqm, and Mme ** SoDgi withoat Wordi." — 
Bnt when I think of hi* oonrart I am remiiidiHil of 
tbe ttatemnii pobllBhed with bccomlog gniitj bj 
the Bon. Robwt Bojle, nunclj : that a drnm made 
of wolTt tkin would break another made of ibecp'i 
I ; *ad that • harp itmnK with fon-gat ttrings 
woold make heiu fl; away. Heller bM "lecond 
dgbt" eDoash to explain (beio to ns, and also whf 
(U oranp-tree bloBsaniag and bcoriag frail in two 
atnqtea pala to Si^t a flock of Lirdtr ohitt Worle; 
and a " Magic dram," on which invigihle apiriti beat, 
will break the effect of Ae PatAttigite on (he dram 
of the ear. 

After living here eomewhat longer one gets to find 
a good deal of worth; mniic in Washingioa. Tbere 
are a number of good artiita. The defect is ■ lick 
of manCBl enthniiosm, and an i^omnce of ihe great 

impoaera. There wu last night an eameit atlen- 

m to the entire concert, and an arident iolcrcit in 
tha fineit paaugea. I rcmeniber a veru of John 
Sterling'! which commencci 

■'MeUoTalBtent"ever; Ac C. 



Tiom OHICAQO, HI. 

Jdhb si — We have aetaall; had nolhinu in the 
WB7 of Concert!, except one of Stbaeosch's vtry 
pUaiing and oBiiuin; Or»nd Uuiical Festirala, gotten 
np in the luual Jtfle, rii: Si;{nora Pasodi, prima 
donna auolata, latelj retnmed from her ptofeuional 
ir thrangh Earope ; Madame Patti Stxaeosoh, 
and lome tenor or baritone, engaged at tw<nt;-flTe 
dallan a week, to giTe varict;, and the neceuary 

St to the prime donne, beiidei ensAining the male 
parts in thoie sweet and entirelj new dnettoa, with 
Maurice Sirakoech aa maiical director and accom- 
paniii to the rocal perftmnancc. Strakotch u an 
excellent manager, and daring hia lojonRi of scTen 
years in America bu eoSciently studied the t«*te of 
our Weitern popataiion to know that hts mneic will 
take, and that he gains more bj pursuing hit coarse 
than bj trj'ing to cultivate and elevate the standard 
of miuie', he gains more Miinqr, I men, and I am 
Yer; mach misuken if that is not bis prime object 
Oh, beanlirul I how sweet I charmiogl are expres- 
sions I hear whispered around me ; and ligns of as- 
tonishment eihibiied b; open mouths, charming 
miJes, and snndrj gesticulations, have laSdenlly 
convinced me that it would be dsjigerotis openlj to 
express anj dissatisfaction. Strakoieh performs 
finelj on the piano; his accompaniments are really 
ft great support to the singing members, — nod leav- 
ing his pecuniary aims out of the question, which 
form the main basis of his courae, it is almost a pity 
that be ihonld not try to please his audiences with 
Chopin, Mendelssohn, Schumann, Beethoven, and 
compoiilions of other auihon, instead of his own 
calculated accompanimenla of '■ Ksly Darling," 
"Old Folks," " Yankee Doodle," and others, while 
I think him able to perform such compositions as 
would raise him in the opinion of all admirers of 

But be did make mbney; both e*«blne> Ihe spa- 
cious hall was crowded at one dollar a head. He 
. here for some parts in Wisconsin, will visit St. 
Looia and return ultimately to New YorL 

I baa often been remsrlied by artists that the 
isteni eooniry does not offer enfflcient encountge- 
ment to visit it, while all depends on knowled^'c and 
nanogemcnt ; and slthongh many will rather abin- 
don the idea of paying us a vJHit than descending 
o these sundry humbugs, I reqneet their considcra- 
ion and compaseion, assuring them that with our 
ast notions, of improvements we shall soon be able 
o disiingnish good from middling, — and while at 
pt«)enl,all belonging under the category of the latter 
■e pretty sura of making money by the experimmt, 
the flnt data will always meet with a hearty wel- 
le Aom a goodly nnmber. 



The "Backus Minsirels" are iocfanj w considera- 
bly, having taken posHession of our only good music 
halt for a length of time, to keep awsy anything less 
mediocre. 

Since Bbboisahm haa left us, there have been no 
pnlitic peifomanceg of onr Philharmonic Society, 
and we mnit rely altogether on the kindness of those 
who favor us with a chance visit ; and not nntll inch 
an important event will I again task your patienco. 



ftustqal Q[hit-(|Iiitt. 



ClNDBBKLLA hu Stepped into real life, it scema. 
Tha Salut PnHi^Ke, of Lyons, guaranties the truth of 
the fallowing ttorj : — ■" About two months ago, H. 

de Rhet , a gentleman of large property in the 

neighborhood of this city, on leaving the theatre after 
a performance of the ' Etoile dn Hard,' picked np a 
white satin shoe. On examining it, he found that it 
mnsi have been made for a foot remarkably small 
and elegant. He asked ibe box-koepers if any one 
had announced the loss of a shoe, but was answered 
in the negative. He took it home with him. The 
more he saw it the mora he admired it; and he 
jumped to the conclusion that the owner, having so 
smalt a foot, was, in all probability, extremely beauti- 
ful He showed the shoe to all his friends and ac- 
qnaiutances, and caused them to make inqulrie* after 
the owner; but he could gain no clue to her. At hist 
it snuck him that, as the person who had lost It could 
not bare walked home, be might gain some informa- 
tion from Ibe cab-drivers. After eight days spent in 
inquiry he found a driver who remembered having 
driven a young woman who had lost her shoe in the 
Rue Thomassin. M. de Rhet — therenpon made in- 
qniriei at every house in that street; and he at length 
discovered a young work-woman who blushingly con- 
fessed that the shoe was hers. Ai he anticipated, he 
found that she was remarkably beautiful, and on 
tnquiiy he learned that her character was vary good. 
He fell in love with her, and in a few days they were 
married." 

Look ont for an improvement in chnrch music — 
for we ara totd that, in view of the want of devo- 
tional feeling among chnrch singers generally, the 
Bishop of Newfoundland has prepsrcd a prayer for 
them, which is used in his cathedral, and in many 
of the churches of his diocese. 

Our mnslc-loTing friends in Philadelphia are at 
length to be congratulated on the prospect of a tioe 
large Opera House. Tba money is wholly or moetly 
subscribed, the director* have contracted for the 
building, and ground was actually broken last week 
at the comer of Broad and Locnst streets for the 
foundation. There are at present nearly two hun- 
dred men at work upon Ihe lot. It is sold that the 
site is better and that the theatre will be larger even 
than the Academy of Music in New York. The 
Fhiladelphiani, we believe, style their* the American 
Academy of Music Buccess to it I Democratic 
prices I down with the star system and with the 
spasmodic specnlations T and instead thereof a per- 
manent lyric insiitniion, tn which justice will be done 
10 composers as well as prime dame atnlule, and 
great worb presented wllh reasonable completeness 
in all, even the most sabordl- 



nata parts 1 

At the same time that the Londoners ara hailing (he 
advent of a new English opera (oF which we copy 
a description elsewhere) Furls is rejoicing in two imw 
operas from its favorites, Aubbb and Halitt. 
The latter has cboscit a wild Indian subject— .A^ao- 
rila is its title—and it has met with great succeu at 
the Theatre Lyriqoe. Aubcr'a was given at Ihe 
Opera Comique, and the flrst performance was hon- 
ored by the attendance of the veteran Rossini, as 



well 81 of the Emperor and Empress Aman 

Jacll hu lately given a concert at Strasboij, In 

company with the violinist, Sivobi Cathb- 

RiNE Hates, the Irish vocalist, gave a concert at 
Singapore, in the East Indies, in March last. In 
extent of territory her artistic career certainly beau 
all other*, she having traversed Europe, America, 

(from ocean to ocean), Australia and India 

Our sweet singer, Mrs. Wkntwobtb, has returned 
from a snceessfnl concert tour in the Eastern prov- 

Has any musician, or any other living lion been 
the subject of so many anecdotes, real or invented, 
as ROBSini • One might fill a hook with them.— 
His rertsltation of Paris jost now is the tigatl for a 
new shower of them. Terribly severe is his reported 
nM concerning Metkrbbib. Bcingaskedif be bad 
heard the Pnphai, he answered : '• Yes, I heaid it 
once in Florence ; but the Italians are not fond of 
flve-hour operas, so ihey abridged it a great deal, and 
very unfortunately they seemed to have left ont all 
the good parts." 

There is a rumor that one of our enterprising 
mansgera proposes to bring over here the buous 
composer and conductor, Richabd Waonbb, who 

is now frightening the Englixhmen For the 

French Opera at New Orieans M. Rousibau Dbla- 
OBAVB, of the Imperial Academy at Faris, has been 
engaged as flrst tenor; he is said to be superior to 
any tenor who has visited New Orleans before ; he b 
still young, of a fine ph/tiqvt, and conots among tbe 
flrst singer* in France. He has a comic talent also. 
For hoMK cAontoate their old favorite, M. Graht, re. 
turns to them from France, in place of M. Bcokml 
M. DiBBiHAT, light tenor, also returns, and H. 

Maeob succeeds M. Mohtclab The German 

MdimereSOre have societies in Texas, wbich met for 
a Festival at Ncw-Braunfcli on the last three days of 
May, at the same time that a similar festival was 
held in Cleveland, Ohio. Besides the Brannfeli 
Union itself, which numbered thirty or forty singer*, 
there were double or single quartets from Columbus, 
Indianola, San Antonio and Aostin, and one rejoio- 
ing in the tender little title of the " Sistardale-Com- 
forl" union. Some of tbem travelled, one hundred 
and fifty miles to attend. 

Master Luca, a young colored pianist, has been 
creating some sensation hy concerts in New Yoi^. 
Some of the paper*, with the usual ready catering to 
popular credulity, call him at once another De Meyer, 
Thalbci^, Jaell, Ac We shoald think so, by the 
title of one of his pieces : " LiBzt's Concerto by 
HBBE"(t) which, acconling tooneof said newspaper 
crilidsms, tmned oat to be upon themes by Bbl- 
LiBt(ll) But we have beard Master Lnca, and think 
him possessed of rather extraordimuy talent, and 
execniion more brilliant and forcible than lostofnL 
What he most seemed to need, (this was a year or 
two since,) was a study of genuine compositions, in- 
stead of anch made-up trumpery as the dx)ve title 
indicates. 

Nbw Thbokt of Nbobo UiKSTBBLaT. — The 

Philadelphia Bidktiti commence* an article upon 
"The force of Caricature " with the following: 

Whoever has taken the Iranble to think aboni onr 
"Ethiopian Melodies,'' must have been stmck with 
the fact, thst, aside from the affeirtalion of dialect, 
there is notbiiig Ethiopian ahoat tbem. The airs ore 
known to he the production of a pure Caocaslsn heaif ■ 
but we refer more particularly to tbe text. Wbol it 
there peculiarly African in the ima^s called to the 
mind by the great majority of these songs f 

It is evident that these "Negro Melodies" are while 
melodies, strictly national songs oF our country and 
people, and ftilly entitled to the designation of 
American psetorals, if any thing irera to he giined 
by nsingsnch pedantic ezpressiun*. They deal in the 
daily life of a thriving people, jost beginning to feel 
suaciently at ease in and satisHed wiui its social ar- 
rangements and relations to eutertain a naacent desire 
to make them the subject of artistic treatment, and 



Uigitzed by V7V^V..fVl.C 



102 



DWIGHT'S JOURNAL OP MUSIC. 



yet loo litllo emerped from lfi« hml Ifibor which wm 
reqnirod lo esubliah nnch • Itntc of comfort and nell 
being, lo enter upon this iirliiilic occnpuion wilh[rTe*t 
forre or fervor, or lo he quiie conviaced that the 
desire is enlirelj legilimiue and proper and not in the 
leuc rid leu loos. 

Whv, ilien, does ibii phase of art appear fn the 
drcBS of ■nc^ raana and extraTngant caricalnrc 1 
Whj do ne choosD to see ourselreH mirrored in the 
foriDB end tares of the blacks instead of inrnmaling 
our own fcelin)^ and wishes in the romii of bright 
ideals ! For the »«ry reason thai we aw not quite 
sure that kg hare a right to malto poetry abont our- 
seivei. Foeirj, as hended down to tii, erects its 
snpemtmctaie on the hasu of their social ronditions ; 
and the po«ii of these melodies doubt their own litle 
to adtnission ioto the sacred order. To avoid, tliere- 
fore, the appearance of entertaining an anwarrantable 
aspiration, they endearor to keep open the possibility 
of a retreat br resorting; to the excuse that the; were 
"only in funl" that they never serioasly thought of 
surh a thing as writing poeliy. "Anybody but a 
grcen-hom can see Ihst I never intended to write 
poetry in eameit; I wouldn't have wriiieD about 
daritJM If 1 had." 



Juiijghi's Jour^nal of ^mc. 



BOBTOir, Jirirs so, isss. 



Mita EUm Heula'i Concert 
The first CkiQcert siace her retum from Ital}', 
of tim youQg lady, whose reatdence in New En- 
gland and especially in Botton from a Tcry early 
age (altltough she was bom in Switzerland) natu- 
rally enlisted tho warm sympathies of this com- 
munity in her artistic studies and career, took 
place OQ l^iesday evetiiug in the Mosic Ilall. 
Ii was a Complimentary' Concert, and the occasion 
was 83 interesting as we all knew it would be. 
ConsideriDg the lateness of the season, and the 
attractioa which the country haa ia these sweet 
nights of June, when to most hacknied concert- 
goeie the songs of turds are the most refreshing 
of all mnsic, the audience was remarkably large, 
and compoeed of the moat intelligent, the most 
agreeable, the kindest company that could well be 
collected. All wi^ed the singer to succeed, and 
although there were a plenty whose judgment 
could not be blinded by their best wishes, all 
found their Irishes realiied. 

The season prevented the atrangement of a 
concert on so large a scale, as we could have 
denred, seeing that the arrival of Niaa IIenslbb 
was just too late to give us a chance of hearing 
her in opera. There was no orchestra, but just a 
simple, quiet concert, with variety enough to 
make it somewhat piquant, with excellent piano- 
forte accompaniments by Sig. Bendelari, excel- 
lent Tocat aid by Mr. Millard, and some of the 
best pieces of the Germania Serenade Band, 
played in their superior style, which was as good 
as music by nine brass instruments could be; for 
really they play admirably, and in such pieces as 
Koanni's overture to L' lldiana in Algiert, the 
Scena from FreyKhlUz, &c., astonished us by their 
cleTemeaa. 

Thi &ir ddmtanU appeared not a little timid 
and anxious in her first appearance, aa was natn- 
Tsl. Her look and manner were as simple, unaf- 
fected, full of maiden delicacy, and earnest, as 
beftN^ she left us. She was enthunsstically wel- 
comed and riveted » sympathetic attention to ber 
every tone and motion. The embamssment 
scarcely left her dating tbe whole of the first 
luece ; — it was the Comt per me ureno from " La 
SonnambuU." Her singing therefore was a little 
colder than we might expect afterwards ; and her 



voice in parts slightly tremulous. But such a 
pure, evenly developed, sympathetic, sweet, re- 
fined soprano it waa a deep pleasure to hear. It 
is by means a great voice, but singularly fine and 
l>eantiful ; not of the Louiha Pvne sort of sweet- 
ness and fineness, but with a richer individu^ 
color to it ; and faultlessly Ime in every note. 
She executed both the plain cantabile and luxu- 
rious embellishments with true mastery of method 
and with such artistic style, as would have done 
credit to some of the most finished Italian prime 
donne. She sustains, swells and diminishes a 
high, silvery note with perfect purity; her trill is 
very fine ; and there is no single trace of any 
kind of bad mannerism anywere perceptible. 
The only deduction, not ascribable to the timidly 
of the moment, was on the score of power — 
power we mean for the grander kind of efforts, 
on the lyric stage, in oratorio, &c., — and yet there 
was power enough to fill with perfect ease that 
vast hall, with each note in her compass, and to 
penetrate and fill every listener. The duet from 
/ Masnadier! was cliarmingly sung by MIeb 
HcNBLEB and Mr. Millard ; their voices were 
sympathetic to each other, and it was a joint suc- 
cess of a truly artistic order. 

In the Second Fart Miss Ilensler seemed Erst 
fully at home and at ease with her audience, and 
Hang as among her friends. The Cavatina from 
" Linda": luce di qvul' an'tma, was perhaps 
her best piece. She sang it with so much finished 
grace, and flexibility, and delicacy, such truth of 
sentiment, that one could not wonder at the ex- 
pression attributed to Bokdogxi, her teacher in 
Paris, who patted the young girl on the shoulder 
and said : la petite Snnlag ! By the way, Linda 
di Chamounix, (apart from its fitness to her voice 
and kind of talent), was not a bad opera for 
the d&ut of a young girl bom in Switzerland. 
Her last piece, one of the prettiest of Verdi's 
tiin, Caro nome, from " Rigoletto", which some 
of our finends will remember was first introduced 
to us by Alfred Jaell in one of his piano 
fentasias or transcriptions, was very tastefully, 
feelingly and eSectively delivered. 

Miss Honsler's voice has certainly gained very 
much in power and body in the two years of her 
absence. She is yet young,— only nineteen, — 
and with the excellent method which now guides, 
as well as the earnest feeling which insures her 
practice, there is every reason to hope it will gain 
still more. Tet it is plain that in her whole na- 
ture, organixatiott and temperament, she is not 
destined for the grander sphere of Art She 
may never be what is distinctively called a great 
artist; but she may be, she already is, an artist, 
and of a fine and pleasing quality. Nor is it 
likely that she has yet developed all she is. If 
voice, muscal temperament, mind, the first fruits 
of study, womanly modesty and self-respect, 
artist-like eamcstncss, if these ore trust-worthy 
signs, there is an enviable future before her in 
tbe path which she has chosen. Something we 
migbt say about the kind of music in which she 
seems so &r entirely to have exercised her talent; 
it is exclusively of the Italian operatic scbooL 
So fine an instrument, tempered by the tnie Ital- 
ian method, seem almost to owe itself to the 
production of sometimes other and more satisfy- 
ing stiBins than these. But this is too great a 
subject upon which to enter here. 

Of the six vocal pieces set down in that pro- 
gramme all were Italian, and fourbyYerdi. Mr. 



Millard, besides the duet, sang two solos, both 
by Verdi, and sang them finely, e^cially the 
Serenade from II Troratore, in which he g^ve us I 
some as sweet and noble tenor tones as one could I 
wish to hear. But in the highest tones, both here | 
andin the AirfrtKu/ffueFiucorj, thevmceseemed i 
forced; clear and round and strong as the I 
note was, it hod a certain hard and bawling i 
quality that disturbed the fine impression of a 
(imbrt for the most part singularly musical- We 
doubt if much singing of Verdi can be nourish- 
ing lo the voice, or wholesome in respect of style 
and ft;eling. Especially in the concert room do 
some of those dashing cabalcttas seem unnatural, 
there being nothing to justify the excitement in- 
dicated ia the mudc, unless it be the excil«meut 
of accomplishing a feat. 



Onr XiHtarr Bands. 
Mr. Editor: — We noticed, a few ijays since, a 
piece in your piper relative to the mnsic given by 
the various military bands of this ciiy. The recent 
visit of the New York City Guard to this place has 
once again brought this subject to public notice, by 
the fact that their bend, though numbering no more 
than our Brigade Band on that occasion, performed 
in such superior stjle, as to give rise to comparisons 
not altogether favorable to our mnsicisns. We cor- 
dially agree with your writer in thinking that it is a 
great mistake to abolish reed instramenis from Our 
street mnsir., and to supply Iheir places with hanlt 
instrnments of brass. We can well remember when 
our bands could namber many good performers on 
the Bugle, French Horn, and other instrumeofe, so 
conducive to softness and harmony in music. The 
Comet, and the various kinds of the French Sax- 
Homs and Tubas, have usurped the place of these 
old, familiar initmments, for the reaion that the 
cornets, &c., are much more simple in Iheir constmc- 
lion, and conseqneatly do not ttqaire sadi good per- 

Slill, this Now York hand had no reed instmmcnte, 
■nd yet how superior their music wes to ours I We 
noticed this panii^nlarly on the lait day of their so- 
journ among us, when they passed up State Street ; 
the music oF Sbelton's Band was deep, full and 
smooth ; that of onr musicians noisy, discordant and 
shrill. Can there be no reform in this respect! If 
money be a coniideration, the various military corps 
of ^is city would willingly psy an additional price 
for the sake of better music- Cannot your able Jour- 
nal take up this cause iu earnest 1 

1st DiriBiOK, 

Wa sympethiis with the writer or wrilen (for their 
B^Die is " Legiea") oT tbe above in Ibeit eompliiot. — 
We have alreidf more thin once tikeo the mutter up ia 
earnest in these columni. Il li too true that Boaton his 
list tny praitige she ms; once hive bad on the icare oT 
ber lailiury bands. It b eaiier lo point out tbe eintet 
of the decline, than it is lo make it better. These 
cauRB are twn-fbld. 

First econoniicil- The banda are loo smsil. The 
ptotriem aeemi to be to make [he londeat nolle at the 
leait coat. Bran inslrumenU ierva this purpose well. 
Initssd ttaerefbre of well-appointed bands of thirty to 
eiity proparly blended inatnimenla of various character 
and colaring of tone, we have little ecreamlDg, bowling, 
brasay aqaada of twelve oi 
Might il not be hitltr 






and 



Mend Hveril of the little aqutdi into one goodly and 
effective eompanj 1 

Tbe second cause is.ftdUon, tbe l^lae muiical ftibion 
of the timet. We mean Iba ftclillona conaeqaeuce 
■nddenlraannedbTthemultirariaua iDveatianeorbraaa 
insUumaBte of the corost lad Hex tuba family, vritfa 
valves ind pistona. These tre eaay to play npoe; their 
aoanda art taking lo the auealtivaled ear, whioh leve* 



Uigitzed by V7V^»^^Viv^ 



'3' 



BOSTON, JUNE 30, 1855. 



103 



(OBCtblDg moBgrcI, momWoni ind ciceptioul *DOMr 
n Mowlhiog genDiM. It k not owralj that thaae 
inilniDeata 4ra kank. Tba hmhnMi oTthi trnmpat, 
■ud tbe irenbone, in (htm plaea, i* Muutbioi cbinc- 
Wri*Ue^ niiriaf, geonlae. Bat ihett cornet and 8u- 
boriu Ire of do cliincler at ill; thcj ire tnimpat* 
iMt their mulincH, while thcj imitate clirincia 
witboul their fineneH, in Mekiiig to maks Iha aound go 
fki. I'bsa again id Ihe modern bran or coroM band, 
ill tlie tDatmnMDti are oT one family; ill an ahidet at 

chmctM) and tfag eSeel ia manatonimi ; no claaa of 
marical lonndi pall *a toun upon the refined (ar, H 
theae emaiculiled briia loundi. 

Then It Iha vbol* aLary. An old-faihloned band, 

eompaMd of reedi and gtmaiiit bnai iHtniment*, not 

omitting the ocgleotod old Kent Bogle,— « brgt band, 

too, It ahoald be— Konid do more lo educate Iha popular 

eeoM of mniic, Ihaa all tbe coiled and twilled tabe> of 

brau of (it the miule *hop« In all the land, blown In all 

comen by each little local band. We hire Mmetime* 

I Indulged the hope that a rine bend, for eiTic, llterar; 

I BDd arliallc faitlnila and proeeMlona, for •ummer eTSnlng 

I mualc on the cooinKH], &o. &e. might be orgenlied upon 

thii plan \>j onr monioipal anthodtiee. If not by private 

CDlerpriia, and be ■ model in lU way. We confeaa to 

feeling an Inherent difflcaltj In tbe mitltiry connection. 

ThinfTi mniical and tblne> military do not paint exactly 

; tha lame way; in tnith their tendency to oppoeite (com- 

{ pare Scbaalopol with Uandel'i "Ueulah"). Tha very 

I extolance at a millliry !■ tbe ovarleppliig of a barbaroui 

I period npoo ttae praaent, <we uy nolhlnR (^ tbe iiecn- 

lily,) and incomlstant with* clvilliedandCbiiattin age. 

I If Moelo U to occupy'' tba world, War mmt go oat of It. 



Itnstc ^iiojci. 



Batuarut Trkatsk.— (^'''■a ^< TtniM, June 4.) 
On Satnrdi; nigbt a new open, In twoocir, entitled 
Btrta,orlkeGMiwitBfHiir1iitrff,K»t produced wlih (treat 
BtJOCCM, the mtiaic bv Mr. Hkmrt Smart, the hbrtOo bv 
Mr. FrrzBALL. The (brmer Baron of Hartiberg. n prof- 
u privately married one of hi> serf>. 
' — ' -'- fmcyinK 



UgHte ft 

The olf'prinK of lhi« n; 

himtelf l)1rgitlmnta, Bttamei tbe nrofemion of ar 

qiiiti hhi "naltva billi," to rlik the peril* of a ■ 

life. Tbe n»lherhB<taliona wleiDnt""' 



1 hii deathbed the 
benebty Baron repenti, and cotire»» the Irnth in a letter 
tohin ion, fumitM with ohtch Valonrl {\U. Wkiu) 
relDrns to claim tbe rank and puuexilons of hia Ritber. 
The other link In Iha itory tnmii upon the loves of MIchii;!, 
aflirett ranger (Mr. Sine Beevih), and Berta(Hni. Sma 
BEivia), a yoang Tiltege girl, who, IhonEh a bit of a 
ciqaetle, reciprocate! in her heart the attnchrnent of 
Michael. Tha bnrmonv thai exintg between them ii 
deranged bya vlaion of berla, who dream* ^he Is carried 
■way by the Ooome of Rartaberg A popular interpreta- 
tion of this dream oonvevi tliat the dreamer i> to marry 
■ nobleman) and Berla, beini;embltlnni ai well u a flirt, 
declnrea ahe will itol wed Miclud nncll he became* noth- 
ing leu tlwn Benm of Hartiberft. At thi* junctnre, 
Valonri, whn In early life (ingenlnn* Mr. Piiibain) hn* 
been lavad from drowning by Michael. opportHnely ar- 
TJVF*i and, without being rtcogoi led, overheara a con ver- 
nation which inform* him of the unhappy condition of hi* 
ancient friend and beneraolor. Ha re»]vei lo aid him. 
The Bbodo of the Gnome la inppwed to be « gloomy upot 
tn the rereitei of the monntnin*. which tha inhabilnnt* 
regard irith terror. To Ibli place many dlwonimlHte 
I maideni had bean lared away and devaared by the wicked 
demon who infaaled the nelghborhond, like one of Iha 
lierce dngont In tbe Simd Quiapiant of OiriitBidom, 
with no St. George *nfflcienl1y gallant to pumne and onn- 
qner him. The wcond iwlifoqi.y of Valonri, however, 
Jive* a cine to the myttery. The Gnome wa» no other 
than Beron Hartiberg hlmielf. a tort of Bobemiair Don 
Juan, who, tnrning the prevailing *npenitit1on to sdvan- 
tnge, wai enabled lo carry on hi* rlepradations with 
impunity. The plan reaolvad upon bv hi* anoceiMr la to 
; te«l the real feeling* of Bertn, and if ihe provee worthy, 
unite her to Michael. Af>er tnaking the tinconKioiu 
I ranger twlieve himielf. and paw for, the real Boron, he 
' cnunei him la be arreited, on >a>plcion of theft, end Im- 
' priioned B« an impostor. A*«oralngthen hi* pmper title*, 
: Valonri olfera hi* hand tn Berta; bat, finding the yoong 
' girl'a affection ha* only been ttrengthened by the mltfor- 
Inne^of ber lover, he contTlva*,Ih rough mean* not worth 
dpKribIng, a general reiidexvoiu at Ihe abode of the Imag- 
inary Gnome, which, aa in Ihe timet of the late Baron'a 
afitanvtSn, I* ruddenly Iranaformad Into a magnlAoent 
bnnqnet-hnll, with every preuamllon for Ihe wedding 
fraat, and there, amid general rejoicing, the nuptiala of 
Berta and Sliebael ire oroclaimed. The aiibordlnate — 
' aonages— Koff (Mr. Vlj,vytaa\ who ban another .„._ 
■Sair with Nutaetta (Uiaa Hibbir Gohsob); tbe 



Bargnmuter (Mr. FAKquHAReoN), and laaae, a pedlar 
(Mr. W. Fahrev}— with ibeeicepllonofthelait, wboM 
purH Michael ii charged with atealing, have nothing to do 
with (he main plot, aud merely lerve to teaiaa ttie action 
with a ipicB of that pecnliur Inwcoinedy " boainei*," 
whloh, whan Mr. Fitibali waa leas chary of opentia 
(ftrftu thnn at pretent, u*ed to nfford a pungent reliah 
to tba more atnctly mualcai part of the entertHinmenL 

It waa not eaiy to do inyihing with luch a jumble of 
unedifylng abiurtiitlei; but Mr. Henry Smart ha* man- 
aged to make lithe framework ' ■'' "' 



iful a 



:erly . 



g thHt bu been ct 



ncy of the cborui, altfanugh Ihe or- 
urai accompanlmenu are elnborate and varied wilh 
it felkiiiy, while the choruiea, beairiet being nnma- 
I, are of the highwt imponance lo the general effect. 



The hon»e was e 
though ihey had 



mjoyed no previous c 



■\ the 



PiiiLnAKMOMic SoCiCTi.- On Monday, tbe lllh inaU, 

[he aeventh concert took place, when tbe matic waa " by 
command," Her Majesty honoring it by her preience. 
Madame Clara Novelio and Signor BellettI were the vo- 
callit* on the occation, and the former aang a ecena and 
an aria eminently caicDlated for displaying her varied 
powers of voice and eipreaaion. Weber'e grand dmAiIio 
imng, "Ocean thou migbty monster,'" and Cherubini'a 
divine atrain, " Ave Maria'' (with clarinet obligata), were 
each in Iheir aeveral atvles, perfection. The *vmplionie« 
were Moiarl'* '■.laplter," and Beethoven's No. 8. The 
overture*, Macfarren'a "Chevy Cha«," Wagnar'a 
" TannhKowr," and Cher "■■ "" " ' " 



BNtun. — Last week was presented, In tha Slncacade- 
mle, the Tbrfjief), an oratorio by tbe late HerrKungen- 
hf«en, fonneriy director of tbe In'tllution. The per- 
formance wat under Iha direction of Herr Grell. Henen 
Oertiing, Rehbaum, Wendt, and Birnbac!: have broaght 
their qoanet *nir^ to a close in Sommer's Boonu. lu 
the ipaco of abnnl a year, they have given fifty-aevou 
qnarteta, ten by Uiydn, nine bv Moiart. alx by Beet- 
hnven. and the rest by Mendelssohn, Rie«, Taabert, 
Spohr, Stablkneoht, Peica, Schumann, Bnbintlein, 
Wendt, md Just Herr Dwn baa gone lo Kbnigsberg, 
where hia opera, Z>iE Nubtbagm, la lo be produced, 
wilh Mile. Johanna Wagner In the principal character. 

Munich. — Mile. Marie CruvelTi Is permanently en gajed 
at the Thealie Boyat. On the 34th IntL, Lortiing'a Uk- 
ifins was produced for Ihe first lime, without creating 
any senaation. Wngner'a T'mMtdaKr, and Lachner'a 
ifidta are about to be prodnced. 

BRDMBwicR.—Mlle. Johanna Wagner hai a[)peared in 
/ MiMlfrchi e Oipvlelti. Luerttia Borgia, Dii JAcMuijea 
and La H»giiemAi, with great eucccbb. 

Half. 

On tbe ISIh of May, the theatre* of Nnpia* again re- 
opened their daon to Ihe public. At Ihe Fondo we had 
Verdi'* VvitUit, alias Ln IVannla, praviouslv leaved at 
San Carlo during the winter >easnn, and with abnut the 
same 'Qccets. Tbe parts were Hlied by Mme. Beltranielll, 
Stgnori Monjini and Olivori. The orcbeslra wa* good. 
It ia aomewtiat eitmnrdinary that Ihe Teatro Nuovo 
shonid be opened with the same opera. The singers 
here were Mme. Oappelil, Sigiwrl Villani and Ro**ini— 
The compoaer, Men^ante,bns arrived at Barl, la>upar- 
Intend the rebear<il of hi* Dne^l^ GS Oratttdi Otriaa, 
and Ji GiarnmeMB and Ln Festafc.— At Milan, La Scaia 
1< ikowopen, but la a" beggarly acooant of amply boiea." 
No new opera Is announced, at least for Ihe preaanl ; and 
/tomtonJidraE* it* slow length along, night after niaht. 
Our accounts date up lo Iha llthtnslant; the Pro/e"- 
of Meyerbeer, was in rehearai' —- ' *■ ' — ' 



n Ihe I 



3uch la expected- 



below mediocrity- hot from iha iprclacU which la 
announced a* maznificent Thia opera ha* already been 
twomanlli* in rehearsal— for llnly, an unheard of clrcnm- 
elanca. At Uie Carcano, II Tmcalort has drawn good 
house*. The Ilallans frequent thi* Theatre, which may 
account for Ihe aucees* of Vardi'i new opera, white not 
one nnlive aet* foot In La Scnla. II TtrnjAirio ha* met 
with couaiderable favor at thi* bouse.— At Trieala tbe 
cnmnoiier F. C. Licki ha* prodnced a new woA, entitled 
n Tnonfo Jtt CWtfimntiw, which at once an«sted public 
attention. Three plecei wars enoored, end tha oomposer 
waa several times recalled during the performanc 
Signer Liekl wa* presented by the orobestra, with . 
■ilver MMi, after the pwfornuuKe.— There mast indeed 
be a tad scarcitv of musical talent at Niplas when tbe 
three principal tbaatrea are Twodnclne at the aaina thoe 
and on tbe same night* Sig. Verdre nolEffti— at Ihe Sao 
Carlo, the Fondo, and Ihe Nnovo. Baport speaks f- — 
ably of a new tenor, Signor Uoi^lni, who la oeacrib 
being poiae ie ed of a fine votce.allhongh be la reproached 
wllhtbe defect, Gonnnoiiloall [he dtMiM(e>ofthep«et> ' 



nnu mention maue, in lue uwr^nit 
Ifiitrtrc compoaed by the Abbi 
Muataphi. It i* for Ave voices, with achorui; : he whole 
body of Ihe pontifloal singers look part in Ihe chorus, so 
that tbe eieenlion was as near perfection at poasiUe. 
The composer baa aimed at Hie h!ghe*t order of church 
mualo. and he seem* lo have ■ucceaded in exciting the 
entbnuaam 01 all present. 



^dc^rtUem^nts. 



^QB PitmriHC Mallj mid pnmfflT tacultd at llis Mn. 

WANTED —bv a TeoBf 1*1^, ftmnerlj i pupil cf Uu P*r- 
klni iBstUutlini tn tbe Blinil, > tltullen i* OnaoM, 
BiniiriaiCtaoIr (■iipniiu),OT ■* Marie TMrh« In a funtly 
eroihcnris*. BosuDor vjclnllj praltrred- The bfat of reftr- 
■neti (iv*n. — laqtOn of Mr. A. Waaiiia, 976 Wublafton Bt, 



MCilC TKACHK& nrAgiTBD. 



I^jsODil ippIlaLtlon maj b« m 



L KCnO. Jnat PnUlibed. —Tbe Flollna, ■ Oil- 
" 3 of popnliT Scmfa, OpfTiIk AIra, Wiltici. Polki~ 
lis, Qnkksltpt, ke . irranrtd tOr th* Anordeon ai 
la. This work eoolalnt ever 100 ptKtt ermaalo, Isetu 
uMIbwIdb anODi Mbn sobiv wlUi wuda— lo anun 
* Ids book of thta kind: Anula Lawiti, Do tba f nls I 
■. Kal^Dullnp, Utj Me, 0«u BurUI, and Walt 1 

L, IIG 



FOR THB BPI80OPAI. CHCROR. 

THI CHURCH UANDAL' — A CnaiprodlDio if arlftaial 
Casnra, Baarontn, eto., Inclndlni Ta Dm, OLOaiju, 
Bsaonn, fee. fco. Adapl«l to tha wvlae at tba Pnt-Cint 
Iplfccipil Choitb. By T. BiBiiu. Prise SL 



NEW COURSE OF HARMONY, 

BT I- H. BOTITHARD. 

Tb* PabSriwn call Ihe attmltoB ef lb* moilcil prpfcuJ n u 
to Ibta work, H one ■mlnrnttj ealcilalfd W llghUD tba labon 
«r the twhar, and niildlj advuei lb* pupil. It I* ampbitl- 
■illy 1 PatcTicAL work, nrvliif both i> a Kunal o( iiairue- 
tloaen tba oo* hud, ud i ^it-book an ttasoiher; and it la 

wich U» very lajiiBuaib»r<ife Mri. l»*aiBd«iani pin, prweBia 
gnat advaaUKM, to both aeholariod t4iibtr,evaiaBTilBiIlic 
work of ibe kind. Tnrben blfbty coBimind tl» work. Hi. 
WiLuui UiBOi ay* U ks ■ woifc nasBIpuHd In tbi langoBc*. 
Hr. Oaoaa* J. Wibb sa}* tbU It ti a warli pcr*pkiHiiu la 
dleIloB,in<ib«lleilinBnui|nHni,in(lRiflrlenUr HvioHa lo 
embnca all Iha «s«llllll«f tb* (vnr 
Itaa be ordered Ihtoatl 

thmuch tte 
ife prapild. 

OBO. F. RBBD * CO.. PuMlikeri 



(•],TS,) I 



BD> AI.I1BII dslna a ibaatloii aa Orpiilat In nDia 
. ehureb in Bsscen. Addreas Box ISe, Wbre*st*r,Maii. 
Hill, ■, lUmllloB, J. H. WllloDi, Ea^*. 



OTTO DBESEIi 

Gin* iBitnietlou on Iha pluo, ind isaj ba id^liraaed it Ihs 
Kvraaa Hocti. Taraui — HO pv quimr of 21 leaioii*, 
tn a waak i MO per quarter of 13 liwiBs, on* a vHk. 



WIIiLIAH BESQEH, 
VnbllAlier and Importer of IHnslc, 

Fo. U Wait 4tli Street, Cineinnatl, 0, 

KnPS eeeaSaBlly m bud a Lwi* and Raltet Uork of 
IMPORTED MDSIC, (br nl* it Butem prisn. New 
I ooilara pnuupclj aleaadad 



07- CacalofBM itBt fra^ bj null. 



AagSS 



F. F. MUI-I-BR, 

__ i Of iroaiO AND OMANIST at tbi Old BoMl 
Obureh: Onwilatud PUnlatof the Ilandel A lUjdn 

BoDMy.Uulsal Hueitfca BocMy, ka. ka. 
HesMence, Ho. 3 Winter Plue, Bo*t«B. 



OABL a&BTirER. 

TE/ioasR OF Kirsza, 

Hay be Ihnod at No. » Pover Street, enrj Ibrauoon belwrn 
oZLa in Oe U 



O. AlfDR£ fr 00. 'B 

JBtpnt »f ^fDiiliiR inir Samtitlc fSuMlt. 
It t. »i»™ araan, itmt oanrBiR, 

(■aitdd*,) FUILADKLPHIA. 

(C7-A eaUlogo* of oar nock of roniga Mnate, Mdtrf oar 
MSrpi.blkMlS-, b** Just bf*D pi.bll.bed_ Mu^ »d H^ 



76gle 



Uigitzed by ViV^' 



104 DW 

Novello's Cheap MUSIC, 

(Imported from Englaiu],) 

.389, Broadway, N. Y. 

MUSICAL PRESENTS. 

NOTXLLO'S 0CT4V0 EDITIONS or ORATORIOS In 
TBcal Scim.wtlb ki*]»rMei>«ani|)«nliiiaoLlbTII»Or;u 

^Dd «ppTDpriat« prmuu, rebbloLai tkcioe* with b nodfr 

WOIUC8 ALRSADY COMPLETED: 
HAYDN'S 

m^ (B«w»d)$W6 

HANDXL'B _ 

an (BOBDdll.SS 

in^ypt, " }M 

Jl, . u > « 

Mil 

JrphUu.. 

(Boini<l|lS8 

" 1-68 

lIKNniLSBOHD'S „ 

Bt-Pmnl " !«• 

HjDBefPnlH— LobtM*B|>(F*^'m^t << 1^ 

MOZART, HATDN, AITD RBETHOVKH. 

Tbi Thm Funniw Mums, wtth the UUn wonU, ud u 
tegllah idaptMlun bf E. O LonlH, &q., nuntll : 

Hudn'i Tblid or iBserial, '' BSt (BoaBdJTlS 

=^- — B^itoMtaii. " saj 

Engrdl: or, Dnld Id lb( midcrDHS, (Paper) OTG 
UthUH>(a(e*labnttdB«iiila,)... " OJiO 
KOHBKBe'S 

LvsTUuB^I, " DBS 

ChOCIMM ft«n 'he OcMto (dltVlbl Bi; b* hid Hp*- 
ntalT, fna < ewu to U onu aeb. 

AlB Hoh ptta fton tlMibon OntoilM W ba bid HpuiUlr 
In fall Bodoite. 

JOHN SEWAED WRIGHT, 
yiinivt. Atganfit auk filTuloi at ^lult 

AT TBI MUaiO HALL, (Il«. Twovou Piutti Sookt,) 
O/rSS IHITRDCTIOlf Olf THS PIANO. 

BmUmm*, is Anrr StrMt. 
FIAHIST AHD TEACHES OF ItUSIC, 

OrrtXa kbHrrlMiuuIutnietoTlnllwhMiRbniHbH 
of Pluio plmjlnf. Mr H-DuboddrMoJu [bt niniki 
■torn of NiTBAV Kuuuiwii, 283 Wuhisgum St. at 0. P. 
Bub fc Oo. 17 Tnmaai Rov. 
aOMMtimi—Ur*. O. W. Lorfne, 33 Ut. Toun Bk 
HImK. X. PilDU, B«l«. 
UIh If IdiDl^ SO Soalb Bt. 
HiH Hvi t ^rukllu PlH*. TA. IS. 

THOniAS BTAIf, 

TEACHER OF MU8IO, 

USIDEHOB, Ma. IB DIZ PLACS. 

B. D. AI.LEM, 

rSAOBEX OF r.H£ FIAiro-FOXTS. 

LMMn dtiMMdeu* of II*thw BiohaidMB, ■#{. S81 Wub- 
lurton BmM. 

KnuwoM -OUbDhhI, X.HwUWb, I, I. a*n>Mdi,aiii. 

L. H. SOUTHARD, 
TEACHER OF IIV8IC, 



GHT'S JOURNAL OF MUSIC. 



CHICKERING & SONS, 

HANur AOTUUOB Of 

PATENT ACTION 
GRAND AND SQUARE 



01 XTKKT SBSORIPTIOK. 



BD-VFABD L. BAIrfJH. 



SUPERIOR TO ALL. 

U6HTE, l£¥TOI miDBUBTS PIAI08. 

ITATHAir RICHAXtDSOir 

Ann^ for lbs Nvv EogLAlid .^Utvn, for Um tmie oF tbv ftbort 
■ilibnud Initiumf-nts, ft fuU UKrtmiDlor vtaidi vlU Mn- 
•Untlj' bt ktpl It hL> 

MUSICAL EXCHANGE, 
282 Wfuhmgton Street, Boston. 

Tbcot lD(tnim«il> Kn nmulfd In nil ™ml wd pnt op In 



pablkKtlofu, fc 



a Iba lirgiKtati 



bt tmai In tbe Dnittd SbtlH. Ilu 

CualiviiH nnt u any *ddiHi, (ralu.— Supnler i 
il>a)i on bud,— PIANOS TO LKT, n li»<nit lot 



IQL HASBIBON HHiIiABD, 

(TK»ORR,) 

TEACHER OF ITALIAJr VOCAUZATIOH, 

Ha. • Tyler Bt Thim KO pa quirtcr. 



PATENT AMERICAN AOTION 

PIANO-FORTE, 

OSTON, MABB. 



TODIG UDHS' VOGU IDSIC SdOOL 

B. R. BLARCHARD, Tcaeksr. 

Thli Bofacnl t« d«lEn«d tar thoM who wkh to u«jiitro tb* 

abtUtj tanddtniule iwdllv u ilfbtiUd UnnlgDlirl} Hlap'- 



MR. J. C. D. PARKER, 



METER &, TRETBAR, 

Sm^tttis anli ^nMU^s of ^mt^ 



RIOHARDSONe 



lODIBI SCHOOL rOB TIE FUHO-FOETE, 



Hm to In lb* BEST Inatrsctloii 

ilibid. Frka Tbm Dollnn. 

t th< MCSiCAL XXCHANGB, B- 



Mb. J. Q. WETHERBEE, 

(BASSO CANTANTB.) 
H*. IS TRBHOnr TEMPI^, BOBTOIT. 



J. TRENKLE, 

TEACHER OF THE PIANO-FORTE. 



C. BBEU8INO, 

IMPORTER OF FOREIGN MUSIO, 
701 BEOADWAT, NEW TORK, 

Depot of Eretrd't Orand Pianos. 
onoDLATnro musical libbakt. 

(IT' OoiuUiilI]> on bud a 



ADOLPH BAUMBACH, 
T£ACH£B OF THB PZAITO-FOBTB. 



Z.. O. EHERBON, 

OBQANIST AHD DIREOTOB OT HUBIO AT 
• BDLPINCH STBIEI CHURCS. 

MmkKiomtmienluaimli KmMhki.M JhWmi R. 

BOSTON. 

km Bar alHi ba iH^ ■* OUn' DU«n1, 11 

IngtoD St., to wbou ba la panulttad to lafer. 

iroazqT'AaSr'joB^BiH^mo'^gioii, 



ORGAN-HARMONIUMS, 



MASON &. HAMLIN 

mi O-'EiiiBii 



irtr 



, it li daalffnad piora a^parUllj 

Kjlo-afferta, uid bv fraat vaTktj In 
' tona. It I1 iFiirrlitiT adaprtd to 
■ ■ ■ I. btlug ai 



FrtooB from fSO to «170. 

Ian nntalnlni; a foil dnrripUon ot 



NEW AEBTBETIO JOVRNAIi. 
TRE CRATOIT, 

k WMklTPapardnotHliD ART, oSanlmirtalVaUtDlIom 

una of Baautr. AmoDf Uweontrlbalon to THB CHAYOH 
Inadyar* BntKT, Lo»iii,8THn,Ru»uim PuLa, A B. 
hiuBD, PmldanlorttarN'lleBalAcadaBr of Daaign, 1>i>iil 
loirTtiiotoii, Htnai K, Baovi, and aBoogat thnaa angagad 



PablMkwl by mUiNAK jt DURAin), No. W Bi 
Stw York Taima, M par aiuaia, La adTaaea. Ba 
Hra aupplkd. 



BCHARFENBERG & LUIS. 
IMFOB-rEItS OF FOBEIGN MUSIC, 



o. :^. oxa.A.xusxi, 

TEACHER OF HTT6IC, 209 Waohiiigtoii St 

BBSIDBNCB....!! 8HAWUUT BTRKET, BOBTOH. 



A OOOD TIHE TO 6USBCRIBE1 

DWIGHT'S JOURNAL OF MUSIC, 

ft 9*9" "^ fi^t *^^ Hinitun, 
PuUiilwd vrnj S«tATd»j, At SI Bthool St. BMtoi. 

Tan DoUara par mBBm^, In MiTue** 

DoriBg tlH thifo Taara alaoa It wat aataUlahad, iMa Jonreal 

hM DMt «ltb esBUniialtT iBotaailog taror, aad It aatond 

npoo ICa SETEHTH TOLDKB Kith tba nambu for Satarda;, 

ApillTtb. 

11* oontaiM nialo aulalT to tha Art of Mimii, bst vltb 
gluiitt at tba vbol> World ofArt and of PnUUUMiUnni 
IndudlBg, Itata Um* to tbua— 1. CritJealBaflawaofCoasirta, 
Ontorioa, Oparaa ; wJtlillBdj AnalyBaoribaaotablaWOTkl 
parformad, aoesBota of thaii CoBpoaara, k«. 1 HellB 
Nnr Miula. I. MnHeal Hawi ftm all parti. 4. Oo 
poBdansa (nm mntfal ptnona aad plaoaa B. Baaaj 



Hual, Sodal, and Rallghnii b 
Oboreb, tha Ooliatrl'nian, tha 
(ba Stnat, &s. 0. T: 



a, FalnllBg,fte. 8. Ori^Bal and Salaotad PsIBa, ate 

Addnaa Ipoat-pald) 

J. S. DWIOHT, U Boooii St. Boito>. 



TEBJra OF AOVEBTISma. 




Uigitzed by ViV^^^^Vlv^ 



'3' 



% f apr irf %xi anlj fittratmrt. 



Wholb No. 170. 



BOSTON, SATURDAY, JULY 7, 1855. 



Vol Vn. No. 14. 



PUBLISHED EVERY SATUEDAT. 

TXBMB : Br Mail, »2 p«r umaii), la MItmim. 

'Whan left br Ourlor, VS,60 " 

J. S. DWIGHT, EDJTOS AUD PROPRIETOB. 

EDWABD L. BALCH, FBINTEB. 

Z^ OFITOE!, ITo. ai Bohool Street, Botton. 

SUBSCRIPTIONS RECEIVED 

AtUwOrriCHOr PDBLlDATIOK,....S18i!fa<Miet.Boil«a. 
3i NATHAN KlVHAKPeOH, ISS Wariilniloa Bt. " 
'' QB0R08 P. KBED h CO. . . U Tiwcnt Roir, " 

" A.H. LBLAND, PnTMcni*, R. I. 

" C. BRKUSIHO^ mBiMdn/.MmTak. 

" SCHARFENBHRO ft LUIB, Tfl9 Bt<i«lin>, 

•• GKOROB NJTTON, Jl Xocbeitn.Il.T. 

« a.AHDRB k 00. . . ,1£ BobHi Ntnth St. nUmMshlh 

" JOHN H. MEL1.0E, P1tttbu™,P». 

" HILLER k BEACHA»I,..181B>liJiDanBi.Balrliiian. 

" COLBURS * IISLB, dndDutl.O. 

■^ H01>BJtO0S k LOnO, CWnlud.O. 

Iin IhrliliC'i Jonnul of Uwla. 

Bemiirigcencai of a Sviimur Tonr. 




One daj I went with Cabl Wbiol 
village about ten milea to the Stnith from Stntt- 
gart, where he had recently set tip an oi^ao of 
bU own nunufBctnre. It wa« placed in the loA 
of 9. tittle dilapidated charch, aoch as are eo often 
to be met with in the nnaUer towns of Sonth 
Germany, The chnrch, in its atuation and 
peculiar architectare, was excee^ngly pctur- 
eaqne. Mow had grown thick and gray on ita 
raof, — not a few itooef had fallen trom the top of 
its square tower,— and the ivy, clambering every- 
where, strove in vain to conceal the gaping cracks 
in the waU. The door stood invitingly open, 
and the sun of a wamt nunmer aAemoon lay 
Qpcm the floor. Within all was silent and deso- 
late. Its rude benches and bare walls contrasted 
dismally with the showy organ case in the loft. 
We bad captured a vagabond hoy in the street, 
and imprewed him into the service of bellows- 
btowhig. Weigl took his scat at the keyboard, 
and for an hour showed off the qualities of his 
instrument, while I lolled back in the comer of a 
high-walled cage of a pew, and gave myself np 
%o the influences of the taaAa and the place. — 
Tie oi^ii ia too large and pretentious for its 
positiou. It did not strike me as a Siat clasR 
instrument, though its maker claims fra it snch 
rank. It has twenty-six registers. Its &ncy and 
indtative stops are most excellent The clarinet 
and Ante, in particular, might readily deceive an 
unpractiBed ear. The intooadon of all its leed- 
jHpes is fituldesi. The full organ has, however, 
a harshness and fbrocitj not usual with the German 



was by no means comparable to 
the rich and mellow-toned prodnctiona of the 
Ludwi^burg manufkctory. But the organist did 
his best in the exhibition of it, and showed he 
possessed, in no small degree, the requistes of a 
thorough musician. Meanwhile, as be played, 
groups of ragged children gathered wondering- 
ly about the door. Presently a message wai 
received from the minister, who lived close by, 
to the effect that the noise disturbed him in his 
meditations. And so the performance came to an 
end. Bidding adieu to CaH Weigl, with many 
thanks for his civil attention, I proceededon with 
my companions to Tiibingen. 

Wiirtemburg is a region of hiH and valliea. It 
Is the most populous of the German States. So, 
also, it retains more of the quaint and curioos 
customs of the old time. The postillion, in yeOow 
bob-tailed jacket, on his approach to a village, 
winds you a tune on bis nietlow bom. The pea- 
sants whcon you meet are decked in gay costumes. 
Women are delving by the rpad nde, and cows 
yoked together arc plowing in the Gelds. Yon 
are greeted by no rudeness or incivility ftom 
high or low. The influx o! travellera has not 
here, as elsewhere, corrupted the nmplicity and 
natural good breeding of the people. 

We journeyed leisurely along this beautiful 
route, pasdog through the dingy little town of 
Waldenbach, where Dannecker, the sculptor, was 
born, and came in the edge of the evening, to the 
ancient town of Tubingen, the seat of the Uni- 
venity c£ the kingdmi of Wiirtemburg. Hera 
Uelanctbon (mce tangbt. There are nine hun- 
dred students now in the colleges. I went at 
evening up to the castle of Hohen-Tiibingen, 
once the stronghold of tLe P&lzgravei, now con- 
ceded by the government to the use of the Uni- 
vensty. It contains the rare and valuable 
University library <rf 140,000 volumes. I 
was met at the entrance by the librarian, a 
venerable, mild-spoken max, who addressed me 
in Latin. It was a novel experience to be con- 
ducted past moats and draw-bridge, throu^ 
vaulted passages and under a gateway, having a 
&^e of a triumphal arch, to the peaceful abodes 
oS litei«tare and learning. The town is rarely 
visited, being out of the track of tourists ; yet the 
region around abounds in scenery of surpassing 
beauty. The view &iHn the hUl, just outside the 
town, is equalled only by that from the sumnut of 
the Koningstnhl, near Heidelberg, which is so 
&mona. Being exhausted and ill, I passed the 
greater part of a day stretched out in the re- 
fteshing shade of the vines which embower the 
hilt-aide. Through the loopholes of my sylvan 
retreat I gazed without molestation upon the rare 
beauty of the landscape. It i* a scene to 



warm the heart of a poeL Bebw lies Tiibingen 
with the castle above it; and beyond, the CMtle 
(^ Hohenzoller rises against the Aj. The Stein- 
bach, a silent stream, is creeping thron{^ the 
volley at the right ; to the left glides the nlver 
Nei^r. The Ammer, too, twin river of the 
Neckar, flows southward toward the sea in a 
volley of its own. Vineyards clothe the hill-sides, 
and fields of waving gmn tlie plains. The 
chimes of innumerable bells come up from the 
villages on oil sides, making the air tremulous 
with sound. 

From this pdnt I retraced my steps to Stutt- 
gart, and thence proceeded to Lndwigsbwg to 
vint the &mons organ estaMidunent of E. F. 
Walker, which Herr Kocher had kindly afforded 
me &cilities for doing. 

This establishment is, at present, the most p<^ 
niar perhaps d any in Germany. It resembles, 
in many points, the flunons Chickering manu- 
factory for pianotbrtes here. The whole buauess 
of organ-building ha* bean reduced to a system, 
and the bert ^-stem. Every parli^ the compli- 
cated strDCtare is supervised in its mochtnism by 
the Messrs. Walker themselves, flrat, they are 
careful to secure the proper elementary mate- 
rials. None but the best of its kind is accepted. 
The pipe-metal is obtained from England in its 
crude stato. It is then rolled by massive machi- 
nery into plates, preparatory to being fashioned 
into pipes. By this means a nniform and even 
sheet of metal is obtained, on the perfection of 
which process, in great degree, the excellence of 
the pipe and its resulting tone depends. These 
were shown me in th^ various stages of fiibrica- 
tion. In a sepArate apartment was carefiiUy 
Btoved away an assortment of metallic pipes, 
some sxteen, othen thirty-two feet in length, 
glowing in thdr recent stato Hke burnished silver. 
The stock intended for the wooden pipes is select- 
ed with equal care and discrimination. It is first 
stacked in a proper poritiDn out of doors, and 
suffered to remain for several years. Then it i« 
agaia paned under examination, and the unfit 
portions being rejected, the remtunder b housed, 
in a light, dry and uiy place, tor several years 
more, till it becomes most thoroughly seasoned. 
Ho less care is bestowed on the selection and pre- 
paration of the materials which are to compose 
the case, the wind-chcst, the feet of the re^^ters, 
and all that goes to make up the skeleton of the 
instrument; for soundness in these prants is 
essential to the perf^t result In these partieu- 
lars, and in the careful manner In which all the 
details of the mechanism are carried out, Herr 
Walker is a consdentions artist He means his 
work "Tinil lost, and grow only better by time. 

At the period I was present, he hod in faattd a 



Uigitzed by ViV^^^^VlV^ 



'3' 



106 



DWIGHT'S JOURNAL OF MUSIC. 



coImsJ inrtrameDt de«tiDed for the Ulm Catfae- 
draL It was near iu ctKnpletioii, and indeed 
some portioDg had already been cocTejed to 
Ulm. Afragmentofitwai still set up in the man- 
nfactoiy, coiutituting in itself a huge organ, frcau 
which 1 wa« treated with a taMu of its quality. 
Bj the contnct this instnunent wm to have been 
delivered over to the Cathedral in 1851. But a 
Tarietj of circnmKtancei had delayed ita cont- 
pletioD. HeiT Walker clainu for it equality in 
excellence, at least, with any other on tbe Conti- 
nent By the ichedulc given below, it will be 
•een il exceeds in dimeonoiu eveo the Frcy- 
bQi^ giant. It has 104 registers [59 in metal and 
45 in wood], 4 """""I'l and 2 Pedals, arranged 
as follsira : 

FlB»T MAaCAI. , 

Fttl. 



1 Principal 

a FigMl 

8 Tibia major 

4 ViotaillGaiiilM... 
B Uinaal UDlenitz. 

( OclBT 

T FlMt 

5 G»iekt 

ft Trompett 

10 VidadlQunba... 

11 Geniahorn 8 

11 Slllclond 8 

IS OctiT . 

14 Fogara 

Sbcokd Maxual. 



FkiMa 

IT ClaTJno 4 

OctaT a 



Clarlnstts.... 
Conwtl.filUd 

22 Quint 

23 Ten 

14 Uixtnr, lOfald 4 

ScharfT. srold 3 

2fl S«iqa!iUn, donbla. 

2T SuperactiT 1 



. .IS 3-8 
...US 
...8 1-« 



1 Principal. 
a Salleional. 

8 Gedekt IS 

1 Dolce ' 

( Gadakl 

S Floets 

1 Trompale 

8 Fnfott & ClMliMt. 



oOct. 



11 fnraniftaete . . 
ISKLQcdekt.... 
14 SpltiOoote.... 

16 Viola 

IB C 



IT OctsT 3 

18 Plooolo 3 

IS QDiDtOocM Bl-3 

£0 MUtnr, 8foId 128 

11 Cymbal, Void I 



11 Pi&ro , 8 

Tm*D Hahdai. 

1 Principal 8j B Dolce. 

2 Bourdon — • IB 10 Gemat 

8 Spltifloet* 8 11 OoUr 

4 HanDOolea 8 13 Hsu(l>oa 4 

E Gedekt 8ll3 Ftantlno 2 

B FitDira '. 8 14 Oclav 1 

T Phjihannonlca C IG Nuiird 2 38 

8 Toihomana 8ll8 Miitar, tfbid 3 

FoDBDi Manual. 

1 Figott IS) a Fiigolt AClarlMtt.. 8 

1 Trotnpete 8| T Ptafabunnotiica 6 

8 CIsrino 4 8 VoibDinana 8 

4 ClariiMtU) 3 8 Haotboe 4 



1 PriDcipitl Bui 32 

2 Principal Bmi IS 

i Hombird 32 

4 Grand Bonrdon...— 32 

6 OctavBaM 18 

• SubBaH IB 

T P«.Qn« 18 

8 FaRolt 18 



10 trompete 8 

n Pouinnc 8 

13 OetarBau 8 



I Gsinl 



16 Fli. _ , 

18 OctBT 4 

IT aarlne 4 

18 CornoBusa 4 

1ft CoTTwttino .•■■■•■.■ 3 
30 Qalnt 10 3-8 

11 Ton »3-6 

12 Qnint S 1-8 

33 Com«tt,erold 4 

24 Piake, 1 Oclav. 

SicoKD Pkdai. 
1 VIoloD Baa* 161 6 BnaMtboni 8 

3 Gttlskt 18 8 Flotle 4 

8 Serpent 18 7 HoblAoele 3 

4 Floala 8| 

This OT^u, it will be seen, has several 32 feet 
pipes in metal and in wood. It stands 96 feet 
high in its case 1 The work upon it alone is esti- 
mated to cost 40,000 guilden. Connected wi(h 
ita action is a contrivance umilar to the pneumatic 
touch, so called, attached to the recent En^h 
organs, without which the labor of playing so 
enormous ao instnunent would be indeed Her- 
cnlean- A colossal instrument from this establish- 
ment was also completed for St. Petersburg in 
1841. In this organ (I leam frt^n the recent 
woric of J. J. Seidel*) was introduced the novelty 






of a Bi&ra K^;ister of purest metal, with ten 
ranks in the third manual, "of a peculiar soft 
violin-like iotooation," exceedingly beautiful ; as 
also a remarkably fine Dulciana in the second 
manual (or choir organ) , and in the Swell an eight 
fi:et Fhysharmouica (with vibrating tongues), pro- 
vided with a crescendo and deereieendo. There 
is also, even in the manual, a Trombone register 
eight feet. Herr Walker frequently alluded to 
the St- Fetemburg instrument as one of his meet 
satisfactory efforts; though it is by no means equal 
in nze to that in Ulm. Dnwings and minute 
specifications <£ both these organs were furnished 
me by the maker. These I committed, with 
many injunctions of watcbfuliKSS, to the custody 
of my good-for^othing cotirier, who took occasion 
to forget them at the first stopping-place on our 
journey afterwards. • 



Anber*! New Opera. 

[Pull ComvpoBdom oT Loudoa Vmleal World.J 
What an extraordinary man is Davigl Auber I 
Hereheisfast approscbin^ the term of threescore 
years and ten allotted to man, and be produces a 
new opera as fresh, gay, lively, and Drilliaut as 
though he were in tlie boyhood of existence, in- 
iteaaof enjoj-in^ a green old a^e. As song flows 
from B^ranger in his age, so issues melody from 
the greatest of French composers. 

But to my task, which is to ^ve your readers 
pome account of the new opera, the conjoint pro- 
duction of Scribe and Acdbk — a pair intended 
by nature for each other — which was produced, for 
the third time, on Saturday last, at the Op^ra- 
Comii^ne, in presence of amost brilliant audience, 
including the Eoiperor and Empress, and a host 
of notabililies. llie scene is laid in England, 
and both author and composer seem to have con- 
tinually had before them the hi^py alliance which 
now knits the two countries tt^ether with bonds 
stronger than steel. Evei7lhing, therefore, is 
painted couleur de roue, and the fair character of 

C.r countrymeD and countrywomen has seldom 
n displayed in pieasanter colors. The middle 
of [he lut century furnishes the time in which the 
action is laid. The heroine Is " Jenny Bell" (Mile. 
Caroline Dupkbz), ayoungorphnn, who, early 
in life, was kindly placed in a boa rdin "-school for 
educBlion by the Dukeof Greenwich (M. Faurr). 
Her benefactor is called from England to fulfil a 
diplomatic mission of importance, and while he is 
busily engaged in discuss ins protocols and "stump- 
ing" the GortschskofTs and TitolfB of his day with 
somewhat more adroitness than our diplomatists 
can now pretend to, Jenny Bell is forgotten and 
left in poverty and solitude. She adopts the lyric 
stage as her profession, studies bard, and becomes 
as celebraled as a future Jenky of the century 
succeeding. Her name resounds throughout 
Europe ; managers dispute the possession of a 

Erize so great, and kings disdain not to treat for 
er engagement, as one great power dealing with 
another. 

In the midst of this homage Jenny's benefactor 
suddenly returns from abroad, presents himself 
before his protigu, and supplicates ber to return 
him his son, Lord MorUmer (M. D8i.aiinat- 
BicqulEB). Jenny, whose virtue is equal to her 
reputation, declares that she has never seen Lord 
Mortimer, and cannot restore an affection which 
she has never possessed. It seems however, that 
Lord Mortimer has, like the Lord of Buiieigh, 
assumed a disguise wherein to go a wowng, and, 
under the guise of a poor comMuer, sought the ad- 
vice and protection of the fair Jenny, the all- 
powerful artiste. No sooner is she acquainted 
with the fact, than, full of gratitude for the favor 
she has received at the bands of the father, she 
determines to cure the son of what that father 
thinks ill-placed affection, and accordingly treats 
the disguised composer with harshness and scorn. 
She sneers at bis genius, mocks his talents, laughs 
at his manners and appearance; nay more, she 
calumniates herself and vilifies her own character 
to the man who adores her, and whom she secretly 






t much devo 



deserves a recompense- 
Touched by the despair of Mortimer, who threat- 
ens to blow out his brains, or swallow, like Villi- 
kins, a cup of ■■ cold piran," and full of esteem 
for the conduct of Jenoy Bell, the Dukeof Green- 
wich renounces the plan of a great matrimonial 
alliance which he had arranged for his son, and 
allows him to marry the artiste. AH the world is 
happy, and Jenny for ever quits that stage on 
which ihe had made so great and so well-deserved 
a reputation. 

Such is a sketch of the plot which M. Scribe 
has prepared with bis nsoal happincn and dex- 
terity. Among the manv satellites who circle 
round the musical planet, be has given us a char- 



r pain 






(M. SAraTE-FoT), a rich goldsmith, who is so 
thoroughly convinced of the power (A the metal 
wherein he deals, that he imagines no artisle can 
renst his golden gihs, bit sparkling diamonds, or 
his glittering rubies. In speakjng of the music, I 
can but repeat that M. Auber's new opera is as 
pert, as gay, as charming, and a* " young," as 
those " Crown Diamonds" which manv a year ago 
won the admiration of all Europe. Melody and 
song are abundant as ever, and the instrumenta- 
tion is what it ever has been, el^anl, graceful, 
light, and plea^ng. Mile. Caroline Duprez sings 
a cbansing ballad in the first act, with accocnpa- 
niments for flute and clarinet. M. Sainte-Foy 
has a comic air, fall of character and humor, in 
which he depicts his riches, and the power they 
confer, and Chen follows a duet between him and 
M. Couderc, who represents a young lord, a friend 
of Mortimer's, ruined by early extravuiaoce, 
but gay, light-hearled, and devoted to his friend. 
Then comes a duet between M. Faure and Mile. 
Caroline Duprez, which concludes with a mazurka 
movement, so fascinating and airy, that it took 
the house completely by storm, lie first act con- 
cludes with a cavatina for M. Ricquier, a trio fi>r 
him, M. Couderc, and Mile. Boulart, and a cboms, 
accompanied pianiitim/t by the orchestra on 
which the voices of Miles. Duprez and Boulart 
are — so to speak — epbroidered. 

M. Couderc opens the second act with a nxnance 
equally simple and sweet, " Cette vermeille rose," 
and then we come to the most effective scene in 
the opera. It is that in which Jenny Bell corrects 
the music ti the poor and youthful compoaer, 
delighted at the expressions cS his love, which she 
partakes, but will not avow. None but an Auber, 
with his inborn delicacy and appreciation of the 
natural, could do justice to this scene, where the 
truest and most ardent affection is met by apparent 
mocking, and affected incredulity. An air, sang 
by M. Faure, is followed by an amusing quintette, 
descriptive of the voluminous and gallant corres- 

Endence every day addressed to Jenny Bell by 
r innumerable admirers; a charming aria, very 
well sung by Hlla. Caroline Duprez, and tjutide, 
full of life and movement, constitnte the principal 
pieces of the second acL 

The third act is English to the hack-bone, and 
■ufficientlv national even for Lord Moon and hii 
aklermanie coadiutora, who have not arrived in 
Paris. Both " God save the Queen" and " Rule 
Britannia" have been worked up into it, and 
great applause followed a cavatina sun^ by M. 
Ricquier, accompanied by a chorus singing your 
national anthem h demi-voix, in the wings. A I 
charming duet between M. Fanre and Mile. Caio- I 
line Duprez leads up to the_finaU, and the curtain , 
fell amidst loud and long-continued applause. 



advantage of his Royal Hishness Prince Albert , 
(instead of the march, whichbad been announced, . | 
from the same op«ra) — does not improve on closer \ ' 
acquaintance. So much incessant ndse, so nnin- | 
termpted and singular an exhibition of pure ', \ 
cacophony, was never heard before. And all Ihis i ' 
il intended to describe the delights and fascinations ' i 
which lured the unwary lo the secret abode of the 
Goddess of Beauty, in the Tburiugion mountains 
— according to a popular German legend of the 
Middle Ages. In bis muuc to the i^irst IFoI- 
pii>^ Night, Mendelssohn gets up a magnificent 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, JULY 7, 1855. 



107 



cUmor to describe the diabolic&l nuKhmationi 
by wbich tbe Draidi frighten away the Bocotn 
soldien from their pl»ce of vorabip od the lat of 
Hsjr. But the clunor of MeadebMhn'i Druid* 
is DOlhing to tbe obatreperoua demonttntions of 
Herr Wagner's Venus. What would Rossini — 
who, in writing from Fans to Bologna t, descrip- 
tion, piece bj piece, of Bellini's Purilcmi, on 
arriving at "Sooni la tromba," tajs "I need tell 
}-i>D nothiog of the duet; ^u mtut have heard it" 
— what would Bossini hare written to hii Bolos- 
nese friend about this overture ? Words would 
bave fiuled bioi, and tbe pen have dropped from 
bis hand. Such a wonderful performance, bow- 
ever, as Ihat of the Pbilharmonic band last nigbt 
would; had it been possible, have made even 
TcMTihawier accentable ; but it was not posNble, 
and wa sincerely Dope that no eiecuiion, bonever 
•uperb, witl ever make such senseless discord 
pass, in England, for a maaifestatioii of Art and 



The Bostoh Theatre. — Tlie experiment of 
building a theatre in Boston la^r than the 
Academy of Music at Pari*, at an expense of two 
hundred and fifty thousand dollars, for a city 
whose populatioQ scarcely reaches one hundred 
and sixty thousand souls, was a hazardous, but ex- 
perience has shown that it was not a mistaken 
enterprise. Its first season bai Just closed; a 
season of theatrical depression as great as the 
country has ever experienced, causing all the 
theatres south and west of this to close a month 
before tbe usual time; yet tbe.Boston Theatre, 
with a nightly expense nearly double that of anv 
other theatre in the countrj-, has been open through 
its entire season of forty weeks with receipts as 
large at the closing as at the opening weeks, though 
at the latter period it was maintaininj; three lar^ 
troupes, vJK : a dramatic company, an Italian opera, 
and the Bavels, numbering in all two hundred 
and seventy-eight persons, at an expense of £7,400 

The dramatic season of forty weeks was opened 
on Monday, IhelltbofScptember, with the come- 
dy of the "Bivala" and the "lioan of a Lover," 
and closed on Friday, June 15, with the "Serious 
Family" " Paul Pry," and " Bombaates Furioao," 
for the benefit of Mr. and Mrs. Wood. During 
tbe season performancea bave been given on 2S3 
nights — of which the dramatic numbered 166 
nights: English Opera, 34 nigbcs; Italian Opera, 
(16 Grid and Mano, and la New York Compa- 
ny,) 28 nights ; Bavels, 9 nights. During this 
period upwards of 248,000 persons paid for ad- 
mission, and the receipts amounted to $177,682. 
The regular company, comprising acton, muu- 
cians, carpenters, &c., all told, namber one hun- 
dred and fire persons. 

In thus passing in review the events that have 
marked the pra<(i>esa of this most memorable year 
in American theatricals, it will be seen that not- 
withstanding the hard times, and the theatrical de- 
pression, the manager has kept his pledge to tbe 
public, by furnishing, during tbe entire season, 
every variety of agreeable entertainments; and 
if, in addition, we state that tbe Boston Theatre 
baa paid all its expenses, and has besides a hand- 
some surplus, it will be conceded, as we have al- 
ready stated, that tbe experiment of building this 
theatre has been a successful one. 

We have been informed that Mr. Bariy leaves 
in the steamer of the 4th of Julj;, and will visit 
Paris and London to secure novelties for the com- 
ing season. We owe too many of our best pleas- 
ures during the past season to his skill and lib- 
erality as a manager, not to feel more than an 
ordinary interest in his success in this enterprise. 
And so every one must feel who remembeis how 
degenerate our stage had become till Mr. Barry 
regenerated it — Tmtueripl, June 26. 



Mllk. Jbmnt Net. — Tbe following Aetch of 
tbia yonng artist, wboae perAmoance in 11 TVotfO' 
0rt, at Covent Garden, has been so highly piaised, 
it from the lUtutraled Neiet : 

" lfadem<»Bslle Jenny Ney was bom in Pres- 
borg (Hungary). Her mother, an excellent 



artist, educated her and her elder nster witb great 
care for the stage, wbero Mile. Ney mode ber 
debut as a mere child. Her sister, meanwhile, 
having enji^ed great reputation as a Nnjcer, she 
endeavored to emulate ber; and after laborious 
studies under the sole care of her mother, entered 
into a favorable engaiiement iritb the Imperial 
Opera at Vienna In 1851, where she remained for 
three years, becoming every day a more decided 
favorite of the public. Perhaps she would never 
bave thought of leaving the Austrian eapitol, but 
in 18S3 her mother, with whom she bad lived till 
then, died. She felt lonely and miserable amongst 
all that reminded her of her toss, and resolved to 
leave Vienna, the scene of her first and greatest 

Her fame having spread throogbout Germany, 
there was no lack M engagements. She decided 
upon Dresden, where an engagement was ofiered 
to ber for seven years on terms so flattering and lu- 
crative as hitherto hardly any German prima 
donna could boast of in her native country. From 
Dresden she made her first .excurraons to Ham- 
burg, Frankfort, Colore, Brunswick, BeHio, &c. 
In all these towns she was greeted as tbe first 
living singer of the German st»ge 
last - " . ...... 



Dresden, shortly Mfore Mr. Gye 
engarred her for the present London season, she 
was honored witb the title of Kammer-Sangerittn 
(chamber singer) of the court of Saxony. 

The severe and dangerous illness with which 
Mile. Ney was seized after her brilliant appear- 
ance in the Trovalore, at the Boyal Italian Opera, 
interrupted for a time the successful performances 
cf that opera ; but they have now been resumed 
witb more ^clat than ever. She has been reques- 
ted to prolong her engagement, now near its close, 
to tbe end of tbe season ; but this she is prevent- 
ed from doing by ber da ties at Dresden. 



Roeaisi in Pabib. — The anecdotes still mnlli- 
ply. Fact or fiction, Ihey seem characteristic. 
At all events they make pleasant summer read- 
ing, so we shall not hesitate to copy further. — 
The Dinlg Adcertiter translates the following part 
of a letter in the Coarier des Etatt Unit. 

He is, as is well known, far advanced in life, and 
has been living for several yean past in retirement 
at Florence, where he devoted himself to silence 
and repose. The old composer bos turned his 
eyes frequently to France, where be was aflec- 
tionately remembered. He had been invited from 
all quarters, from Naples, Venice, Lucca. They 
mid to him — " Go to Sorrento, the land of per- 
fumea, your mind needs a new horixon." 

One fine morning Bossini got up in good humor 
and cried " Let ns go to Paris, I want lo see my 
old friends; if I must die, let it be so, God keep 
ns." And BO the old man started. It took him 
forty days to go from Florence lo Paris, shut up 
in his carriage. The mere idea of steamboats and 
railroads made bim fall into a swoon. 

Within the last twelve years, all the roads which 
were formerly mail routes, are furrowed witb rail- 
roads. No more inns, no more relays, no more 
post-horses in roadiness on tbe way. Bossini 
trusted to luck. He scHuetimes waited for two days 
in a little town, to procure two (quadrupeds aoda 
postillion. When he reached Aix, it was impossi- 
ble to go further; there was a total absence (rf 
stables and borses. His friends wished to carry 
bim to a station and show him that he was need- 
lessly alarmed at these winged carriages which 
fiew across space with the swiftness of an arrow. 
He saw the smoke issuing from the engine and he 
Hunted. This is the story. Finally, afier many 
difficulties he succeeded in storting again in the 
carriage. It did not take bim less than eleven 
dvft to come from Lyons to Paris. He is here at 
last 

To ree^ve bim, orehestras ibonkL have been 
placed all along bis route, to play to him his 
chefs d'ffiuvre; but these ovations mi^ht have 
wounded his snsceptibility, and for this reason 
doubtless no manifestations were mode. 

We have seen him again with his radiant smile, 
his eye full of frankness and vivacity, a brilliant 
converter, benevolent, friendly, and as formerly, 



bis mind is always tnmed towards tbe gayesf 
things of life. He miflers from an obstinate 
disease of tbe neirves, wbiob prevents bis deeping. 
We are certain that he would promise, to any one 
who would relieve him from this sulTcring a pen- 
dant lo " William Tull," But if science remains 
Ewerleas, friendship is on the watch, and who 
ows if friendship may not conquer Hippo. 

"Finally," be said to us the other morning 
while we were walking along the Boulevard, 
" here I am in the full light of Paris. What do 
you think, I feel that this motion of the carriages, 
this continual admiration, and tbe light of so many 
faces relieves me and makes me breathe mora at 
ease. One thing only diaturbs me, it is the dis- 
placing of the streets, all the houses are changed 
— I do not recognize any of tbem." Verdi, his 
friend, came to embrace him, and the two masters 
who reign over Italy, ponred ont their hearts and 
their secret thongbts to each other. After Verdi 
came Auber, who is sincerelv beloved by Bossini 
— " Will you believe," said he, " they live been 
tormenting me for the last Gfleen year* to vrrite 
comic operas — have you not got Auber ? No one 
cad do It better than be V He esteems also very 
highly Prince Poniatowdi. He was one of the 
first who came to do bim bomase. " This is a 
privileged family," said he to M. Auber in presence 
of the prince: "if he and bis brothers bad not 
been ^reat lords, they would have bad a glorious 
name in music." 

It has often been repeated that Bosnni tacked 
tbe fibre of senwbititv ; this is another of the 
calumnies ciroulated about him. For more than 
thirty years, as is well known, our friend Miry has 
idolixed the author!^ tbe Barber and Semiramide, 
he lias written pages on these masterpieces sucb 
as be alone can write. But wilt it be beUeved, 
.that whenever an occasion presented itaetf far 
sedng Bossini and talking with him, be has kept 
away out of a respectful timidity, which amounts 
to veneration. Rosnni expressed a desire, on 
arriving, to make the acquuntonce ol onr poetical 
friend. " Let as go and see the master," said 
Mbry lo me the other day, " but I confess I trem- 
\Ae at the thought of it ; I cannot imagine I am 

Sing to see a human lieing." Before entering, 
^ry, who bad not spoken a word for a quarter 
of ail hour, grew pale and trembled. He stopped 
at the foot of the staircase, and could not go any 
farther. It was only by pushing, almost lifting 
bim, so to speak, that I succeeded in getting hua 
into the presence of the master. At sl^t of 
Boesini.an immemiengh stifled the vwceof Mfary, 
his eyes overflowed with tears, he liegan to weep 
like a child, and sunk ftUnting npon a sofa. Boa- 
sini, wbo till then had with pain restrmned lu* 
emotions, was suddenly seised with a sort of ner- 
vous attack, and began on his nde to give vent, 
in a gash of tears, to his ioexpreasible happiness. 
Madame Bossini, who was in an adjoining room, 
arrived at this moment, and seeing this aJSecting 
scene, conld not retain ber tears. It wot a moet 
moving spectacle. Mfery slill remuned, he could 
not find a word to utter. Bosdni soon recovered 
his usual gayety, and in vain entered into bis witty 
Btyle of conversatioD. M^ry could not recover 
his self-possesnon. Only on quitting the master 
he succeeded in sayine, "I have bad durins my 
life, two admirations, Virgil and yourself— I have 
learned by heart the verses of Virgil, and I nng 
within myself jour munc, better than Rubini, 
Smitog, and Malibnn." And in this way we 

All through the day and evening tbe house rf 
Ronini b emptied and filled with visitors. Tlie 
■ matter receives every one with extreme affability, 
and bis wife is near him like a sort of guardian 
angel, penetrated with the grandeur uM dignity 
(rflier miaion. Madame K]asir= ' ' -■^- - 

devoted bearta, one of those dii 
wUeb suffices to tbe wantt of Ais spl 
whcHD every one ia now sanounding with reject 
and admiration. 

Tbe question is cAen asked, what will Boesini 
do? The more be is seen the more he talks, so 
much the more it ever^ one convinced that be it 
not Icrt to mntic. His ideas have nvrer been 
noti Innunoos, bit lie&d man solid, hit heart 



li it one of Iboea 



Uigitzed by V7V^*.^Vl^^ 



'3' 



DWIGHT'S JOURNAL OF MUSIC. 



tDorawanni wait kwhila and he mttf jet nupriae 
tualL 

BalHer queer, if oot bbidout, some of that I 
Etpeciallj those sentimental outpourings with " his 
friend Yerdi, and his friend Auber;" though the 
latter ooaDds more probable. The AdBtrtutr 
■ppeods Ihe following reasoiiable commeat : 

Koamni was bom id 1T90, and conseqaentlj is 
now sixtjtix jesrs old. The statement of the 
Paris letter-writer that he is in full poeession of 
his faculties seems somewhat doubtful, af\er the 
account he gives of the manner in which the 
old composer made his joumej. He certainly 
does not seem to be very strong in the matter of 



his feelings on occasions which do not seem, after 
all, to have been very exciting. 



Vnr Viowi of Opera. 



The workioe of modern opera, in 

"' '' ' ' 1 a subject of the deepest 



relation 
publicilj, has long been 

and most violent rcpugnanee to honoi^loving art- 
ist*; they accused, bowever, oalj the corruption 
of iMte and the frivolity of those artists who took 
advantage of it, without ever suspecting that this 
corruption was perfectly natural, and, therefore, 
the Irivolity in qneslioo a completely necessary 
consequence, if criticism were what it supposes 
itself to be, it would long since have aolved the 
riddle o£ error, and fundamentally have justified 
tlie repugnance of the honest artist Instead of 
this, however, criticism itself merely experienced 
the instinct of this repugnance, but^ped about 
after the solution of the riddle, wiih the same 
bewilderment as that with which the artist him- 
self moved, within the error, in search of outlets. 

I have, lying before me, the work of an excel- 
lent and experienced critic ; a long article entitled 
" Die modeme Oper," in Brockhaus's Gegeateari. 
The author collecla all the remarkable apparitions 
of modern opera, and teaches us, from them, most 
plainly the whole history of the error and its rev- 
elations ; be almost points out this error with bis 
finger ; nesl'ly reveals it to our eyes, and then 
feets BO incapable of pronouncing with decision 
his reason, that he is compelled to prefer, when 
arrived at the point of the necessary decision, to 
lose himself in the most erroneous representalions 
of the apparition itself, for the purpose of again 
tarnishing, to a certain degree, the mirror which, 
up to that time, was continuing to shine more and 
more clearly for us. He knoat that opera has no 
historical (it should be, natural) origio, uid that 
it did not spring from the people but from artistic 
caprice ; he guettts the injurious character of 
this caprice quite correctly, when he points oat, 
as a^ad misapprehension on the part of most of 
tbe living German and French operatic compo- 
seta: "£at they exert themselves in the path of 
mustcot cbaraclerisiic to produce effects which 
we can only attain by the tagaewu words of dra- 
malie poetg;" he comes to the well-grounded 
doubt, whether opera, in itself, is not a completely 
contradictory and unnatural form of Art j ha re- 
piesenli — though, in this instance, almost uncon- 
scionsly — this unuatnralness as carried in Meyer- 
beer's works to the moat nobecoming pitch; and 
then, instead of prooouncios roundlv, and curtly, 
the nec^pry conclusion which is almost already 
known to every one, suddenly endeavors to assure 
crtliclBm eternal life, by expressing his regret 
thet Mendelssohn's early death prevented— that 
is to say, postponed — the iotvHoa of the riddle I 
What does the critic express by this regr«t ? At 
any rate, tmh' the asmmption that Mendelssohn, 
with his refined intelli^noe and extraordinary 
musicftl cspatMlilies, nast either have been able 
to write BO opera in which the proven conlradio- 
tions of this form of Art were brilliantly overcome 
and reconciled, or, from the fact, in spite of tbe 
aforesaid iutelligenco and capabilities, of his not 
being able t« effect Ihe task, that be woakl finally 
and Htis<«Btorily have borne iritneas to thcM coo^ 
tradictions, and thus exhibited the fium in qDe»< 



lion as unnatural and void ? The critic believed, 
therefore, that be could only make such a proof 



? Is it possible to find anything more 
perfect than every piece In his Don Juan t But 
what could Menaelaohn, under the most favora- 
ble circumstances, have done more than produce, 
piece for piece, compositiona equal, on the score 
of perfection, to those of Mozart? Or does the 
critic want someibing else — does be want more 
than Mozart gave us? In truth, he does', As 
loantt Ae great, vniform ttrueture of the tnhoie 
drama — atriclly tpeaiififf — (Ae drama in iti great' 
est fulneu and patency. On whom, however, 
does he make this demand ? On the musician / 
The whole resnlt of his penetrating survey of the 
apparitions of opera, the tight knot, of which he 
had grasped all the threads of perception in his 
skilful hand — he lets go, and throws everything 
back once again into the old chaos 1 He wants a 
house built, and applies to the sculptor or uphols- 
terer ; of tbe arehitect, however — who comprises 
in himself both scolptoi" and upholsterer, as well 
as all the other persons whose help is necesnry 
to tbe erection of the house, because be gjvee an 
object and arrangement to their common exer- 
tions — the critic never thinks I * * * And 
yet, although nnoonsciensly, be is on the road to 
salvation; this is, in reality, the road out of error; 
in fact, it is even more ; it is the end of this path, 
for it is Ihe destruction of this error, and tbe name 
of this destruction is here — the notorious death of 
Opera — a death to which Mendelnobn's guardian 
angel set his seel, when he closed his Hivorite'* 
ajBi at the right time- 



opera, the mnuc is employed really as the end, 
and tlie drama merely as the means ? Tbe most 
cursory survey of the historical development of 
opera gives ns an unmistakeable lesson on this 
bead : every one, who troubles himself about the 
establishment of this devebpment, would invotun- 
tarily — by bis historicfd labors alone — detect the 
truth. Opera did not proceed from the people's 
plays of toe middle ages, in which plays wc can 
trace the naturally combined worlcinE of the 
musical wilJi the dramatic art; but in the luxuri- 
ous courts of Italy — and it is a remarkable &ct, 
that Italy is the only great country of European 
civilization, where the drama was never developed 
io anything like an important degree — certain 
noble personages, who no loiwier derived any 
pleasure from Palestrina's chnrcn music, bit upon 
the idea of having aire, that is to say, national 
melodies deprived of their nalvet^ and truth, 
sung to them by singera, entrusted with the task 
of amuang them at festivals ; and to these airs 
were joined, involuntarily, and of necessity with 
a certain appeamnco ot dramatic connection, 
texts in verse. l%is dramatic cantata — the tenor 
of which aimed at everything except drama — is 
the mother of our modem opera ; in tact, it is 
opera itself. The further it proceeded in its de- 
velopment from this starting point, the more con- 
sistently did the form of the air, which was left as 
yet as the only mu^cal portion, adapt itself clothe 
skill of the singers' thraats ; the more clear be- 
came the task of t^e poet, whose aid was invoked 
for these murical diaertieemenU ; and this task 
consisted in furnishing a poetical outline destined 
to serve do other purpose on earth than to sup- 
ply the wants of the singer and the musical form 
of the air with the necessary words. Metaslasio's 
groat reputation arose from his never cauring the 
musician the least embarrasnnent, his never 
making any unusual demands upon bim, in a 
dramatic piunt of view, and in his thus being the 
most obedient and most useful slave d the said 
musician. Has this relation of the poet to the 
musimn changed, even as much as a bur's 
breadth, up to the present day 'i It has, truly, in 
what, according to pure musical judgment, is 
considered dramatic, and certainly diners from 
the old Italian opera ; but not in the least with re- 
gard to the chvacteristic oaturo of the relation 
iteelC Such is the case, and, at present, jost aa 



one hnudred and flify yean ago, the poet most 
receive hia in^iraboo from the composer; ob- 
serve the caprices of the music ; bend to the incli- 
nation of the mn»cian, in obedience to whcae 
lasle he must choose his tulgect; model his char- 
acters to suit the various kinds of voice of the 
nngers, nece«aiy for the purely musical comtai- 
nations ; provide dramatic foundations for certain 
musical focms, in which the mueician deares to 
iiulul^ at length — in a word, he must, in his 
Buboi^oate peeilioa to the muucian, only coa- 
struct his piece on the specially muncal intentions 
c£ the composer — or, it he will not, or cannot, 
pnt up with all this, be conridered useless as an 
operatic poet. Is this true or not ? I doubt 
whether the least objection can be r^sed against 
this statement. 



Itusti|at 0jdtti[es9anden4c. 



Hardn'a "O^eatloa" in bBTEIiBHBU, Fa. 

JuHB 39. — For the second time this oratorio of 
Hatdr has been performed by tbe pupils of the 
Bethlehem Boarding.&chool, an institDtion now 
Saorishing under the auspices of Ber. Mr. TVollb. 

The " Creation" by board iag-school giris t A 
novelty, as well as a wonder! But I can assure yoa 
that the thing has not only been done, but well does. 
We mused the orchestral aecompuiiment, which on 
a previous occasion had filled up Ihe besDIj of the 
performauce, but this omission was, in some measure, 
supplied by tbe piano accompaniment, presided over 
by a Swiss lady, an Instructress of the ptfpils. With 
this exception and that of the male voices, the piece 
was performed exclusively by tbe yoang ladies of 
the institution, numbering upwards of sixty, and 
selected from among the most suitable in age and 

The arias and dact passages having been bestowed 
upon several of the eider pupils, one or two yooog 
ladies from Pbiladelpbia ^d two Trom New York, 
were execnied with extreme grace and pnrity of feel- 
iug. Indeed we can conceive no better interpretation 
of this Hajdn music than when proceeding from 
youthful and newly developed vmces, when the Ufe 
is yet pure and the soul just enters apon its immortal 
career. There could be no better appropriation of 
the Haydn music, and I can assure you the present 
occasion corroborated this sentiment h) its fiill force. 
Jt is in some respects a different order of music from 
that of Ihe strictly srtistic or that of Ihe operatic 
troupes, where perfection often falls into the mechan- 
ical, since it drops around us the blossoms of life's 
early spring, in tbe shape of all those etheieally bar- 
monious conceptions of Haydn, rendered by the 
innocent tones o( the unsophisticated giri. What a 
contrast between such a composition and the yellow- 
covered music of the young misses who are reared 
in no other musical knowledge than the polka or the 
love-song I How it chastens aud elevates the imagl- 
nation both of hearer and performer, when sn^ tone- 
thoughts become the theme of study I 

In the immortal Third Part, you pBrticutarly feel 
the adaptatian of tbe maiden voice, the delicate and 
modest delivery of idyllic sencimeul, that constitute 
the concluding passages of tbe "Creation" one of 
the Guest melismatic emanations of the human mind. 
I could make no better suggestion to all such insii- 
tn^oos ss may be able to vie with that at Bethlehem, 
than to try this oratorio, or passages from it, if they 
can do no better, fn order to purify and establish Ihe 
taste of thrir pupils. 

Haydn's " Creation " ts everendnring, as a woik 
of that pore and sacred tone of thought and emotion 
which nms throngbout our common humanly. Iia 
universality of beling will make it live forever, even 
as our simplest En^ish poeciy, proceeding from 
bards of a century ago, never dies. I would say to 
musical clubs or associations, try 



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BOSTON, JULY 7, 1855. 



109 



HaTdn'i " CiMtion,'' m toot nobhct Axcrdte, a 



tbii pfltformance, I li«v« to 
noM dn fact that the "'Creation" wu first ictro- 
ditc«d In America, u the Bethlehemitei claim, by 
themMl(««, fn the year less. Aboat that time Mr. 
BnprBLDT, being on a viiil to Ibat place, was far- 
mihed with a copy of the work, and he ia laid to 
have giTen the Aral performance in Philadelphia. In 
(be Tear I8S3, the amatenr dtiiMi themwUca pro- 
daeed it, and it was alao attempted, with quite good 
■Qccem, the lame jear, at the Tillage of Nazareth, 
with the co-operation of the Bethlehem perfonnera. 
Since that time, the old " Creation," ai well ai manj 
other kindred oraloriot and clawical compoaitlona 
of HozAKT, Bbbtbovkk, Sfohb, HsiTDELaaOHa. 
KoHBBKG, and otheri, has been a standing GiTOrile 
at thia early birth-place of tacred and Ijric loug in 
America.* 

The eame f^lletnan who personated the Adam of 
theflrat " Creation," thirty-two yeara lince, atill atanda 
tip in all the rigor of three-score, (as I ahonld pre- 
same,) and with the yoathful warmth oi a rejuTcnes- 
ceaee, in the cloaing duettoi, thoae cbeft d'tenvre of 
idyllic melody. This ia my old IHend, Mr. Weibb, 
an old etteemed citizen of Bethlehem, whoae inner 
lift has ever been within the realma of tone. Wlien 
he ftrst essayed hia Raphael, last evening, I ihoaght 
that age bad been gently at work, and that the Toic« 
would no longer do the ludding of it* maatar. Bnt 
a aacond, or rather a thinl elTort, dispelled the illn- 
tion, and my worthy ftind came oat from behind 
the mist, as in the days of yore. When he aunsieB 
Ailam, be ia said to be fhlly in his element. Haiden 
afternaiden, (thiongh sncoeaiive generations,) who 
were his partner* ia these pastoral pasaagea, Myt 
paued ttota Aa scwte, and some mayhap from that 
of lift itself, yet Weiai atOI live* on in the glory of 
that elder stage of naohood which delights in ncall- 
ingold acbievemeDts. I have alio to renark^apon 
the very commendable ringing of Hr. Bobfpbv, 
whose excellent and correct tenor voiee, aa well a« 
his venatility in initnimeotal mnsio, places him in 
a high position of mnsical proHciency. 

Bethlehem, the time-honored and the historical 
resort, still stands on the banks of that old Indian 
Lehigh stream, in all its placid beauty. Some 
modem forms of innovation have in some meaaote 
changed the associations of the place, yet Nature's 
picture of the Lehigh and her green-dad monntains 
ia the soathen background remains the tame, — 
When the old clock frota the belfry chimes Its qoar- 
ler* and its halves, when the sounds of genuine, 
clawic mosic emanate from the old walls of that 
venerable ch^>el, or when at midnight your bear 
the footsiepe echo on the pavemenjs and the quartets 
sing " The Chapel," or Wo Kraft md Muih, you feel 
that it is Bcihlehem still I 

Many artisies of known celebrity have, from time 
time, directed their steps bithcrward and made it 
tbeir abiding ptace during the summer monlhi. Not 
the leaat of these were the Bavarian IltRMAxng, 
some years since, and at a later period tbe lamented 
Enoop, as ti»o Waldtbufbl. 

A congenial mniical atmoq>heie was not the only 
attraction, since the general pnujtieal Inspiration 
which aeenie to hang around the spot, draw* within 
its embmce even those who have no regard for the 
musical aA 4. r. 



ftusiiiiiKl^Iitt-d^Iiat. 



tbtn k ■ tHKl Uot; leld of a eeaBttTraaa, wUch hiTt««l 
■Hu jean tga. TIm " CnMloo," fnm in tnqaiiit pirftai- 
[ aar*, bad baHOH wlddT knoini, uil unnibdi nviud to 
, bw It IVm Bttchbarfaic towni. Knn lb* ran] pspnlatkia 
td*« It lir nn* ( A>U;!fW«, •■ k aaid to W ■»! wHb e«r- 
I Duatnt,)— asdacvBiliTUB hiHHBlBctBBMlnHBr Uw 
I BMhlebem vIrtDori iillh hia litliii, iiddnMtd hka Ihiu : " Ick 

(I lianso oftmbMHaf UM''acMlM,'>Mmhnrjsa 



In Boston the mnsical seaaon i» at length foirly 
over. Opera placards have ceased from the comcn 
of the streets, and concert puHk and advcrtiiementa 
from the newspapers. Thank Heaven t will the 
most inveterate concert-goer soy, in snch days with 
die thermometer at ninety. Tbe only strains now 
beard abroad ai« those of the street oigans (trgtuM 
dt Btatarit) and brass bands. A pleasant sight it is 
to see the crowds upon the Common one of Aeee 
lovely evenings, standing or itretched opon the gras* 
upon the slopes of the broad amphitheatre, listening 
Co the music of these bands, and onen hearty in their 
applause of the best things. We beard flue playing 
there tbe other night by the Germania Serenade Band; 
fine plajing, too, with several really good selection* 
on the evening of the Fourth, by one of the other 
bands, near which we chanced to stand, (we think It 
was the Brigade ;) and from one of tbe Circna bands 
npon ibe Public Garden, there came wafted to ns on 
a welcome breeze, that sprang Dp a* we crossed tbe 
Common at noon day, the rich strains of the Ftbg^ 
sB&Us OTertore ; it was neatly, tastefally and expres- 
sively perfbnued entire, alihou^ tbe iasmnieiitB 
were all of brass, (the morn's the pity,) as with all 
obt haads. Patriotism seems to have inspired theso 
to do their best npon the Fourth, for among the 
soimds that reached ns through the bedlatn of that 
day we many times remarked strains truly eopho- 
nions and musical ; lest screaming out of tone thao 

In New Toik tbe hot days of the past vreek seem 
not to have driven away all music. Some mtiling 
strains were left. Silvery-voiced Locjsa Fthb has 
been singing in three operas : to wit, Balfe't "Daugh- 
ter of St. Mark" {or " Catarina Comara"), the 
"Daughter of the Begiment," and Ibe new comic 
opentta, written for her, called " The Queen of a 
Day." Then, loo,^ybavehadITegToHinTtrel8y,of 
the teal native tort, and in Its more aspiring phas«s, 
snchasMias Gukbfixld (the BUck Swan,) the 
Ldoa. family, &e. Don GioBomti by theLaoKAxOB 
Troope, at tbe Academy, drew two large and enthu- 
siastic hoase* last week, and now the artistes nay 
seek other, perhapt wbolesomer than operatic ain 
and hreeia on, the sea-shore and the 



The original score of Hozakt'b Dm Jmut, (to 
attested by the representatives of Herr Ardbi, of 
Ofienbach, to whom it wo* eotiGded for publication, 
and who purchased atl the Mozart manuscripts,] after 
having been long in tbe market and offered to many 
libraries, baa found a purchaser in Madame Yiabdoi 
Gabcia. It ia described aa all but complete, and 
"full of Interoailng indicia and chaoges made by the 

compoaer's own hand-" Ybbdi, it appears, 

fbnnd a new obetacte to the production of hia Fi^>ret 
Siciliaaui at the Grand Opera, in the tfaraatened 
divoreion of pnbtle lotenst through the annamiee- 
ment of AtBOBi In the' PrvjMt for the 39ih nlL 
Be wished to withdraw his work ; but finally arrang- 
ed it with the managemeat that it (hovld have 
twelve performances before Alboni should commeaoe. 
This is one itory. The AHauumi aayi. La Vipm 
ii again postponed for alterations, and "the next 
opera in order at Uiat theatre will be the &nta 
Chiara of tbe Duke of Ssxe Coburg, by express 
imperial command: ¥«ere, as 

A daiuly didi to set before oar Queen 7" 

L'EcoiU da Kord is said to be in tcheanal at Co- 
vent Garden, Meteruber having sent forward tbe 
recilBlives which are to be substituted for the spoken 

dialogue in tbe original libretto The German 

tenor, Bbicbabdt, now In London, la s^d by some 
to stand in the first rank among (he tenor alngen of 

tbe day. Coava, the famons conductor, is to 

prodace ■■ otaUrio of hi* owb at Ibe BlmiBgbaiB 



Festival this summer. The " Mesriah," " Elijah" 
Bnd Beethoven'* Ninth Symphony will also be pei> 
formed. 

It is reported that Max UjkBBtXBK Is about to 
pnhlish the "Experience* of a New Toffc Oper* 

Haoager for many Unsnccetsflil Seaaon*." 

The citizens of Worcester, Masa, enjoyed last week 
a musical soirde given to his friends by Mr. Cabl 
Sbbtz, previous to his reunioa for tbe summer tea- 
SOQ with his old comrades, " the Germanians," at 
at Newport. "Stella," who pleasantly gossips of 
such matters in the PaUadiam of that rural city, 
says: " The progratnme was an excellent one — full 
of variety and beauty ; and tbe performances were, 
tfarongfaont, highly creditable to those who gave 
them. The opening piece, b sonata of Beethoveai'*, 
for violin and piano, was played by Hr. Sentz, and 
a yonng lady pupil, with marked taate and fbding. 
In this, •* 1q tbe playing by tbe aame perforneT*. of 
the lovely Minstrel song and the beantiful Serenade of 
Schubert'*, there was a strict adherence to the ideas 
of the composer, and a total absence of empty fionr- 
ish, which, in these days of virtuosity, is truly re- 
freshing. Mr. Senti proved himself an able inter- 
preter of the various styles of German piano-forte 
music, in his perfonnance of a Nottnrno by Schaloff; 
one of the Song* without Words ; Chopin's " Marcia 
Fanebre ;" and Beethoven's sonata in C sharp minor, 
or the Moonlight Sonata, as it is generally called. 
Hia playing is charaeteriiad by a depth and purity 
of *^te iriiioh makas one lose sight of die skill of 
the player in admintioB of the work performed. 
A very pleoaing featuiB of the evening's entertain- 
ment was the singing of the JUthnercW — a dab, 
which, althongb yet in its infamy, shows the fine 
training it ha* received. The members have voioe* 
of remarkable freabneas and flexibility; and their 
*ingiag of the glee* of Meudeiosolm, Morcbner, 
Zollner, &e. was in tme. German style of asimation 
and expression." 

Are not the people of Moravian Bethlehem, of 
whose performance of the "Creatian" our corres- 
pondent writes so pleasantly, mistaken as to their 
having been the first to bring oat that ontoriot 



Jfflt^ht's Jottiiiml of ^mt. 



BOSTOZT. JULY 7, ISSfi. 



A Beguming, and ft ffiut 

For tlie first thoe, we beHeva, in the histoiy of 
oar American ITiitverritlea, has there been a for- 
mal academic recognition of Unaic a* legitimately 
(BM (rf' " the bnmanitiea." TheUniverntyof New 
York, at ita Caauaenoenent, June S7, confetred 
the degr«e of " Doctor of ilhuie " upon oar dia- 
linguiahed coniitrfmaii, Ur. Loinux Hasoh. 
We tmat it w31 not be many centnrie* longer 
before our Univeistiea ahall embrace Mnaieiri 
PitifeMorahipa in Aeb leaned Faculties. Bich 
would-be benefactora may do aa nmch good to 
posterity by endowing echools of Art, as bj en- 
dowing achooli of Idteiatore, Theology or Science. 
Nay, an amply endowed permaneDt proririoa of 
the highest kind of orcbeatnd concerts, otatorica, 
fto., in a eitj like New York or Boston, lifling 
these thinga ibr above the fluctuating patronage 
of balf-«Qhivated pnblioa, wd so keeping die 
■brndud alwaT* elancal and kigb, and ruUng out 
idl cl^trap and mere fiwhioD, were aa oaeliit and 
M noUe a diapoaitioa of a mQlJonure's abondanoe, 
M tke beqiMst'of a like fund ft* any sort of anew 
p ro flw sot^p at Tale or Harvard. Can Greek 
or Lafin, Algebra or Logic, do nKire to refine 



Uigitzed by V7V^*.^Vl^^ 



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no 



DWIGHT'S JOURNAL OF MUSIC. 



and hnmuuie and elente tocietjr, than a deep, 
intimate lore and nndentandiDg of the great 
tone-creations of the inspired maiten? Can 
Homer or Virgil qiucken the human tool more 
llMn BeethOTen ? And 19 it anj estravagaoce 
of Sine; to Bngg«st that Handel's " Mesnah " may 
have docs aa much good in the world aa Dr. 
Paley'B Ethics 7 

These are hints which we think it behores the 
&therg and wise men, the " men of eminent 
granty" of our communis to consider. Until 
recently the worth of Munc, as one of the great 
means of intellectual, emotional and social culture, 
has been little known or dreamed of in this busy 
land, save bj a few isdated enthunasla, or small 
groups o{ ouch. But now there are thonsands 
who will not hesitate to ascribe much of their 
best culture, much Hiat is most precious and most 
Boul-enpporting in life's feverish and perplexed 
career, to Munc ; thousands who feel a debt of 
gratitude to it as deep ai any feel to Plato and 
the great philosophers and poets, or to all the 
lights of literature and science j thousands who 
need not look upon that noble statue of Beethoven 
in the Atheneum, to feel that there b as great 
and noble sphere for tbe devotion of all a man's 
intellectual and spiritual energies in Music, pur- 
Boed as an Art, as there can be in any honored 
occupatioD. Now if this were as widely and gen- 
erally beliered, as it is unquestionably true. 
Music would be as liberally and variously en- 
dowed in Colleges and Uuiverutiea, in lyceums 
and concert halls and lyrical temples and con- 
servatoires in eveiy city and large town, as any 
of the branches of scholastic culture have been 
from of old. 

There is no lack of schooh and colleges. There 
is no lack of funds, by subscription or bequest, for 
any needed number of professorships in any old 
or modem literature, in any branch of Physics 
or of MetaphyMcs. There is wealth enough, and 
the wealthy take a patriotic pride in these things. 
Whatsoever is expended upon public education 
is accounted well spent It is among the glories 
of the merchants of Boston, as a class, that no 
subscription for a new observatory or telescope, 
or for the founding or strengthening of a scientific 
or a literaiy professorahip, with a live man to fill 
it, is ever snfiered to All to the ground among 
them. Whose are tbe names borne by ao many 
ofthebegtfbundationsinourAlmaMater? They 
are the names of public-spirited, &i-teeing, pros- 
perous merchants, who saw the value i^ education 
to the coming generations, and who felt it a dn^ 
which they owed to their children and their coun- 
try, to open, out of their material abundance, 
permantnt fountmns of such education in its kv- 
enl branches. Every month brings report of 
some mimificent donation or bequest of this sort 
Tet never «o fiw do we bear of anybody in his 
wilt bequeathing fifly or even ten thousand dol- 
lars for the endowment of any thing musicaL 
And why ? Simply because the conviction of 
the usefiilDeas of such an object has not acquired 
the sanction of society at laige, has not become 
public opinion. Thoee having the means and 
will to benefit posterity, bestow thrir wealth, as 
others have done before them, upon certain old- 
bshioned, respectable, conventional good objects. 
Few seek out new and equally needed ways of 
doing good. Here is a wealthy and eccentric 
old bachelor, who has original notions and refined 
tastes of his own, amcmg which perhaps a paaaon- 



Hte devotion to good music, to indulge which he 
thinks it little to appear strange and visionary to 
hU neighbors alt his life. Ht believes in music; 
believes in it enthusiastically, extravagantly ; 
cherishes it in his quiet way as the divine fire of 
his life ; yet it is a hundred to one that when he 
comes to make bis vnll, he irill bestow all he has 
upon some conventional old form of charity, npon 
a hospital, a Greek professorship, a chapiel, or 
what not without its once occurring to him, inas- 
much as it never kai been done, that it is quite 
practicable, and wonld be an extremely nsefal 
thing for him to open a perennial fountain of that 
divine Art he so loves to those that shall come 
after him. But wait a few reara ; let Ma^c be- 
come ax tcidely prized and honored, aa now Greek 
and Hebrew are, and here and there a dying 
millionaire will begin to think he has a debt to 
Music too, amon^ his reaponubilitiea for tbe true 
cultore of po^terilj. We do not despwr of this. 
No one who knows and feels the social worth of 
munc, can despur of it If it have such worth, 
it must ere long be generally felt, and then sub- 
scriptions, donations and bequests will come as 
naturally for thia good object as for any other. 

Two ways have occurred as worthy. One is 
to give St Cecilia her chair among the ^r and 
venerable "bumanitieB" in our old nniver^tiea. 
Another way, and one which would result in even 
more practical good, wobld be to endow a large 
permanent orchestra, under wise and strict con- 
ditions, for the frequent public pe'rformance in 
any city of the really great clasacal eompoMtions 
of the maslera, — or still better a Conservatory, 
which should embrace this among all the brsnchei 
of a complete proviuon for musical Induction 
and example. We mean to agitate this subject,, 
and from time to time develope these hints, under 
various aspects. 



Hiq London Hnaioftl World— Wagner, tsd 
Copying without Credit 

The London Musical World is translating for 
ita readers the entire book by Richard Wao- 
KER, called " Opera and Drama." This is much 
more to the purpose, than that constant and by 
no means elegandy rhetorical abuse of him, of 
which we have quoted a few specimens. This 
may do something to enlighten the world of thoee 
who speak the Bnglish tongue about the real 
sprit, tendency and purpose of the man, and we 
feel tempted to make extracts laigely, thank- 
ing the Worid for saving us the trouble of trans- 
lating. For Wagner is a man of genius and 
ideas, whatever his shortcomings or extravagances, 
and his criticism on the Opera, as now and hither- 
to existing, is one to be considered. 

This reminds us that we have been saved the 
trouble of fighting our own battles lately vrith the 
said London World upon the score of " copying 
without credit" The New York Mimeol Re- 
meU!, whose labors have been umilarly preyed 
upon in that quarter, and which moreover has 
provoked the satire of the World by its London 
correspondent's admiration and defence of Wag- 
ner, has gallancly and generously come to our 
rescue, noticing the World's retaliatory charges 
npon us. Tbe London World contained what 
seemed an editorial of its own about Wagner, 
which was almost word for word identical with an 
article by our New York contemporary. On 
being charged therewith it made virulent reply 
in its issue of May 13, saying among other things: 



The article of Wagner, alluded to above, was, 
historically, an abridgement of one which ap- 
peared in the columns of our abusive contem- 
porary, who had himself remodelled it from one 
much longer, aod much better, in Dwight'i Jour- 
nal of Musk, the best Art-paper in AmeriL'a. 
These were '■ the sources in our possession." The 
opinions were our ovm — quite opposed to those of 
the New World, which knows little or nothing of 
Wagner; tnAihest were derived from "personal 
experience." When we inform our readers, that 
the editors of transatlantic music-" sheets," (even 
friend Dwight), have been lor yean in the habit 
of borrowing from us wholesale, with or without 
acknowledgement they will be inclined to smile 
at the outcry of our injured contemporary, who 
has scarcely ever an article worth rnding of hi* 



To this the Musicrd Btview replies, justly and 
truly, as we think : 

If so, why did not this editor abridge the 
"much bettor" article instead of ours? The fact 
is, there is no resemblance between the two aj- 
ticles, and the writer of that in the Gattttt (now 
Revitw') never heard of the existence of the other 
until the appearance of the present charge. Tbe 
Mutical World accnses Dreii/ht'i Jburtuu of steal- 
ing from its columns. Those who know Mr. 
Dwight have loo much respect for his intelligence 
to believe he would steal from that source, and too 
much confidence in his integrity to believe be 
would willfully take any thing without credit 

One of the best things in the Musical World 
article, is the remark that, "the £nf;lish press is 
BO represented that not one living being can hon- 
estly cast a stone at any one of its repicsentatiTes. 
They may be wrong, even incompetent ; but ihey 
are upright and honest to a man." Terilyl the 
world must have grown honest since Diogenes' 
time I However, we all know " there's cheating 
in all trades but oura." If ali be honest, each 
individual of that "all" mnstbe. A poor kind of 
argument, this, to prove one's honesty : but per* 
haps it is the best tha Matieal World could find. 

The London H'orUaAerwards takes occasion to 
remark that it is translating Wagner's book " for 
the benefit t^ Mr. Dwi^t of Boaton, and other 
Transatlantic journalists, who, pirates themselves, 
will not tolerate piracy in others." 

This is very smart, to say the least ; accuang 
us (and everybody) of what we for one do not 
confess, as if the smoke and bluster of such accu- 
sation could conceal the awkwardness of the 
confession on your own parti When yon aay we 
borrow frran you " irith or irithont acknowledg- 
ment" why not state definitely and frankly 
tehieh t Once for all we declare, as a careiiil com- 
parison of the two papers will confirm, that we 
have in no instance copied or quoted an article 
purporting to be original fri»n the London Musi- 
cal World, without giving credit to that source. 
Wilh credit we have copied frequently and largely, 
as our readers know. Many things also we have 
copied in the shape <rf summaries of Foreign 
News, litde scraps of information, floating para- 
graphs of solid matter, such as we find in eveiy 
paper, and for which we give no credit, ance 
there is no knowing in such cases whran to credit 
This is the universal practice in all journalizing. 
We may once or twice, too, have Imled to slate 
that we found a certain translation, which we 
published, in the Mtuical World; butitvraain 
the want of evidence that said translation origin- 
ally emanated tkim that source and was not a 
borrowed article as we there found it We be- 
lieve there is no estabUshed prindple of news- 
paper ethics that condemns this. It is idle there- 
fore for the World to try to confound tAis sort of 
borrowing with its own habit of copying without 
credit original editorial articles and transraticna 



Uigitzed by V7V.^*.^V iv.. 



'3' 



'BOSTON, JULY 7, 1855. 



Ill 



made exprevly fbr the American jonmab, whicb 
it would (Un include in one nnUiuhini;, jollj 
piraticaJ fraternity n'uh itself. But enough said. 
We shall sdll take pleasure in transferring to our 
columos, when we have room, and aiih credit, 
anj good things, or interest! Dft, which our august 
and enlerprising tranutlandc senior may scad us. 



Xnsic aBDng the Blind. 

Bjr invitadon i^ Dr. Howe, the superintendent 
of the Perkins Institution for the Blind, at 
South Boston, we had the pleasure last week <^ 
witnessng the musical proGcienc.}' of (he pnpils. 
Mnsic, as all know, enters largely into the system 
of education pursued in such iastitutiona, and has 
proved an iuTaluable reaonrce to those unfortu- 
nately cot off from the delights and the rcfiulng 
influences at the sense of sighL ' Ueaverdy Music' 
it mast indeed be to them. It was at the closing 
of the term, and this opportunity was taken to 
show what had been accomplished, while the 
school yet numbered mAoy of its older and most 
advanced pn^ls, who are not expected to return, 
but now go out to seek their fortunes in the world, 
armed with this Gne accomplishment to serve 
them in the otherwise unequal contest. Some 
of them irill be music-teachers, oi^nists, singers 
in church choirs, &c., and are well fitted for these 
functions. One, a young lady of Gne ability and 
rare proGciency, advertises in our columns for a 
dtoatton of this kind, and from what we witnessed 
the other day, as well as frooi the report of her 
teachers, past and present, ve do not hesitate to 
commend her claims. 

We were highly gratified by the exhibition, as 
were a room full of visitors interested in murac 
and in the education of the blind. Pma ioOy to 
fifty pupils, cS all ages from six or seven to sis- 
teen, took part in the exercises. They were ar- 
ranged choir-wise across Mie end of the pleasant 
music-hall, in ranks retreating npward to the 
organ, the youngest children in front When 
they sang in full cbwr, they were divided (more 
of courts with regard to vocal aptitude than to 
true choral balance) in about these proportions : 
Soprani, 17; Contialti, 14; Tenors, 6 ; Basses, 
6. Of these some have bad instruction only a 
year or less, others have been pujula in the insti- 
tation fbr many years, and under its former &ith- 
ful teachers, as well as under tbeir present snc- 
cessor, Mr. Aksorqe, a gentieman who has been 
through the whole course of thorough Normal 
tr^ning in Prussia, and who appears to unite 
benevolence and moral eameriitess with true musi- 
ciansbip and faculty for teaching. We could not 
see but that the youngest members of the chorus 
to^k every note as promptly and ai surely as the 
Others. 

A list was handed vs 4^ all the pieces that had 
been learned during the year, including a doien 
grand oratorio choruses; seventeen three and 
fbur^iart glees ; over twenty hymo tunea ; right 
glees for male voices; twenty-two songs, duets, 
and trios ; beridea a number of simpler children's 
songs ; and instrumental pieces, of wluch hereafter. 
From these we selected several pieces which were 
sung without previous warning. The Hallelujah 
from Beethoven's "Mount of Olives", and the 
Hallelujah from the " Ueesiah" were sung cor- 
rectly, in good tune throughout, and with spirit. 
It was good honest fbu>pBrt tin^ng. Svery 
Tfflce was heard and every vwce was tme. The 
sopranos, as a body, were clear and musical, if 



there was no vnce of rare beauty. We were 
particularly struck by the promptness and effec- 
tivenees of a row of small boy eontralii, who 
would be an example for any of our oratorio so- 
cieties. These choruses were finely acctonpanied 
on the organ by one of the older pupis, who has 
a neat touch, which he aflerwards exhilnted'to 
advantage in an elaborate fiintasia piece on the 
piano. All that seemed wanting in these chomsea 
(besides of couree more bass and tenor) was that 
fineness of expression, that light and shade of 
sentiment, wUch it would be too much to expect. 
Let those who ever preach abont the life of the 
senses as opposed to the spiritual in us, connder 
that the loss of any sense is the privation of a 
refining, spiritualiiing influence ; that, other 
things being equal, he who has all his senses beat 
developed, is the most refined, nuut BpiriCual per- 
son. Wheretheheavenlyhinta of outwardbeau- 
ty find no entrance, there is naturally less reGne- 
ment and delicacy of feeling. As a general 
rule, the vdces of the blind are harsh, their man- 
ners coarse and awkward. It is much less so in 
this Institution, where the whole system of edu- 
cation is liberal, kindly, harmonious and pervaded 
by the lesthetic spirit. Still, one cannot help 
noticing the drawback; in the nn^png of theae 
children expression cannot quite keep pace with 
technical perfection. And yet how mnch has 
been accomplished, even in this higher directiou, 
by the Institution for the Blind I 

Other pieces sung by all together were the 
hymn : " Bowen " — sung in a style which it would 
be edifying to hear in any church ; the " Mar- 
seilles Hymn," very eflective; and the lively 
choius glee ; " Good Morning," in which the an- 
swers were passed about very promptly. The 
Aogel Trio, from " Elijah," was very correctly 
■ung by three young ladies, of naturally good and 
well-trained voices. Schubert's song : " The Last 
Greetiug," was sung in unison by several sopranos, 
and in good style. A fanny glee : " Johnny, can 
you count twenty-Sre," for two tenors and two 
basses, four on a part, was given with a relish, and 
no note missed in the sometimes intricate move- 

Of solos we heard only one, the difficult scena 
from Dtr FregschOXz, which was a creditable 
asjnration on the part of singer and accompanist, 
although rather a large undertaking. The Hat of 
songs included Adtlaida, and others of this high 
class, as well as simple ones; and moat of these 
pieces have been learned by all the voices of the 
proper compass : i. e. they have been committed 
to memory, note by note, so that each can sing 
them with more or less effectiveness. 

For Instrumental matic there was not much 
time. We heard an organ piece, with short 
fugue, very cleaHy and firmly played by a young 
lady. Another played a Sonata of 'Haydn, in a 
way which showed good training, although the 
piece was marred, in the present instance, by 
timidity ; and another executed the Ada^o from 
one of Beethoven's earlier Sonatas, very nicely. 
The Fantasia on the Fille du JUgiment, by one 
of the boys, and perhaps the best player ib the 
Khool, has been referred to. Three classes of 
boys, and three of girls, are taught die piano. A 
class of six scholara have learned voluntaries, 
cboma accompaniments, and tunes upon the 
organ ; and eleven boys have made considerable 
proficiency upon the vii^n. 

Questions in the theory of mtisiq were put ^ 



the teacher and answered in a manner which 
left no doubt that most of the scholars have a 
pretty clear understanding of scales, keys, inter- 
vals, chords, resolutions, &c., and several of them 
showed at the ptano a very ready fiu:ulty of mod- 
ulating from one key to others however remote. 

Upon the whole we found satisfactory evidence 
that the pupils of the Perkins Institution have 
been well taught in muric. The teacher, of 
course, is not a tittle aided by the whole spirit of 
culture and good management that pervades the 
Institution ; but his task can be by no means a 
sinecure, since every pnpil most be taught every 
note by ear. Mr. AsaoaoK plmuly is the ri^t 
man for such a place, and will carry on the work 
so well began by thdr first teacher.Mr. Ebllek, 
and continued by his worthy successors, Mr. 
Hach and Mr. Werneb. 



Sdo^rttsemitnts. 



HENRY S. CUTLER, 

SSACBSl 03 XaiB 8Aff AV, 

BABIUBNT XOOU lit Tm CBtTROH OV THI ADVKKT, 
ataXS BIKUT. 

' b* Wt vlth OuvD Ilinaa, or wtth 



BnatDD DT TjDinJtj pnhnu 



BfCUO TBACBKR WANTED. 

WANTED, IB* B«iBlurri>riitshsrd«' Id (bHlttaTloalUT 
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carloni tot lulnutloD upon tbe ^uio ud in Tocat miuhi. — 
„ . — „ — ._^ ,„ b» Biii. te Osomni P. - — -~ 

, .. 'byf - - - 



_L.MCBIO. Jnat PwUUlMd.— Th* riBilB, aOm- 

IhHihi of popnlu Bon(i, Optnttn AIb, WiIimi, Pattu, 
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FIdUbl Tliliwaifc«>BUluowia)plnHarBiule,iMlBII- 
Ing lb* toUoriBc UBOni otlut •ana sith word*— an nniuut 
liUDnlDibaokofdiliMDil: AnntoL*WTW,I>otta(inlaBi« 
■t bBma, Kit; Pirlliii, Ulj IMM, Occu BiuU, tadV/tSl tm 
UifWmgnD. Prln odTt 60 c«ti. 
Pablfilwd bj OllTsr DltaoB, lit ITuHiwlm £(. 



NEW COURSE OF HARMONY, 

BT I.. H. BOCTHARO. 



. TwL TMEtun UibI]' eaoiBUiKI tb 

WiLLua Hiwin hti It Ii ■ work minirpuMd la I 
Ht. Osoiai J. Wm —ji Uwt K la > 



D tlu ttctlpt Df iba piin, 



B.fb.4i 



OTTO DBESZL 

. iithw on tht pluB, asd naj ba addnawd U Ih* 

xviu Hocaa. Tarma : — UO p>v qoiRcr of 21 [naiiiii, 
ro a nek ; BSD par qnarlar of 13 uaaoiu, oaa a vaA. 



WZLLIAH BEROEX, 

PHbllllier and Importer of Mnsle, 

It». H Wast 4th Btrsac, Clnolnnatl, 0. 

RBXF9 cotMaatb oa hud ■ Larfa and Baliet BtMk ot 
IHPORTKt MiFBIG, ftc (III at laatan piSoM. Nnr 



B aa paUWMiL ,_ 
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AdiM 



F. F. MULLER, 

DIRSOTOIt OV MUBIO AND OKGAiriBT at tha OU Bni 
Obnnb 1 Or^DlM and PtanlN of tba llaodol k ^rda 

Bode^i Hukial Idacatkn BocMf , a«. fca. 
lUaMemw, Bo. S WlBtu Pl»e, BmMb. 



Uigitzed by ViV^^^^Vl^^ 



'3' 



112 



DWIGHT'S JOURNAL OF MUSIC. 



Novello's Cheap MUSIC, 

(Imported from Engknd,) 

389, Broadway, N. Y. 

MUSICAL PRESENTS. 

NOTBl.LO'8 OCTiTO BDmONS OF OBATOHIOH In 
or Ptuw-Foru. fi; Tihciht Notiuo. Ttwg woiti iriirbt 



WORKS ALREADY COMFLBTSD : 
HAYDH'B 

(BO(ud]«lJG 

HANDKL'S 

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HjBD (f PnlM-LdfefMBg, (tuw) U 00 1 
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HOMItt Twdftb Umi,. . . .(Piw) S81 
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LW«tlk*B(ll, " 63 

AJI (lu CboroHs ftoK (^ oflteTo edltlou nuj b« tud ip^ 
AlwA flKa frOB Uu (lion OiMMkf to b* htd MpuM*lj 



JOHN SEWARD WRIGHT, 
ytanlst, Argtnist Rnb jilrutai of fBMS\t 

AT CHI UDSIO HALL, (Rn, Imubou PiftUk'l Socim,) 

C/Fsa ihbtkucxion on ths piano. 
SaaUante, 1> Aver; Btrwt. 



PIANZSI AKB TEACHER OF HUSIC, 

Onna Ui httIiim u u TutrMUr in tha lliflin lowwhM 
of FkDB plying. Mr H. bit ba iddnaHdu tta* mnrio 
ItoTH Of NUHAV BlculDBOir, 283 WiubloiteD St. or O. F. 
EtUB k Oe. IT Tmaonc How. 
Kinmo>:— Hn. C. W. Loil>s, n Mt. Tmoa Bt. 



IUh HlobolL SOShUi St. 
Via KiV. S nu^Un P)M«. 



THOIHAS BTAN, 

TEACHER OP MUSIC, 

I, Ko. IB DIZ PLACE. 



FOR THB XFIflGOPAI> OHCRCH. 

rrUI CHGKCH UA1TUAL: — A CoMipendlaiB of oiighnl 
X CuFTt, Rivoma, ata., loelndlne Ti Dm>, Qmaui, 
Bahotoi, fta. &s. Adaplad to tlw Hrrlea of Uu FRMotut 
Bplaooiwl Cbonli. Bj I, Bmiu. PrteaCl. 
Pnbltekadb* ~ 

Oltnr Dltunt, lU ira*yB(ln> SI. 



L. H. SOUTHARD. 
TEACHBB OF MUSIC, 



CHICKERING & SONS, 

HAmnAOTUBBKS or 

PATENT AOTIOir 

GRAND AND SQUARE 



or VfVKt ■antsxanos. 
ir ABEBeOHS, 

TRBMONT STREET, 
i^» BOBTON. a 



SUPERIOR TO ALL. 

UGHTE, ITEWTOir ABBADBBRT'S PIAVOS. 

NATHAN RICHARDSON 

WODid rupertfuU; Inflmn tlie public (bat ha liu takis Iha 
AgBDej liT U» New England ^taua, t«i ibe lala of tta* ibon 
»)ebnl«l InitniniRoU, ■ fill HaoRmmC of nblcb wtU aon- 
atantljbakaptathla 

MUSICAL EXCHANGE, 
288 Washington Street, Bosttm. 

TbMt lutmniintt i 



out own pabllnlloiu, ._, 

nrM^ of Bbnil If ode to ba finnd in Iha Ub 

moat IItK»] dliaount mada ta 1b« Tnda anil . 

CaUkgnaa aaat Oi bdj addnaa,cnilii.— Shi 

■Iwqa on taaikd.— PIANOS TO UtI, oa Him 



OABL OASTHER, 

TSAOHEX OF MUSZOf 

Har ba ftmnd U Ks. 20 Donr Straat, ararj tonnoon btl 
SudlO. o, 



PATENT AMERIOAN AOTION 

PIANO-FOKTE, 

BOBIOH, MASS. 



TOm LABIES' VOCAL IDSIG SCHOOL 

B. R. BIiAirCHARD, TMeliar. 

TbJ* fiebool la daalgnad tin UmH vho vltb to uaolra Uu 
ibUltj Id nod mualc nadllr at alghl, and I> putlcnlarlj adap^ 
>d to tlia nata of thoaa nbo daHn u 11 tbamaalTaa m taaeb 
^ "■ ' " Uon, from Iha baat mat 



MR. J. C. D. PARKER, 



n^LL bo ba|»7 Id gin tDitnicCIon In PtaDO-fort* and 
tl Organ ^U(, and UuThMOT of Mula. AddnM:— 
Ko, 8 Hajvard tlaca. Haj 38. U 



MEYER & TRETBAR, 

3iD{rart«B mi :^alilisjiw8 nf Mm, 



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n jBa tMiIo laacB ta ptar Im tba abortMt Una pOMible, bar 
RiOHARDeON-8 

■ODEBI SCHOOL FOB TEE riUO-FOBTE, 

«hkh la KkDOwladgad b; tba moat aoiiiMit moaldana of 
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baa mi batn puMUtad. Prioa Tbraa Dollu*. 

DT'PBbHilUK] at tba MUSICAL EXCUANQE, Boatoo, ind 



Me. J. Q. WETHERBBB, 



J. TRENKLE, 

TEACHER OF THE PIANO-FORTE, 
BcBldciue Ko. SO KnoslnB* Itnet. 



C. BREUSINO, 

IMPORTER OF FOREIGN MU8IO, 
701 BBOADWAT, NBW lOBK, 

Depot of Srard't Grand Picmot. 

OIROITIATIHa UOaiOAL LIBRART. 



ADOLPH BAUMBACH. 
T£AOHEB OF THB PIAITO-FOBTE. 

AB^IaaHoneuibt mada at Rcad'a HBat»^him, OI at tba 
NorKitk Houai, Boibnrj, Sept B 



L. O. £H£2B0N, 
9tuitt at ttt $lna-fotii, Aiagn, t JSinglng, 

OBOANIST AND DIRXOTOR OV HUSIC AT 
BDLnMCH BTKBBT CHIIRCa. 

Uufa Xmhi MHlff U< OwiA SaMnw, 13 bdlm R. 

ROITOS. 

AppBoalkiiiaiiaajalB ba m«la al OUnrDltBoii't, US Waah- 

iDftonBt., to wboD h* la pamUlad to raftr. 



BDWABD Ii. BAI.OH. KtTfllO AITP JOB PHnrciRO QgglOB. 



ORGAN-HARMONIUMS, 



MASON &, HAMLIN. 

THE Organ-Hanonnlnm in an tntlrelj n™ (paiant) n 



1. OniiW. It la da 



T large pnbtia 



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Itar«innivnd*d b; 
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i ambriat4St.tcBr.BfCkarln,}Soutm,aii. 



IfBV AESTHETIC JOURNAI.. 
THE CBAVOIK, 

A WaAlj Paper darotad to ART, olanltialftotbaattniHoo 
of all who an iaiamted In the altrallBg ud rcHnlng Influ- 
eBoHerBaaiujr. Abmb( IhaaontrlbiManto IHB CkAIOH 
ainadjan BUAXT, Lovhl, Bntin, KmuuMDT Puu, A. B. 
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W. Bnom, Bar. SaMDu Otooon, Brr. H. W. Bnuiwa, Hoa. 

atika or mien bj Rmiw, and Mnra Mt b; tfae emint 

KBiptor, nouTio OuuoiiBB, add 10 tlw latOMt of Iba 
UiVon. 



n laid In Iti ^alaa. No joamal, dented to AH, 
anr aeaa ao ablj aaodnoted. In llita •saatrr ; asd It U 
ita vUh tba tiipporl It ao rietalj deaama, va ban M donbt 



BCHARPENBERG & LUIS. 
IDIPOBTEBS OF FOREIQN IHITSIC, 



A GOOD TIME TO BUBSORIBEI 

DWIGHT'S JOURNAL OF MUSIC, 

& V^P" *' ^^ "^ XfEUtstuit, 
PoUmwd •T«i7 tetnrdar, at U BAmI BL iMtw. 



PorlBf tba tluaa jtaim idaea It na a 
bu B«t vlli) eontloDalljr Inoreulag &T«r, and U (Btand 
npoa ICa BBVSNIH TOLUUE with the nnmbar in Balnrdaj, 
AptU Tth. 

Ita aoDloita niala nalnlr to tha Art of Hraio, Int vltb 
fUnoM at th* vbalaWatldofArtaBdofPnUlaUlatatwo; 
Innlnittng.fmm Hmttfttlmi 1 CritlealRaTla*aarOon«na, 
Oratorloe, Operaa ; vltb timal; Analjaaisf the notable Worka 
, aooetiDU of their Compoaen, kt. 3. Notlna of 
ia. S. Hnaleal Neva from all puti. i. Oacna- 
&om aoalevt pataena aad placaa. E. Baaaji on 



Bdaal itjlea, it 



»U, pariodai a 



Ohnnh, tl 



Moaleal Edooatlon ; on Uula la lU 
I, and Raliglana beailngij en Wnala In tha 
Ooneat'room, tha Tbaain, the OhamiiaT, aad 
0. A. Tisnaiatkoa from tba beat CiennanoBd 
French wrltaranpon Hnaieand Att. 7. Oeeaaloikal Notleea oT 
Beolplon, Fain ting, &e. B. Original and Beltetad Poenu, Ae. 

aUied. AddTM (poat-paM) 

J. S. DWIOHT, U BoBDOL Bt. BofniM. 



TERMS OF ABVZRTIBnf Gk 



ror one Mlomn, (138 llMBJ ft 

Do do 

■~4>t notiBH (laadedL e* 
ta nqulred In jmfbj 



tiuRarl; In 

B-irflTabKobi.' bt^cttT ~ 



.•13.00 

'bauba(4aant....ee00 
naertlBn, per Una 30 tta. 
. Int jaoHy adnittaaBMBla, 



Uigitzed by ViV^^^^Vlv.. 



'3' 




antfml of JUttsir, 



% f ap(r 0f ^rl anltr fittraturt. 



WnoiB^fo. 171. 



BOSTON, SATURDAY, JULY 14, 1855. 



Vol. VIL No. 15. 



PUBLISHED EVERT 8ATUEDAY. 



J. S. DWIGHT, EDITOR ANft' PBOPRIETOR. 

EDWABD L. BALCB, PBUITES. 

[t:^ OTFICB, No. 21 Bohool Strest, Boatoo. 



SUBSCRIPTIONS RECEIVED 
At th* ovnoB or publicathw n Seiwoi at. B«tBa. 

Br MAIHAH KIORARDSOH, » WMUDglon St. " 
^ «SOItaE P. HIKD & 0a...UTNaiiDlK(», " 

" A.M. LnAVD, ProrldcDH, R. I. 

•• C. BBXDSINa, T01lH^nj,H«rIoA 

" SCHAKFXNBna ft LSm TWBnmdau, " 

" OEOROt DCTTOH, Jb SoclMtoi.N.T. 

" O.ANDRE ft 00....1»BMthMiiUiBi. PUUddiibU. 

" JOHN H. MILLOR, PHWi«r(,P>. 

" HIIiIiBB k BRACH&lL..lBlB*JdmonSt.BiltlBen. 

" GOLBURX ft FI1U>, ~ ■ - 

" HOIABOOK ft LOttO, 



AnOpnIL 

He otber da} E<:MeUuf stopped ■offl]' to mj 
door. Tou know the iroaical, inquiring smile 
upon that palo taco of hit. I sat with Floreetan 
at the piano. Plorertan, u you know, is one <^ 
thoM singular mu^col men, who anticipate aa it 
were beforehand all that is future, new, extraor- 
ilinarj. But thb time a. surpriae awaited him. 
With the words: "Hsta off, gentlemen, a ge- 
□insl", Eusebins unrolled a piece of music. 
"We were not allowed to see the tide. I fingered 
over the leaves in A liEtless manner; there is 
something Ihscinating- in tliis muffled enjoyment 
<^ music, without sounds. Besides, it seems to me, 
every composer has his own peculiar note-forms 
for the e/e: Beethoven lookt differently upon 
paper from Mozart, acmewhat as Jean Fadl's 
prose look* differently from Goethe's. But 
here I felt as if actually strange eyes, flower eyes, 
insUisk eyes, peacock's eyea, maidens' eyes, kxAed 
mATvelloosly at me. In many places it gnw 
lighter — I thought 1 saw Mozart's La ei darm 
la Btano entwined through a hundred chords \ 
Lcporello seentod to leer at me, and Don Juan 
in white mantle to fly put me. 

"Hay it," suggested Florestan. Eosebius con- 
sented; squeezed into a window niche, we listen- 
ed. Eusebius played as if in^ircd, and conjured 
inntunerable shapes of the most living life before 
us : it seems as if the inspiration of the moment 
sometimes lit^a the fingers above the usual mea- 
sure of their power. The entire response of 
Florestui consisted, not to speak of a certain 
blissful smile, in nothing but the remait, that the 
Variations might be something by Beethoven or 
Fbakz Schubert, if you ondd iroagioe them 



to be piano-virtnoeos. Bnt when he lotdied at 

the title page, and read nmply : 

■La el d*nni h mano, -ntM ponr le FlsnoToTte pur 

FiM^rM ClM(dD, Oenvn 1," 
and we in oar astonishinent exclaimed ; " An 
Opus ttoo f and when cur faces glowed with 
nncommon surprise, and besides a few mtetjec- 
tions there was little to be distinguished, except : 
" Yes, tlus w again scanething rational— Caopis 
— I never heard the name — who can it be ? at 
all events a genius — was it not Zeriina laughing 
there? or Leporelki?" — really there arose a 
scene, which I cannot describe. Heated with 
wine and ChojHu and much talking, wo went off 
to Master Itaro, who laughed a great deal and 
showed littli^curioaity about the Opus 2. "Iknow 
yoD of old," said he, *'and jour new-fkn^ed 
enthuaanu — but bring the Chojun here some 
time." We promised to do so the next day. 
Presently EosbIhub bade as quietly good night ; 
I jtayvd a while wMi HMler Raro. 

Fhne«tan, who for •cne time had had no aU- 
diag plaw, dew ^hr^g** l)w moonlit sb«ets to my 
house. About midniglit \ found him in my 
chamber, lying on the so&, and his eyes closed. 
" Chopin's Variations," he began, as if talking in 
a dream, "are still going round in my head. 
Certtuoly," he continued, " the whole thing is 
dnunatic and snfBciently Chc^n-ish ; the Intro- 
duction, complete as it 
think of Leporello'i 
least tuit«d to the whole \ but the Theme — why has 
he written it in B flat? — the Variations, the 
Finale and the Adagio, that is really something — 
there peeps genius oat of every bnr. Naturally, 
dear Julius, Don Juan, Zerlina, Leporello and 
Masetto are the interlocutors, — Zerlina's answer in 
the Theme shows her sufficiently in love ; the first 
variation might perhaps be called somewhat dit- 
rjn^e and coquettish — the Spanish grandee flirt- 
ing very amiably with the young peasant girl. 
This is self-evident in the second, which is already 
much more bmiliar, comical and disputatious, as 
if two lovers were spiting one another and 
laughing more than usual. But how all is 
chained in the third variation I All now is moon- 
light and fairy magic ; Masetto, to be sure, stands 
in the distance and curses pretty audibly, but 
Don Juan docs not let that disturb him much. 
But now for the fourth, what do you think of 
that? 

" Euaelnui played it quite purely — does it not 
leap out boldly and bravely and go right at a 
man ? although the Ada^ (it seems to me natn- 
tbI Ibat Chopin repeats the first part) plays in 
B flat nunor, than which nothing could be more 
appropriate, since in its beginning it warns us as 
it were morally k£ Don Juan. It is naught?, 



indeed, and yet bow beautifnl, that Leporello 
listens behind the bushes, laughing and joking, 
and that oboes and clarinets stream forth with 
such magical enticement, and that the foil bloom- 
ing B flat major so precisely indicates the first 
kiss of love. But all that is nothing te the last 
movement— have you wine still, Julius? — this is 
the entire Finale in Mozart — leaping champagne 
corks, ringing glasses, Leporello's voice in the 
midst of all, then the cluteUng and pursuing 
spirits, Don Juan running away — and then the 
conclusion, which ends in a beautifiilly tranquil- 
ized and real manner." 

Never before, so ended Florestan, had he had 
a similar emotion to that awakened by this cloee, 
except in Switzerland. And that was in those 
beautiful days, when, as the setting sun clhnbed 
higher and higher up the highest mountain sum- 
mits and finally the last ray vanished, there came 
a mtanent in which one aeemed to see the white 
Alp giants cloee thdr eyes. One only feels that 
be has had a heavenly vision. " Awake (Kaa also 
to new dreams, my Julius, and sleep I" " Dearest 
Florestan," replied I, " thess private feelings are 
perhaps praiseworthy, although they are some- 
what subjective ; but however little of definite 
design Chopin may have had in these inspirations 
of his genius, I bow my head likemse to such 
genius, such effort and such mastery." Where- 
upon we went to sleep. Jdlittb. 



Hnr ViBWB of Open. 



il WorU.] 



The constitution of music has developed itself 
in two directions in the branch of Art fixed by it, 
and known as Opera : in a leribiu direction — 
through all Ibose composers who felt the weight of 
the responsibilily which felt to mu«c, when it as- 
sumed lor itself alone the aim of the drama — and 
in a frivoloiia direction, through all those musi- 
cians, who, impelled by the instinct of the impos- 
sibility of solving an unnatural problem, turned 
their t>acks upon it, and, thinking only of enjoying 
the advantages that opera has gained from uncom- 
monly extended publicity, gave themselves up to 
an unmixed system of musical experimentalizing. 
It is necessary for us, in the fiist place, to con- 
template more nearly the former, or ttrioua, side 
of the question. 

The musical foundatioti of Opera was, as we 
know, nothin;: more than the ai'r, while the latter, 
Bgun, was the national song introduced by the 
smger to the aristocratic world, with the words 
left out and supplied by the production of the 
poetical artist engaged for the purpose. The 
development of the national melody into the 
operatic air was, next, the work of the vocal artiit, 
no longer interested in the rendering of the mel' 
ody, but in the exhibition of his artistic skill ; he 
determined the resting pnnts necessary for mm- 



Ogle 



Uigitzed by ViV^' 



114 



DWIGHT'S JOURNAL OF MUSIC. 



self; the cliange from the more lively to the 
more moderate expressions of song, and ibe pas- 
sageB where, free from all rbylbmical and melodic 
cooitraint, he eouUl, to his heart'd content, diaplay 
hie skill alone. Tbo composer merely arranged 
the materiaU for the virtuosity of the singer, and 
the poet, again, did the same for the composer. 

We must firmly impress upon our minds these 
original relations of the artistic factors of the 
opera to each other, that ire may, in what follows, 
perceive how these distorled reUtiong became 
more and more confused from all the efforts to set 
them right 

Prom the luxurious craving of noble lords after 
variety in their amusements, the ballet was added 
to the dramatic cantata. The dances and the 
dance-melodies, as arliitrarity taken from the 
national dance-tanes as the operatic air was from 
the national sons, allied themselves, with the coy 
inability of eoatilion inherent to everything un- 
natural, to the influence of the singer; while, by 



arose for the poet the task of binding togcthi 
a comlunation, brought about anyhow, the display 
of all the artistic capabilities spread ont before 
him. A connectiQg dramatic medium, which be- 
came more and more evidently a necessity, now 
joined, with the help of the poet, that which iu 
Itself really required no such connecting medium, 
so that the aim of Ibe drama — impelled by out- 



ward necesnty — was simply given, but by 
means taken ud. Vocal and dance melodies 
stood, in the coldest and most complete solitude. 



each other, for the display of Ine singei 
dancer's skill, while it was only in what should, at 
a piocb, connect them, iu the musically recited 
diatogoe, that the poet exercised his subordinate 
influence, and that the drama was at all appar- 

Nor did recitative arise in opera, as a new 
invention, from a real impulse towards the drama; 
king before this speaking style of aong had been 
introduced into opera, the Christian Church had 
employed it (or the recitation oTBiblical passages. 
The cadence which, in these recitations, soon oe- 
came, in obedience to the precepts of the ritual, 
statioDary, and common-place ; only apparently, 
Dot really, any longer speaking, and rather indif- 
ferently melodic than expressively conversational, 
was next transferred, but also modelled and 
yaried by musical caprice, to opera, so that, with 
the air, dance-melody, and recitative, the whole 
apparatus of the musical drama— absolutely, as 
regards its constitution, unchanged down to the 
most recent operv — was definitely fixed. The 
substance, too, of the dramatic plots serving as a 
foundation for this apparatus, soon became stere- 
otyped ; mostly taken from the totally misundci^ 
stood Greek mvthoiogy and hero- world, they 
formed a theatrical scalTolding deficient in all 
capability of exciting warmtb and sympathy, but 
which, on the other hand, possessed the faculty of 

Kesenting itself for the use of every composer, to 
treat^ according to his peculiar views, and 
thus we find that the majority of these texts bare 
been set to music again and again by the most 

Gi.rCK's revolution, which became so cele- 
brated, and which has been wafted to the ears of 
many ignorant persons as a complete distortion of 
the views commonly taken unlil then of the con- 
stitution of opera, really consisted iu the mere 
fact of the composer's revolting against the 
caprice of the singer. The componer, who, ader 
the singer, had especially attracted the attention 
of the public, since it was Ae who always provided 
the singer with fresh materials for the display of 
bis skill, felt himself injured by the singer's influ- 
ence in exactly the same proportion that he was 
desirous of fashioning the said materials after his 
own crcativQ phaolasy, so that his work, and per- 
haps ont!/ ^'^ woA should, at least, strike tbo 
hearer. Two roads were open to the ambitious 
composer, for the attaiument of his end; either 
to develop the purely sensual substance of the 
air, with the assistance of all the musical means 
at bis command, as well as of all those to be afler- 
Trards found, to the highest and most voluptuous 



fullness; or — and this is the more earnest way, 

which we have now to pnrsue — to restrict all ca- 
price in the execution of the air, by an endeavor 
on the part of tbe composer to impart to the tuno 
ta bo executed an expression suitable to tbe 
accompanying verbal text. If sucb texts were, 
in conformity with their nature, to have the value 
of the feeling conversation of acting personages, 
feeling singers and composers must long previously 
have thought of slamping their virtuosity with tbo 
necessary degree of wanntb, and Gluck was as- 
suredly not the finit composer who wrote passion- 
ate airs, nor were his singers the first to sing such 
airs with expression. But that which makes him 
the starting point for what is, decidedly, a moat 
complete change in the previous position of the 
artistic factors of opera to each other, is: that he 
enounced wilh conKciouiness, and on principle, the 
appropriate necessity of having both in air and 
rccitative an expression in keeping with tbe 
accompanying text. From this period, the pre- 
ponderating influence in the arrangement of the 
opera passes, most certainly, to tbe composer : the 
singer becomes the organ of the composer'! inten- 
tion, and this intention is, with full consciousness, 
enounced, in order that the dramatic substance of 
the accompanying text may be satisGed by being 
truly expressed. Tlie only thing, in fact.attackeJ, 
was the unbecoming and heartless desire of the 
singer to please ; but, in all other respects, every- 
thing relating to tbe completely nnnaturaj organ- 
ication of opera remained exactly as before. Air, 
recitative, and dance-music, each completely 
separate, stand as causelessly by each other in 
cluck's operas, as was previously the case, and ia 
so. almost always, even at the present day. 

In the position of the poet towards the compo- 
ser, not the slightest change was maJe; the posi- 
tion of the latter towards bim had in fact become 
rather more dictatorial than before, since, atteT 
enouncing the consciousness of bis more elevated 
task — with regard to the vocalist — he carried out, 
with more naturely weighed zeal, the arrange- 
ments in the construction of the opera. The poet 
never thought of mixing himself up at all in sucb 
arrangements. • • • 

But it was Gluck's successors who first thought 
of taking advantage of this position of thein for 
enlarging the forms they found ready to their 
hand. These eucchsots — among whom we must 
comprise the composers of Italian and French 
origin, who, shortly before the conclusion of tbe 
last, and at the commencement of the present, 
century, wrote for the operatic theatres of Paris 
— imparted to their songs, with a more and more 
complete degree of warmtb and truth of immedi- 
ate expression, a more extended formal foundation. 
The old established divisions of the air, still re- 
tained in their essential characteristics, were fixed 
upon more varied motives, and even transitions 
and connecting passages drawn into the domain 
of expression; the recitative joined involuntarily, 
and more closely, the air and even entered as a 
necessary expression into its composition, ^e 
air, however, gained an important degree of ex- 
pansion from the fact that more than one person 
— according to the dramatic exigencies — took 
part in its execution, and that thus the essentially 
monological characteristic of the old opera was 
ailvantageously lost. It is true that pieces such as 
duets and trios had been long previously known ; 
but (he fact of two or three persons singing 
together in an air had not fundamentally pro- 
duced the least change in thocharacterof tbeair, 
which, in the melodic plan and maintenance of 
the thematic tone once adopted- — which lone did 
□ot exactly refer to individual expression, but to 
a general specifically musical diaposition^re- 
mained quite the same, nothing being really 
changed in it, whether performed as a monologue 
or as a duct, except what was perfectly material, 
namely: the fact of the musical phrases being 
sung alternately by different voices, or by all to- 
gether, by a simple harmonic contrivance, such 
as two or three voices, etc. To indicate this spe- 
cifically musical element, so far that it might 
become capable of vivaciously alternating indi- 
vidual expression, was the task and work of tbe 
above mentioned composers, as is evident in iheir 
treatment of tbe so-called dramatico-miuieal en- 



temhle. The essential element of this entemhle 
always remained in trnth simply tbe air, recitative, 
and dance munc ; only, whenever, in the air or 
recitative, a vocal expretsion, corresponding to the 
text-foundation, was once acknowledged as a 
fitting exigence, the truth of this expression logi- 
cally and of necesMty had to be extended to 
whatever dramatic connection was contained in 
the text-foundation. From the honest eSbrt^to 
satisfy this necessary consequence, arose tbe es- 
teniuon of tbe older musical forms in opera, as we 
find them in the serious operas of Cherubini, 
MAnI, and Spontinl. We may say that, in these 
works, is fulfilled what Gluck wanted, or may 
have wanted' — yes, in them is attained, once for 
all, whatever natural, that is to say, in the best 
sense of the expression, consistent qualities could 
be developed on the primitive foundation of opera. 
The youngest of the above three masters, 






D perfectly c 



inced of having 



he had so firm a belief in the impossibility 
productions ever being, in any way, surpassed, 
that, in all his subsequent artistic efforts, which 
he published after the works of his great Parisian 
epoch, be never made even the slightest attemnt, 
in form or meaning, tp go beyond the stnnd De 
had taken in those works. He obstinately ra- 
fused to recognize the subsequent, so.called ro- 
mantic, development of opera as anything but an 
evident decay of opera; so that, on those, to 
whom he afterwards communicated his ideas con- 
cerning this subject, he necessarily produced the 



really only enounced a conviction, which could 
very easily be founded upon a perfectly sound 
view of the constitution of opera. On surveying 
the deportment of modem opera, Spontini couli^ 
with justice ask; "Have you materially devel- 
oped, in any manner, the musical component 
parts of opera in any greater degree than what 
you find in my works? Or have you been able 
to effect anything intelligible or sound, by really 
going beyond this form ? Is not all that is un- 
palatable in your productions simply B conse- 
quence of stepping out c^ this form, and have you 
not been enabled to produch alt that is palatable 
simply within this form V Where, now, does this 
form exist more grandly, broadly, and compre- 
hensively than in my three great Parisian operas? 
Who, however, will tell me that be has filled out 
ibis form with more glowing, passionate, and 
enclitic substance than I have ?" 

It would be difficult to reply to these qaestions 
of Spontini in a manner that would confuse him, 
but, in every case, still more difficult to prove to 
him that he was mad, if be held us to be so. Oat 
of Spontini's mouth speaks the honest voice of 
conviction of tbe absolute musician, who gives us 
to understand : " If the mnsician will, by himielf, 
as arranger of the opera, bring about the drama, 
he cannot, without in addition exposing his utter 
incapacity, go one step further than I have gone." 
In this, however, there is involuntarily expreaed 
the demand for something farther; "If you de- 
sire more, you must apply, not to tbe musician, 
bat to the poet." 

But how did this poet stand with regard to 
Spontini and his contemporaries 1 With the 
wh(Je growth of the musical form of opera, with 
all the development of the capabilities of expres- 
sion contained in it, the position of the poet was 
not in the least changed. He always remained 
tbe preparer of foundations for tbe perfectly in- 
dependent experiments of the composer. If II19 
latter, thraugb successes obtained, felt his power 
for freer movement within bis form increase, he 
only set the poet the task of serving him irith 
less fear and anxiety in tbe supply of subjects ; 
he said to him, as it were, " See what 1 am able 
to accomplish 1 Do not trammel yourself ; trust 
in my activity to resolve your most hazarded dra- 
matic CMnbinations, body and bones, into muncl" 
Thus was the poet merely carried along bv the 
muncian ; he must have felt ashamed to bring 
wooden hobby-hones to his master, when the 
latter vras able to bestride a teal steed, for he 
knew tbal the rider ondetstood how to handle tbo 



Uigitzed by ViV^^^^Vl^^ 



'3' 



BOSTON, JULY 14, 1855. 



115 



naa» bnrel j — the miwcd reiiu, whicli wera de*- 
tiDed to guide tba iteed hitbcr and thither in the 
wel'.-i«TeTlwl op«mia ridiBg^ehod, mad without 
which Deither moMcian nor pmt dMvd U beMrida 
it, fur fear it night ipriog huh abore the iDckNing 
fence, and run (f to ill ml^ nMgnificaM lUtlare- 

The poet thu ceiUitHy attained, bj the nde 
of the compoeer, increaaing importaoce, but onlj 
exactly in the proportion that the miincian aaceo- 
dcd before him, irhile he mere); followed ; the 
strictly mutual posBibilltiei alone, which the com- 
poser pointed out to biin, were all that the poet 
thought of, to MTTe ai his standard for arrange- 
ment and form, and even for the choice of a sub- 
JGct; he remnined, therefore, with all the reputa- 
tion which ke, alM, wai banning to gain, only 
(he mere ikilfnl peimn, able to terre the " dra- 
matic" compoeer to sottabl^ and well. Imme- 
diately the composer himnlf look no other view 
of ihe relative pontion of Ihe poet, than that 
which he derived from the nature of ooera, he 
could only regard himself ai the rei^nsible factor 
of the opera, and thua, with right and justice, 
retain the juaitioD awuined by Spontini, as being 
the moxt suitable, nnce he could procure bimselT 
the satisfaction of producing in that pocition, all 
that was possible for a musician, if he wished the 
opera, as musii-al drMOB, to preserve its claim as 
a valid form of art. 



[Vraa PntDiB^ ■■nJsi ] 
ROBERT OF LINOOLN. 

Merrilj svlnfiag on kiar ind waed, 
Neirtotha ostt oThia Uttt* dtne. 
Oxer the moaabin-iid* or msad, 
Robart of LiscDln ia telhng hia sama, 
Bob-o'-link, bob-o'-liok, 
Spiok, sptnk, Spink ; 
Sang sad m& is tbit aast of nan, 
Hiddeo snout >^ ■■■>>■> liiBsia 
CtM^ «bM, alMe. 
Robert of Lineola ia fsily intt, 

Weiring ■ bright hlicit wadding coat; 
WhitB sre hb iboaldari sod whila his ciaat. 
Hear him call in his marry nol^— 
Bob-oMink, bob-o'-link, 
Bpink, iptak, apink ; 
Look whit s Dice new coal is mine, 
Snre there wii narer i bird ao One. 

Cbee, ebee, chee. 
Robert of Liacola's Quaker wife. 
Pretty and quiet, with pliia brown winga, 

Broodi in the gnu whila her haibuid linga 
Bob-o'-link, bob-o'-link, 
Spink, ipiQk, Spink ; 
BnMid, kind creilnre ; yon need oot (ear 
Tbieres and robben while 1 >m here. 

Chee, cbee, chce. 
Modeii and ihy as a dob is she ) 

Qua WBik chirp ■ her only notov 
Bnggirt lad primta of bnggtrta is he j 
Ponring bliita rnim hia little throat— 
Bob-o'-link. bob-o'-ilnk, 
Spink, ipinkiapiak, 
Navar waa I irnid of min ; 
Catch ne, cowinlly kaavea, if yoa e«D. 

Chae, choe, eboa. 
Sii white agga on i bed oT hiy, 

Flocked with purple, a pretty sight ! 
There Si the mother lits ill diy, 
Robert ii singing with ill his might 
Bob-o'-link, bob-o'-link, 
B|HDk, spank, apink { 
Nice good wifg, that ncrar goei out, 
Keeping honae, whila I rtolic ibont 

Chee, chee, chee. 
Soon aa the little onei chip the shall 

Sii wide mouths are open fhr food; 
Robert of Lincoln haitira him well, 
Ostbering leeda for the hongry brood. 



Bob-o'-liah. bob-o'-link, 

Bpink, apaak, S|HDk) 
Tbit new life ia likely W be 

Hard liir a giy yoaag fellow like me, 

Chaa, chee, cbM. 
Robert oT Lincoln at tenglh is mida 

Sober with work, and lilxnt with cai 
Off ii hia holiday gtrment laid, 
Hslf-lbrgotten that meny air, 

Bob-o' link, bob-o'-link, 

B|riak, spank, sptnk j 
Nobody knowa bot my male and I 
Wbero oor neat and onr aeitlingi lie. 

Chae, chee, chee. 



Snmnu 



I cbildrei 



Fan and frol 


cno 


Dion be knows; 


Robert or Line 


oln'i 




Off be dial, 




Bob-o'-l 


ok. boh-o'-link, 


Spink, apank 


.pink; 


When yon can 


pipe 


;hit ntarry old slrein 


Robert oT Line 


olnc 




Cbee,e 


ee, e 


bM. 



Terdi'a Hsw Open. 

m Uuleal Vorld.] 
The long-expected, ofl-Announced, ineesuntly- 
raheaned opera, Lei VSpret SieUienaei, has at 
last been produced at the Grand-Op^nu Jls pro- 
duction was attended with conwderable success — 
a sacceii attributable lo four causes, which I place 
in order of merit : let, The admiiabie manner in 
which the music was interpreted by Mile. SofHts 
Cruvelli and most of tbe other artists ; 2d, the 
mite-tn-acini, which lefl nothing to be desired ; 
3d, the inherent interest of tbe subject of the 
libretto ; 4lh, the music which Sig. Verdi lias 
composed to illustrate that subject Beginning at 
the fourth clause, Sig. Verdi, in my opinion, has 
written no work containing more beaaties or 
greater defecli ; Ltt Viprtt SicUienna resembles 
m moaucr in which two wsista of unequal merit 
have been employed. Amu-geau of elegant de- 
sign and elegant execution is interwoven with 
another, coarse in conception and deficient in 
finish ; want of harmony consequently pervades 
the whole, and the veiy beauties ihenuelvea mar 
tbe perfect success of the work, by bringing more 
pnuninently into notice the defciencies lo which 
tbey are allied. At times, tbe music ia gracef^ul, 
elegant, and sweet, suited to the situation it illus- 
trates, dramatic in character, and admirable both 
in design and execution. But scarcely has the 
public expressed its approbation, and the hum of 
applause barely ceased, ere jour ears are dinned 
with some stunning chorus shouted in unison, 
some air taxing the capabilities of the most sten- 
torian lungs; or your sense of musical and dra- 
matic propriety is outraged by music altogether 
alien lo the situation, and nnsuited to the scene. 
The second act of tbe Viprtt Sicilienn^i is pro- 
bably the best which Signer Verdi has yet c(»n- 
posed. It is full of beauties, and contains little to 
criticise. When the curtain fell at its conclusion 
there was a general shoub through the house foir 
the composer, who was led on tbe stage bv Mile. 
Cravelli ; where he received the ovation which he 
had justly merited. O.' it tic omnetl In the 
very next act occurs the most important ami 
dramatic situation of the opera. An entry of 
conspirators, an attempt to assassinate the gov- 
ernor, a separalioD between two lovers, and a 
father's preservation by his son, hare supplied 
Signor Verdi with no belter inspiration than a 
worn-out polka worthy of M. Alary, and ludi- 
cTDusly discordant with dramatic exigencies and 
propnety. Although Signor Verdi has achieved 
success, he has made no advance in his art, hut, 
on tbe contrary, has prodnced a work which as a 
whole, is unquestionaoly inferior to Rwelttto and 
U Trovaiore. 1 will now proceed frtxa gene- 
ntlides to details, and, as M. Scribe has, in a 
note at the tbe head of his " Iii»-«(" declared that 
** Ibe aeneral massacre known under the name of 
the 'Sicilian Vespers' never look place" — an as- 
sertion leading one to suppose that M. Scribe 
places historical truth on a level with that of hia 



own fictions — I will give a abort account of the 
Sicilian Vespers which form the subject of the 
present openw 

It waa in tbe year irf grace 1282 that these 
events occurred, which constitale one of tbe moat 
tragical episodes in the world's historv. Charies 
of Anjou bad delivered the island of Sicily into 
tbe keepingof governors, whose cruelty and rapa- 
city were inhunun even in those dark ages. Tbe 
Cple were ground down by taxes and imposts, 
baroQsly Maten, deprived of their wives and 
daughters by the lust of a bmtal soldiery, and 
confined in dungeons such as slitl exist in the 
island, for the immurement of those who have of- 
fended King Bombo. The nobles were humili- 
ated and disgraced, their daughters deprived ct 
their wealth and confined in conventi, when they 
refused to marry some chosen one among IH 
governor's needy adventurers, while tbe execu- 
tioner &und constant employment in branding, 
maiming, torturing, and murdering, tboee wto 
proved refractory, or revolted against the tyrnnny 
to which they were subjected. 

The entire population groaned nnder the yoke 
impwed on them, and thirsted for vengeance. 
On the afternoon of Easier Tuesday, the Slst of 
March, 12B2, the people repaired to vespen at the 
church of the Saint Esprit, about a mile from 
Palermo, to celebrate the third day (tf Easter. 
The cbuich was filled to overflowing, and (hose 
who were excloded from its walls formed them- 
selves into groups on the adjacent grass or in tbe 
neighboring gardens. " Mirth and youthfbl 
jollity" everywhere prevailed, and dancing and 
singing were the order of tbe day. , A few of the 
French soldiers constituting the garrison jtnned 
the fair dancera, whose lipa Ihey pressed and 
whoso waists they encircled in that free and easy 
manner so natural lo tbe Gauls, but so likely to 
lead to " eiplanatiiHia" when the owner of the 

Sremed lips or encircled waist revolu against auch 
imiliarity. Accord inglyamnnnnr paswd through 
tbe group of Paleraiitan bj'standen, whereon the 
soldiers added jeering to inaolt. StoiMS were 
thrown, and, on the troops dofeoding themselves, 
knives, dagfrers, and JiatGh«ts.van aooa btavght 
into play. A scene of terrible camtw« then com- 
menced, with shouts "Death to the Franch." 
The butchery, at once begun, was continued for 
the apace of a whole month, and during that 

Eerioa a nomberof Frenchmen were pnt to death, 
y some historians estimated at 20,000, by none 
at less than 10,000. John of Procida waa amon^ 
the most active leaders in this revdt, and hu 
name and exploits, forming the theme of many a 
poem and romance, have now been celebrated by 
MM. Scribe and Verdi in the opera of X<f Vipra 
Siciliennei. 

The curtain rises on a scene reprcsentiiw tbe 
great square of Palenno, with French (riBcers 
and soldiers drinking and singing in chorus. 
Presently the Duchess Hiil^ne (Mile. SopaiB 
Cruvelli) sister of tbe late Duke Frederick rf 
Austria, crosses the stage with her attendants, re- 
turning from church. The duchess a detained as 
a hostage at Palenno, and laments her brother 
muidered by the Governor. The soldiers 
demand a song to enliven them ; U^lbne — like 
Marcel in Ibe Huguenolt — at once complies with 
their request- She accordingly »ngB a cavatina 
replete with life, energy, and movement, stirring 
Ihe blood in the veins of her Sicilian bearerv, who 
with load shouts repeat the refrain, and draw 
their daggers to attack tbe French. There is but 
one opinion as to the manner in which Mile. Cru- 
velli delivered this air, and all critics, whetber 
friendly, hostile or neuter, have united to sound 
her praises. Just as the fray is about lo com- 
mcQce, Guy de Montfort, Governor of Sicily (M. 
Bokhehee), appenrs, and bi) dreadful presence 
at once calms the excitement 

No man dares speak, save one, and that man is 
Henri (M. Gueyhard,) a young Sicilian, the 
natural son of the Governor by a native of the 
island, whom he had seduced and abandoned 
some twenty years before. This youth ia unac- 
quainted irith the secret of his birth or ibe nanM 
of his ftther, and has joined John of Procida 
(M. Obin) in his conspiracr against the French 
He is beloved by U^ioe, who is in 



-Digitzed b""VlV_J'*.'T^l^^ 



DWISHT'S JOURNAL 6f MUSIC. 



equal ignorance of hii pstemitv. He brares Uid 
Governor, who dismisgea llelbne wTd all Ibe bj' 
Etnnders. " Serve in the French camp," tg,yt 
the Governor, who dearly lovei hit unacknoirl- 
e^ed son ; " it is your only chance ot safety." 
" I will not." " You refuse ; then death must be 
your fate." "I care not." "Meanwhile, never- 
more tee H^bne." " I fly to her," aay* Henri, 
and the cnrtwn falli od ibe first act 

The second opens with a charmioji icene, in a 
amiling valley near Palermo, with the chapel of 
Sainle-Boealie on an eEaiaence in the distance. 
John of Procida is alone, moody and thoughtful. 
He eiprewes his Mnsationg in an air, O mon 
pagt, lanC adori, which is totemipted by a cho- 
rus of baas TOJi'ea behind the scenes. They shout, 
" Death to the French, new life to their country," 
and, as the voices die away, Frocida reaumes bis 
interrupted song, which concludes with a sirelta, 
quick, rapid, and admirably in keeping wilh the 
•itnation. M. Obix sang this air to perfection, 
and fairly divided the applause with the compo- 
ser. H^lfene arrivea, recognises Frocida, and 
they unite their voices in hope for the deliverance 
of their native acaX. Procida departs to add fuel 
to the Same commencing to bum among the peo- 
ple, and Henri is letl atone with Hdl4ne. He 
ditekues his love in a charming duet, exquisitely 
King by MadUe. CniTelli,and to which M. Guey- 
mard also did full justice. A passage on the 
words Moi .' ^ui timpte toldal, which Ibrms an 
accompanineut lo, and embroidery on the theme 
sustained by Cruvelli, called down thunders of ap- 
plause, and the whole duet is graceful, elegant, 
and chanuiTi^. But alas 1 the course of true 
love never did mn smooth; an officer arrives, 
who forms an unwished for addition to the lovers' 
lAe-h-tAe, and who bears an invitation for Henri 
to the Governor's felt. He refuses with disdain, 
-and is carried off captive. He bears with him 
the antidote of love lo the bane of imprisonment, 
for H^lioe has promised her band, if he will 
avenge on the French the death i^her mardered 
brother. 

Procida reloms, preceding the conspirators and 
friends, who hav* united to celebrate the fSig of 
Sunte Koaalie. Sicilian dancers, tarentellas, 
&c., follow in rapid snccession. 

The French soldiers ere long espy the happy 
grtwps, and, throning themselves into the midst, 
carry off the girls b^t suited Co their taste; an 
outrage they commit in broad daylight, and in 
presence of their anembled relativea Stupor, 
indignation, and rage, succeed each other in rapid 
order ; the people give way to their passions in a 
chorus well suited to the scene, and when the 
voices of all, gradually increasing in volume, 
have arrived at the very climax of indignation, 
the chorus is interrupted by an eraemble of the 
principal singetB on the words, /fs^r^unentsn/fn, 
et de ionle el de rage, which produced an admi- 
rable effect, and was much applauded. In the 
midst of these tumultuous cries, cornea an air 
wafled over the waters, " in sounds by distance 
made more sweet" The enraged populace lis- 
tens to the song, and presently beholds a boat 
freighted with gallant Frenchmen, and noble 
dames, who, escorted by bands of music, are pro- 
ceeding lo the Governor's file. At the sight of 
their foes the passions of the mob are roused to 
violeuce, and, whilst from the boat proceeds a 
strain of sensuous music, vidoptuous and love- 
inspiring, the stage re-echoes to the rude and im- 
nioned cboruaof the angry conspirators. This 
)Ib chorus is united by (be composer with rare 
riiilt, and the effect was tremendous. The cur- 
tain fell to shouts of applause from alt parts of the 
house, and Signer Verdi — after long resistance 
to a call which would admit of no denial — was at 
length led before the cnrtain by Madlle. Cruvelli, 
to receive the applause which the beauties of the 
■eoond act had fairly won for him. 



Diary Abroad.— Ha 17. 

BmuK, Jmtt S^Again sMtlsd in my little room, 
Ihraogh lbs windows of which the notes of a thousand 
spiiTowt— ar« DD( two spanows sold for a Tartbing?— 
and tb« air, flagrant tma the gardsns below, oomc with 
1 The temptatioo is strong 



upon me to throw aside books aud papers and winder 

off la the cool abada and by the (till wat«n of the 
leafy Thlergarten. Thera 1 might hear Nature's ramie; 
the lighing of winds In the pinca, the gentle nubinn; of 
broiJu, the clerir notes of (hrnalien, flncliee, and possibly, 
nIfthCingHlea. Oh, it mikes ns half a batw of B^nbll- 
csaism to viiit almoat an; European city and eompiire 
lis publlo ground), ihady wilh trees, brilliant with flaw- 
en, offering each lover of atlllnas) and solitude hidden 
receuei of thickest foliage, with the patches of ground, 
which some of our cities have bad the oonsdence to t«- 
urre to tbe publio. 

Bnt to-dny I most write. What qnantitld of raattor 
hnvebeen iccumuiating daring the last waeki! Il must 
lie trantfbrred, in part, to pnper some time, and wbnt 
little freshness Is left <s hst fading. In part— for if alt 
were written out It would go no smsll way lownrd Ailing 
the new edition of Blank's works in forty TOlnmes, 
8vo. Bat let me go back <o — 

j4]>ril2a, — Was it not Judge ManihalT, who interrupted 
tbe lawysr with, "Brother So-and-so, there are some 
(hingi which ■ Chief Ju*llce of tbe United States may 
beinpposed to know"? So tbera ire somethings which 
the musical resder may be expected to know; among 
them the remarkable preface to one of bii works, which 
wiB wrillin bythatarealGeTTnan composer, who, learned 
In a!1 tha wisdom of the Ilillan and French schools of 
his day, struck out a new pstb, and waged war against 
them; inextingnishable, until they were eitlnguistwd. 
The principles which OluCK— whose blc^japhy has been 
so mangled by F^is — annoonced in the preface to AI- 
cnU, flnt triumpiied la Vienna, and after [he elevation 
of ills pupil, Msria Antoinette, to tbe throne of France, 
and Gluck's re-npp«irance hi Paris consequent Ihere- 
□pon, accomplished a more renowned if not a piater 
(riumph there. Of all Oluck's works in Ibe Italian 
style, we never hear a note. His German worhs^ 
though written percbnnce to Italian or French words — 
are among tbe higiiesC efforts in muaio. So it was with 
UozARTind Hakdbi. Tbeirearly works are forgotten. 
Gluck passed away and Uosabt, CiiaiinBiiii, Bxar- 
HOVEH — gmt names — Wixter, Wbiql, and others of 
leaa note, (bitowed, disciples of the author of Orplina; 
and the Influenoa of this, tha true Qarman sebool, is 
traceable In every work, come from where It may, 
which doring thia century hne been sncoesefiilTy pnt 
npon the stage. How dh'ect and vast tbe inflnenca, 
which those years passed by the young Rossiki in 
Vienna, where he heard the classics of our great Qer- 
mans, especially Beethoven, enertad npon bis atylel 
What a guir between the Di tajiti pal^ mualo of bia 
early works and tlioae gruid things on wliich bia fame 
may safely rest na one of the greatest ;«u'u>« that have 
written I Tbe Influence of Bossini npon the later Italian 
school, Is another of those things which the musics] 
reader is snpposed to know. Thus Italy gave music to 
Germany,— Germany has relurned the gilt with noble 
offerings of grstimde. 

Well, Gluck laid down certain pHnclpiet, which may 
however be summed up In this: Uusic In opera is tol» 
employed only as a meana of expression to tbe actor, 
and of exciting tbe senslbttltles and passions of the audi- 
ence; It Is to lie there, not for its own sake, bnt to 
heighten the effect of the dnma sa l whole. Hence 
when one, who his heard only the modem Italian opens, 
wilh their set fC\n and concerted pieces, their roulades 
and rhythmical riddles, cames to hear Gluck, the music 
seems to him a most extraordinary mixture of recitative 
and melody. The main thing heretofore at (he theatre 
was to hear this or that singer sing this or that famous 
sang; as a drsma the opera was little or nothing. Now 
he Is all afloat; recitatives run Into melodies, melodies 
Into recitatives. Concerted pieoea are few and never 
written to display the ringeis. Tha music does not, 
somehow, satisfy him, so he at length gives his sttantion 
to the dramatic action npon the stage — wandeis with 
Orpheus through Orcns into the Ely^an fleldg; mourns 
with Iphlgeaia or ahirei the wrath of Achilles; becomes 
more and more interested — Ands his sympathies touched 
Inan entirely new manner, and shares as he never shared 
befbre In the jubilee of the final joy. Of tha dramstiit 
be thinke higtaly, — of the composer, ha confesses his 
Inability to aee wherein hh greatness lies; Is did not 
think much of the music By and by a light breaks 
in — It was the nnoateDtatlous, the modest clothing, which 



(he composer had given to the drama, which so power- 
fully wrought upon him. Now he sees the grealnen of 
Gluck. According to the principles hid dawn in the 
Abtitt pntface, the poet, the painter, the decorator, the 

costnmer, the compoear, and the ballet master are all 
equals; each doing his own peculiar work and laboring, 
at], to the one end and aim of producing a drama, which 
shall lie as real to the grown up and cuTllvated spectator, 
whioh shall command his sympathies and affect hi« 
heart, as did the dramatized nuriery tale, when a child, 
he laogbad and wept at the Cbrialma* pantomime. 

This principle most commend itself to every thinker. 
If the music be the only thing — If tha drama be nothing, 
as many seem to think, — let us separate tliem, give tha 
drama to the stage and the music to the conceit room. 
Meyxbbeuk, a slow snd laborious oomposer, is goveised 
by the same principle, and all the ridnule or argumuit 
in tbe worid cannot couvinoe me that he has not had. In 
bis wsy, a certain degree of sncoesa, ao long as I feel at 
" The Hngnenots" or " The Prophet" how appn^iriate 
and toocblngare his eombinBtioos. He is no Uozatt, we 

Mozart's perennial Ibunt of meiody, from which Ros- 
sini and othen have drunk so largely, waa what proba- 
bly no other composer [Handel?] ever possessed. And 
here Is just that wondrous something In which Mosart 1* 
alone and beyond all other oomposeri for tbe stage. 
He never fkils of having fully at command both modes 
of musical expression ; the melody Is lie melody for his 
text, and the harmonk oomblnatloas are just as ex- 
quisite. Most oomposen are deficient in the one or the 
other. Onr recent wrilen of one sohool give us polka, 
waltz or galop melodies, with harmony beneath con- 
tempt; those of the other school, lenmed and labored 
harmonies, which are (edlotu ante death (<x the want of 
the lih-giving tool id' mehidy. The diChrence in the 
result Is that polks dancets sustain tbe one a Aw nights, 
and learned old fogies the other. A season passes avray 
and the opens have disappeared like the leaves of 
aummn. 

Bbkthoteh in his one opera placed himself at a tingle 
step with Mosart and Qlnok. Fiddie Is tha most won- 
derful jfrsi dramatic work ever written. What might 
we not now have had &om his pen, if the Olrsctors ot 
the Opera in Vienna in 1807 had aecepled tie propceab 
he made tbem I Who that knows FidiHo, Ihe dramatic 
mnaio in tho " Ruins of Albena," the AdMd; and hit 
two or three scenes, and Uie CJirulu om Odbtrg, most 
not mourn at the ssd mistake made by (he powen that 
were ! Had he been called upon to devote tbe necessary 
time and study to vocal writing, Gluck and Hozart 
wonld not hive stood ai they now do, like Sinl, " from 
bisshoulden and npwardUgher than any of tbe people." 
I think Verdi was intended by nature for a compoaar, 
bnt 1 am ifViid tbe genius given him, — like girls kissing 
each other,— is decided waste of the raw material. 
All (his, and ever to much mora of the same sort, better 
or worse, passed Ibrongh my mind last night at the per- 
formance of " Tannhanser." 

[Having written thus br, I went down to hear and tea 
" Don Juan" again. The Anna was Franlein TiXDjms 
from Vienna, — a tall, beautirbl, noble-toahing young 
woman, a good actress, and endowed wttfa a fine, clear, 
flexible voice. She has hat to Italianize her name into 
Slgaora Tidien-ninny, to oome over and make as great 
B aenaalion in our country as that German giri, Franleia 
Dectsch did a few yean stnoe under tha name of Te- 
DBsra; or as Sophie CacvEU-of Blelelbid Is now doing 
in Paris with s Ji at the end of bar name. The Zerlina 
was TncZEK, now Fnu Herbehbdeo, exoellant except 
at times oppretaed with "wlgglcj" but allowance Is (o 
made for an Increasing weakness of the chest. How 
grandly this opera is here pnt upon the stage; it would 
do OuUBicaETF's heart good to see It. For Instanoe 
In Ibe bill rocan scene, not a note of music comes ftom 
tbe orchestral some thirty moslclans. In three bands, 
play the minuet upon the stage, and the mu^ graws 
ftst and furious until, at Zerlina's scream behind the 
eceriea, that strangely effective bunt of discord from the 
orchestra depicts stronger than words the confusion and 
dismsy of the dancers. So too In the graveyard scene, 
the statue of the Commander utten his awful tones to 
tbe unearthly sounds of an accompaniment which cornea 
from tbe tombs— die orchestra is silent; and you most 
sympathlis with the terror of LepoieUo— It Is terrible, 



Uigitzed by ViV^^^^Vlv.. 



'3' 



BOSTON, JULY 14, 1855. 



117 



aDdM>wutb6«iitlreBaale. Bow triMli ttaalrallDclof 
genlot! I WW admlrlRg igkln tfae other ivening th« fine 
sit of Shakqwan In pladng Iho comic weDS, where 
Lenox and IfacdaS' wsfc« np lb* porter, jmt before [h« 
diMsoTSr; of Doncaa'a miinlec — vhat a ghutly con- 
tnntl Jmt thle eSeet la eainai] by Ibe mnaio In Ihc 
«Dpp«recene, wbich precedsatbe entiiinc«orDon Jimd'i 
awrulgoest. Iwu jaatmonrntng that Beetfaoien wrote 
DO more for the atage; I now monrn that Mozart bad 
none of (be flne texts which haTo been wsaled upon — 
better not call namea. Y«>, " Don Jnon" U, miutcall}' 
coaldeTed, the greateiit work ever put upon the atige.] 

To return ta TdmiSiatr. I need waite no wordi 
upon a dncrlption oT tbti draiea, Iti luceenlve icenea, 
tbe ator; and «o rorthj all thli la on record ia Dwight'i 
Journal, better tbaa I can do it,— lahall tbaefoie ■ Imply 
leeord tbe linpreeelODa left Dpon tbe mind after henring 
It Tor tbe flnt time, and that nnlnokn? at the close of a 
day of fellowalilp and commnnkon with an old and very 
nnmnaical acquaintance, 'yclept Sick Headacbe. 

Impreaikia I. White Mouc^ Cbenibinl, Beetboven 
and tbeir achool adopted Glnck'a Tlein, bnt Mill made 
the texia f^ren tbetn — and (bli hy In greet meaanie In 
Ibe character of thoae texts— mora anbservteni lo their 
pnrposea than did thetr nmtler— the mailclan being Tar 
greater than the poet — the mnelo thereTore tii greater 
than the poetry, oftlmei separable from It, most nnnibers 
being betutirnl musical creatlana In themseWes — Wao- 
VKR, on the other hand, la endeavoring to carry out 
GInek'i pHnclplea to their fblleit extent. HnTlnij made 
tbe effects of dngle chords and musical phrases his 
qwdal stndy. he throws overboard all the inpediiiMiidi 
<rf the mnsiolan and looks upon himself only in tbe 
ll^t of dramatlit) bnt a dramatist, wboee vene ibali be 
heightened in Its itage eSbcl not merely by the mlea aa 
giren by Hamlet, bnt by all tbe power which Ilea In 
mnsEcal aoaitds, — not necessarily (wua. 

ImpreaaioD S. That In TanAduttr ha hu not fnlly 
MMmpliihed Ibia; tbe march for instance, the oborel of 
the pilgrinu, and saoe other partloni being "regularly 



Impteaslco B. That one see* dearly by tbia work, that 
a drama In which the jMHoclple t> cairled out fully la 
eyeT7 line, nay, In erery word (£ the text — aa It la said 
lo be In LoieigTvi — IT SDoeeiafUlty exeonted, would b« 
appreciable and of InteresI eren to tbe common auditor. 
For after the fint feeling of stiangeoesa waa worn off, 
tbe mnelcal ckMhIng of tbe words would no mora be 
thought of than Ibe rhetorical Inflection* In tbe voice of 
a good actor, and yet like those inflecdona stir np the 
very fonndatiODSoflhesoali andlndeod [a aitillhigher 

Impiewlon 4. That, as a dmma, UmakSiittr la Ihnlty 
In the want of iDSlclesC rapidity of action. In making 
too much of mere scenic cfRets, in Ibe want of a due 
gradatioa of increasing Interest to a grand calm Inadng 
point In tba flnalsg and in making Ibe apringa of aotion 
of too rellDed and delicate a natnra to attmit tbe neeea- 
aary broad maaaes of tight and shade. 

Impreailoo S. That this may still be regarded as a 
work fbll of tool, and a remarkable irgament by way of 
example. In bvor of Waj^r'a theory. 

Impression 6. That tbe anlborkif TbRH^daser la not a 
ttry great dnmalic poet, dot a eerf great composer; yet 
that this opera most rise to a high place In public eatl- 
mation and become a abxk piece on the Gtmum atage; 
bnt (hat it can ncTer be given li) any other UngoRge, 
nor Indeed be fnlly clear to an auditor who oanoot to a 
certain extent (eel tbe force of the word* of the text— 
'those words which sprang ftmm the mind of the com- 
poser already clothed In mnilcai tones. 

Impression T. That when Datne Kalure glvei the 
world a man lo whose single brain are lodged tbe genins 
of Shakspeare and tbe genius of Uozart, tfaat man will 
be able fblly te satisfy all the demand* of Wagner's 
Theory, and faia wnrfca will be the highest eflorte <rf 
htiman lotelleet for the itage. Bnt Opera, Drama, — 
what will a<yb«7 

Maf 3. — Heard this evening as performed by the Bras- 
laa Sing Akademie, with tbe operatic woheatra, Fa>i>- 
KBio ScHKXiDEB'a WtUgtridit (" Laat Judgment".) 

Wbataborel 



anecdote which Ubbdelbsohh told him. When tbe 
greet composer was a boy of twelve years and atndying 
with Z«i.TEE, the latter bronght out varioui works' of 
BiCH, or at all events reliearaed them Intbs Sing Acad- 
emle (of Berlin). Zelter wa* one of tho*e all-knowing 
men, who can improve BVeiy thing, correct all sorts of 
Iknlts, and so on. This be was in the habit of doing by 
tbe cantatas of Bach. 

"Well, Felix, how did you like the cantata to-dsy?" 
Felix expressed himself on the whole not fully satifGed, 
(hoDgh the work just sung mu by Bach. On forther 
qnntloning, he pointed out ceHaln paasagea as seeming 
Id him unequal to the rest and Injnrions lo the eflMa. 

" Pahaw 1 I wrote thai myself," said lbs old egotist. 

Tbb afternoon. In the music ball of tbe Univoralty, 
UoiHrt's Beqaiem by the Sing Akademie. What a 
Blrange crotchet that was whicli crept into GonraiBO 
Weber's head, that this was patched np by Moiart ont 
□f yoQtbfnl works lo a certain point and Uien finished 
by SuBaniTEa! Who can hear it -without feeling It to be 
tbe worii of Uoiart, the dying manl 



8tii»ti;st(!;iiii-(l{h»t. 

JuLLiEX S Grande, of CryaCal Palace memory, ig 
expected in New York, with a new monster orches- 
tra of nnrivalled artists, early in August. It ia aaid 
that he brfnjra vrith him " a live tenor, the frreateat in 
the world of coarae," and itii even hinted that it will 
bo Takbeslik:, But we have since learned that 
the recent converaion of Castle Garden into a depot 
for emigrants casta a doubt upon Jnlllen's coming to 

America. Tbe maoagement of the Academy 

of Unsic, for the next aeuon, baa Ulen, it is aaid, 
into the hand* of Mr. Ullm an, Bohtao's man of 
bnainess. It is undcratood that be goes abroad im- 
mediately lo engage an operatic &t>iipe, and that hia 
plan of operations la rerj large., and contemplatea 
the furnishing of Boaton and Philadelpbia with 
opera aimnltaneoualy with New York, and the devo- 
tion of two out of five nights each week to German 
opera, as well aa Italian. This plan onght to 

■nceeed We hear rumors of no less than three 

distlnet German opera enterprUea in New York this 
anmmer; one is already in operation at Wallack'a 
theatre, wbers a performance of Fidelia, with Hlle. 
LmHAKW, as the heroine, ia anticipated. 

We had a pleaMnt visit this week ^m Cabl 
Bbkovamh and Herr Albbboht, of the Germania 
Society; both looking britcht and well; the latter 
happy to hia bearfi content In bis life among M. 
Cabefs coloniste in Nanvoo, whither he inteikis te> 
tnming after the summer reunion of the Gennanlana 
at Newport Sball we not lend for Bergmann to 
conduct the Ninth Symphony, when our Beethoven 
statue Is inaugurated 1 and shall not that occasion 
be made musically a tmly noble one, and give an 
Impnlse and a tone to all our musical aSairs for the 

year (bllowingt We underatond that another 

Btatne of Baethoven t* be modelled by our joang 
townaman, Wiiuah W. Stobt, now in Enrope, 
wboee admirAble IViU length statue of bis father, the 
late Jadge Stort, now adorns the anteroom of the 



Mr. C. BnBWim). 701 Broadway, New York, has 
TBcently made a laige Importation of Roman Catho- 
lic choir masi& It consists of esay masses, by Mer- 
cadante, father Lambillote, and other eompoacn in 
modem style, .^ea Manat, oBertorlea, etc., by vari- 

ous composers. Bergamo, tbe birth-place of 

DamcBTTi, has erected a monument to that compo- 
ser A French paper (so translates the Evaang 

Catdtt) dma desciibes the habits and appearance of 
Tbxdi, now conducting hia new opera, Lcm Vrpnt 
Sia'liennet, in Paris : " He goes but little into the 
world, and liirei very privately withafew of tbeleait 
excitable and most reflecting of hia eotrntrymeo. 
He ia about forty yeart of age, resembling in ap- 
pearance the Oenoana rather than the Italiant, with 



noneof theeinberaneeand excitability of the latter; 
on tho contrary he is very ailent, very much reserved, 
and rather uncivilised. His stem pfayiiognomy, bii 
iigbt brown hair, his pale face and hoUow eyes, his 
thin lipa, all give to him a myslerions aspect, imn*- 
what mitigated by hia impasaibility of manner. He 
visits no one, scarcely ever aalntea hia frienda, sel- 
dom speaka, and is apparently loat in meditattoa. 
He is indeed a strange Italian !" 

As a bonna bmehe for ' Yonng Italy' we copy the fol- 
lowing from ■ New York paper, which in enumera- 
ting the operatic proepecia of the summer, conclndea 
with: "And, we believe, there i* a 'German silver' 
sort of an opera tomewhete in tbe ciiy; bnt he who 
can fall back npon Dutch gutturals after the celestial 
music of the birda of Italy, can drink lager beer afier 
a snrfeit of apaikling champagne." 

HsCTOB Beblioz, say* Willis'* Miaioal Worid, 
thna merrily comments in Ibe Journal da DAa»» on 
the engagement of the late qneen of the Grand 
Opera, Hme. Stolk, at Rio Janeiro : " So Madame 
Stok tetnnu ta Brazil for 400,000 franca — and insu- 
rance against sea sickneas — and six servant! — and 
four poets — and eight horses — the gratBltona view of 
the Bay of Bio, night and day— cload less nn — reat 
enthnaitam — riveia of diamonds — scarfs embroidered 
by tbe hands of Marchionesses — turtle doves and 
negroes restored to liberty after esch petfbrmanco, 
without cOQQting the free men who become eoala- 
vedlll Howwaa it possible toresist? Butweshonid 
resist at least, and not allow onr aky to be pillaged, 
and our atari Carried off, by those men of the Anti- 
podes, who have their heads npaidedown !" 



BOSTOK, 3VLt 14, 18B5. 



Fopnlax 

The recent Sdngerfisl, or Sitting FesliTd of 
the Germaiw in New York, cttrried itm moral 
deeply botae to manj a thinkiug, would be true 
Americtm. Especially in tlieae tines, when 
" Amerii'aniim " ig set up as tt sort of politico' 
religioua idol, when we are exhorted to tuainlun 
a surly, jealona and excluriTe attitude toward all 
fbreipiers, and to reject forego indnence, the 
example of eo much faculty of innocent and 
whtdeMsne aelf-enjoyinent in a vaat maee of finv 
&ga popnlatioD, met for no end oetenably but 
pleasure, and in the midst of aueh a feveriih woric- 
day world aa oure, is one frtnn wbivh we may 
well take a leason. We are glad to aee that it 
baa led many of the new^pers, of all partiea, 
eren tbe moat nltn Amerkao, into a tone of re- 
flection, which we trust will not soon be dropped. 
It can but do ns good to tlunk about these things. 
We have been too thoaghtless of them. Divided 
between money-making and politics on the one 
hand, and reUgion without much of "the beaulg 
c£ holiness " on tbe other — between a barren pnri- 
tsnism of correct deportment and its natural 
alternative of stupid, bestial indulgence, we hare 
somewhat at a people lost the art of fl^e, sponta- 
neous, genial, happy life. We are an unhappy 
people ; none the lees ao that we are more proe- 
peroua than others. Frosperitf is the bugbear 
tyrant whom we serve as anxious bond-slaves, 
fearii^ to call one moment of oor life our own, 
fbaring to live, in our unceasing, feverisli porsoit 
cf the mere means at living. 

We are an anxious people, uncomfortably de- 
motiized and ridden, night-mare-like, by that 



Uigitzedby^lV-Jl-'VI 



118 



DWIGHT'S JOURNAL OF MUSIC. 



whiuh gives U8 power. We go ahead faster than 
Othen, but it is bf a Contaur-like contrivance, by 
(Jloiring BO much of our real Tital human Self to 
be absorbed into the lower animal, or the maehine 
thai carries us. Soon we shall cease to bo men 
at all, we shall be so " fast." Your native Ame- 
rican " live Yankee" wastes bis life in rivalling a 
steam-engine ; he makes himself a mere machine 
for generating power — power for what ? And 
with what a solemn, pious, lean, hard-farored wa^ 
be does it! With what a quasi-religious reve- 
rence be quotes his business maxims, h\a rules of 
principal and interest, and so forth ! How be 
amalgamates unworldly orthodoxy >Tith the most 
secular showman's cant in the advertising of his 
wares! How he practically confounds religion 
with his own selfishness, as generalized into pru- 
dential maxims ! 

Perhaps there are do people who put forth so 
much of will, so much of multilarious power as 
we ; as there are certainly none who have so 
much polidcal freedom, so much liberty and even 
license of opinion. And yet we have perhaps as 
little real freedom as any other. We are the 
slaves of oar own feverish enterprise, and of a 
barren theory of life, which would fain make ns 
virtnouB to a fault, and substitute negative absti- 
nence for harmonious positive living. We are 
sadly destitute of the spontaneous element We 
are afraid to give ourselves np to the free and 
bappy Instincts of our natures. All that ia not 
buNoess, or politics, or study, or religion, we 
count waste. We have done it so long, that now 
we are lite little children, unfit to be loft to our- 
selves to enjoy ourselves together. Pleasure be- 
comes intemperance with us ; amusement, un- 
taught, uninspired by higher sentiments, rans 
into the gr^ss and sensuaL 

We lack gtniality ; nor do we as a people 
understand the meaning of the word. We ought 
to learn it practically of the Germatts. It comes 
of the same root with Qie word genius. , Genius 
differs from the other ruling principles of life by 
the &ct that its methods are spontaneous. Ge- 
nius is the gpoDtaneoua principle ; it is free and 
happy in its work ; it is a practicBl reconcilement 
of heartiest pleasure with the highest sense of 
duty, with the most holy, universal ends and sen- 
timents of life. Genius, as Beethoven glo- 
riously illustrates in his Symphony, finds the kev- 
note and solution of the problem of the highest 
state in Jot. Now all may not be geniuses, in 
the sense that we call Sbakspeare, Mozart, and 
Raphael, men of genius. But all should be par- 
takers of this spontaneous, free and happy method 
of genius; all should live childlike, genial lives, 
and not wear the marks of their unrelaxing bun- 
neas, or the badge of party and profession in 
every line and feature of their facee. 

This genial, childlike faculty of social enjoy- 
ment, this happy Art of Life, is just what our 
countrymen may leam from these musical festivals 
of the Germans. There is no element of national 
character which we so much need ; and there ia 
no class of citizens whom we should be so glad to 
adopt and own as those who set us this example. 
So far as it is a matter oS cnltore, it is by the 
artistic element that it is chiefly to be brought 
about. The Germans have the sentiment of Art, 
the feeling of the Beautjfhl in Art, and conse- 
quently in Nature, more developed than we have. 
Above all, Munc offers itself as the most availv 
ble, most popnlar, most iuBuenlial, of the Fine 



Arts : Mu«c, which is the Art and language of 
the Feeling, the Sentiments, the spiritual In- 
stincts of the soul, and so becomes a universal 
language, and tends to unite and blend and har- 
monize all who come within its sphere. 

A clergyman in the interior of the state of 
New York, one of the earnest, devoted, truly 
pious sort, in a lelter espressing his sympathy 
with our "Journal of Music" enterprise, writes: 
" I wish we could cultivate Music sufficiently 
among us, to make it, as it seems to me it might 
be, a great antagonistic to the baser passions and 
animal appetites of the people, and even to ren- 
der unnecessary what we in this State have just 
begun most seriously to quarrel abont, 'a pro- 
hibitive liquor law.'" There is the true philoso- 
phy of temperance. Privation is not temper- 
ance. Prohibition may bo even as great an evil 
as intemperance. It is but the fatnl, fruitless, 
hopeless oscillation from one unnatural extreme to 
its opposite. The prohibition scheme leaves out 
the free, spontaneous, genial element of all true 
social life. Ton ask for bread, it gives you the 
bitter stone of a factitious morality. What makes 
men intemperate is the innate craving for excite- 
ment, for joy, for a free, happy feeling of some 
sort, and the blind rushing to the cheapest means 
thereof in order to escape the barrenDess and 
tameness of their drudging, sober lives. If yon 
would weaken the temptation to intoxicating 
drink, yon must give the people other, whole- 
somer excitements. Teach them the art of en- 
joying themselves, like the Germans. Teach 
tbem to love Music. Kindle in them an artistic 
enthusiasm. Make their lives Esthetic ; arm 
them with resources, not merely of the serious, 
intellectual and moral, but of the spontaneous 
and genial sort- Then the good things of this 
earth, the wine that maketh glad the heart, &c., 
will not have to be preached and theorized and 
voted and legislated out of all right to existence, 
in order that they may cease 'to be dangerous to 
natures to whom God has made them really con- 
geniaL Then men may drink and may enjoy 
and be as glad as little children, and yet none 
the lesB be men, self-possessed and erect in all the 
dignity of manhood. They tell great stories of 
the quantities of laijer-bUr drank at that Ger- 
man festival. mnB thousand dollars' worth, it is 
said, on the one day of the pic-nic I Yet no dis- 
order, not one person drunk ! It was a great sum 
to consume in that nay. It would have gone &r, 
invested in some permanent works or means of 
Art; it would establish the best kind of concerts 
in a city for the year round ; it would place a 
noble organ in a Music Hall ; it would purchase 
the finest collection in the world of casta of all 
that is valuable in the antique sculpture ; endow 
a librarj-, or what not. We say nothing of the 
economy of the thing. Our citizens would throw 
away as much any day in some mere formal, 
pompous political celebration, which means noth- 
ing, or bum it away in senseless fire-crackers ; 
any amount do they willingly spend in ndsc and 
smoke, only without the joy, without the real 
heart's good that the Gemian finds in his Ittger-bler 
and song. For to them the beer is a symbol, as 
well as the song. There is a sentiment about it 
And it were well worth ninety times nine thou- 
sand dtdlars, could we imbue our people with that 
same kind of genial social feeling. 

But wo must keep space for the following per- 
tinent remarks about the German festival, which 



e Courier ondEngmrer 



litical. nor commErdal, norrelijcioas, nor benevolent. 
Its object was not directly or indii«etly to make any 
man (trester, or richer, or better, except so Tartu man 
is made either or all of these by the hearty enjoy- 
menc of simple and innocent pleasure. Could any 
thing be more nn-AmeriranI Here were men from 
lbs various lowns and cities of the Kew England 
and Middle States who had left their basiness ro 
come on here only to spend thiee or fhar days in 
walking, crowned and garlanded, in prDccssion, in 
singing- and the enjoyment of athletic aporti. Men, 
not hoys; hard voiiiag, sober men, not idlers and 
rowdies. What could be more un-American I * • • 

And vet Germans as a'nalion are at least no less 
thoaghtnil, no less thrifly than Americani. Boasl 
as WB may of oar ayaum of edncalion, thero are 
more cultlrated men among the merchants and me- 
rhnnics of Germany than among the corresponding 
cisstes in this country; while in jteneral thoughlful- 
nesa and devotion to the study of the great lodsl, 
poliiiral, sirientillc, or literary qneetioaa. Germany ii 
very far beyond as. The Germans who come here, 
always bring mors or leas money with tbem, and 
they are among the most thrirty and prosperona of 
onr population. Yel they find ranch time — all of 
them, m fact, the exceptions being very rare — for 
mere innocent pastime, having for its only objects 
recreation and pleasnra. • • • • 

Our joyleas aspect has been so long noticed that 
it haiteeome a national trait by which ws are de- 
Bcribed and recoEnized. It was well said ibat if there 
be less miaery in the United Stales than in other 
countries, thcra is also less happiness. We toil to 
live, and live lo toil. All of ns do it, rich as well as 
poor. If a man cbooie to retire from the world al- 
together, it is well ; he can do so ; bat, whatever his 
wealth, if he remain in the active world at all, he 
feels that he must work as if he were working to keep 
himself and hia family from starvation. He is on the 
swift tide of affairs, and he must nde upon it and 
rush on with it, or be overwhelmed and cast upon 
forgetful shorea. We go about with anxioua faces; 
we think of our basiness as we walk ; it is with as 
when we lie down and when we rise up : it consumes 
n«, body and goal. Great nervoas enet^ — ia which 
we snrpasB all other nations, — enables us to endure 
fatigue aod accomplish great things; hut our phvsi- 
cal type has degenerated ; «e rb a nation have fess 
of that beaaty which resnlu from viftorouB health 
and finely balanced organiiniion, than any other 
composed of the higher races ; and after our feverish 
t<Ml or our fereriiih pleasure ia over, we collnpse at 
once into inertia, torpor, 4 repulsive tadtnmily 
which almost amonnts to moroseness. Able to put 
forth on occasion at least as much physical or menial 
strength as any other people, and having that perse- 
verant determination which makes us continue our 
unflaglling labor as long as body and aoul will bold 
together, we have yet less elasliiity of maecle and of 
mind than any other nation. We rush fiercely on to 
a certain end and there drop, successful bat exhaust- 
ed winners of a victory that brings us no joy ; unless, 
indeed, it opeuB the road to another; when by some 
mysterioas process our exhausted eneij^es are at 
once recruited, and we plnnee again ijilo the struggle 
with unsbated vigor. We nave atrength and spirits 
for work, but none far the serene enjoyment of quiet 
and homely pleaiares. 

Perhaps it is hopeless fbr as to attempt to live ano- 
ther life. Inexorable nature may possibly have 
doomed as to this existence of joyless toil that we 
may, machine-like, work oat her great problem in this 
ajte and in this country. But this docs not appear. 
There is no rearon for believing that we wonld 
achieve less if we looked more like men with a smil- 
ing heaven above our heads, and a filad earth beneath 
oar feet We need not work less if we played moiv.* 
The constant and sytemalic interruption of our toil 
by innocent recreation — not reading and lecture-hear- 
ing, and other "intellectual" employments, bnt 
hearty, homely amosement — ha? actually become to 
UB a great national want. More ihan any other 
teaching, we need to be tanght to be happy ; and 
conlrl we get a lesson from our Gertnin friends, their 
visit would win them yet a warmer welcome. 



Letter fjrom Leipzig. 
Jdhb 20. — Bigbt days in Leipzig have gone by like 

a dream — though the American delegation ihere is 
composed, by no means, of a dreamy set of fellows ; 
at all events I have not fonud them so. They"diK" 
a good portion of the time, and if after dinner it is 



Uigitzed by V7V^*.^VIV^ 



'3' 



BOSTON, JULY 14, 1855. 



thought fitting to have tt little fan over ■ cup of mSee 
— for diat li the beveraga, whoM bniineia ie it ! Aod 
li«i«'* to tb« American delegation at Leipzig 1 

What strike* me most here is the mnsical atmos- 
phere in which the miuical ttudenu live. I cannot 
any that the proFeason here surpssi ei'erybody eks, 
— for iottaoce I am inclined to place Ueuk of Ber- 
lin, before Hadpima.hm or RicutsB ^f Iieipiig- aa 
• theorist — bnt that ii not the point. Attention here 
U kept alwBji upon the batineM of learning music ; 
the emire mntical man is cnltivated. Kellt of 
Providence, and Wilsok qT Springfield are devo^Q); 
themselves mainly to composition and the organ ; but 
at (be same time acquiring a fstniliar acqaaintuncB 
with mnsiu in all its branches and in all styles. — 
Fbatt of Boston devotes himself to the cnltivation 
of his fine barytone voice, but when he gets back to 
Boston be will be found not a mere fine singer, bnl a 
men of musical knowled);e, and high culture In otiier 
departments than singing alone. He will be found 
unrivalled, I tliink, iu the execution of the deep 
■oul-futl songs of ScHUBEST and his schooL Once 
a week the papi's of the Conservalcry meet in the 
ball for mniic. At those which I attended we had 
itringed and pianofoile quartets and trios, Bonats.<i, 
solos oQ instruments, songs, arias, German, Italian, 
and indeed from all schools, all executed by the pn- 
pils. Sometimes they are called npon to give their 
own compositions, and thus everything if done that 
can be done to lay broad, deep and secure a general 
musical cultivation. For instance ; Gobscbbl, one 
of the Sncst singen in Germany, a most beautiful 
tenor, is vocal professor. I have been particularly 
pleased at the course he pursues with an American 
pupil — Miss JasKT Bdsk. bhe is still quite yonng, 
not over fifteen or sixteen, and is endowed witii one 
of the finest, clearest, most bird-like voices I have 
heard, and of a compass beyond anything I ever 
heard. Three several ^mes she sang cleaiiy and 
distinctly four eeUuet, the last time ascending the 
scales, through tbe whole twenty-nine notesl Here 
then is an organ of musical expression most rarely 
found, and one that mast be dealt with most gcolly 
and carefully, eipedslly just «l this period of life. 
Accordingly the mere practising of rocol exercises 
is made to.be but a small part of her musical educa- 
tion. She is called npon to devote a good portion of 
her time to the study of Italian, German, £c., afaun- 
dalion is loid by bringing her into other classes in the 
Conservatory; so that when the tints comes for de- 
voting herself entirely to her vocal studies she will 
have that culture, that artistic mental development, 
which will give toni to all that her astonishing voice 
shall execute. I have great hopes of this young 
Baltimore lady. 

What I rejoice at most when In Lcipslc, is to see 
how, without any special effort to lead the pupils in 
any one direction, where nolbing it said of Italian 
and German schools, — at any rate, where there Is no 
qnarrelling about them, and where they are fully and ' 
ftiirly represented, this general cultivation results in 
the formation of a taste true to the really great iu 
music as the ncedla to the pole. It is tbe taihion of 
course in Leipsic to praise Bach, and to go into 
ecslacic* over Bach's music, Bnt fashion alone could 
not call ont such audiences and cbain their attention 
BO, as one sees there on Saturday nftemoona, when 
the Thomas School boys sing their two motets in 
the church. These are not always by Bach, by any 
means, but when they ere by him, one sees the ud- 
mii!tBkabte signs of on approval founded upon ap- 
preciaiioQ. 

Why, says one, a year or two since I thought the 
half of DmyW$ Jountal the trashy offspring of pre- 
tentions prejudice, and the talk about classical music 
all humbug. Now my highest ambition Is to do 
something, no matter how little, or with how much 
labor and pains, to make the folks at home capable 



of sharing the world of mnsical eiijoyment, which is 
now mine, bnt of which ■ ye*i or two since I had no 
conception. 

Another sayt, ho really don't know what he shall 
do when he gets home. He expects the people will 
" make a tow" if be elves them troe organ playing, 
but he means "to put it through." 

There are so many opportunities also to hear the 
greatest singen and in strum en tali sta, each in his or 
her own peculiar music and style, that a pupil of the 
Conservatory learns Involuntarily to feel the true 
from the false and meretdclotu. a. w. T. 



CoRHEcnav. — Our altenlion fans been called In two 
mlHtatements In the eommuntcfitlon ireek before Inst, 
signed " First DMitan," on the snhject of our tlilitsry 
Bat^s. FInt, tbe New York Band and the Boston BrI- 
jnde Band were spoken of ss equal in numben : whereas 
the former really nnmber«d 22, and the latter 18 instm- 
manls. Secondly, the band which pinyed on tbe last 
dsy of the pirade, was not the Brignds Band, but soma 
other. We do not inppoM Iba writer meant to Injure 
tbe reputation of the Brignda, or any other band, bnt we 
cbaerfully make tbe corrections. 

Tha sbov* VIS 1n(«nd«d fbr Uit wwk's pipt, %nt crowderl 



>ttar tyem Un miudisl dlrK 

FUHUHriUti ovartoM at ttw i 
ptsjlng 00 tiia Conmoa od 1 
Chlt-ChU." 






a kuov that m ban n 



Ittir, It tiM bhion 

mtlluiT tc 

bands. Our qi 

ftihlcin} of nuLoalTaly bnia a 



. Wi bsve (bond ■» fknlt with tbe 
r art ; aad cartalDly It Is ns bolt of 



IT DeDbais ef our bands srBpMhiia fully with 



To tlitfl and wa ra^ttttrA, that a Jmrgt ^land of this khid 
nlgbt h« orgBDlied, fllher bj prinlt ent»rpH«, or ondar ths 
aoivlcas of tbe dtj, uora partkuLarlf fbr dvld e«lcbratloirt, 
pncaialoDi, fco., Inalodlog DOfdo on tha Oommon :— a band 
tot matlBMl, rathn Ihu filr m^n milium nidi. With tlH> mO- 
ItaiT dda of thi question wa havi notblog at all to do. Of 
anne, if small ranpmnla of Utj wJU ban buda on their 
paiadM, lhajr ntut b* Umltiid in oiuabB', and It k do ftnll of 
tha mnilclans If tbt; band tbaii Inrtramcsti tofattair " in 
qnantlUd to nil pnTchum." Tat wfa)' nol train In Iuib 
SBUblBtUoDS? Wbj BOI btTo ona <■ nftaenlal band" (wa 
Ihlak tha; eaU It), as hi New York, whkh also would ba avail- 
abli tit mode wlthODl moakats '■ Bnt •* to ihe mllllni; re- 
qslniiMnta la tha matuc. It Is not for us to dhuia ar untM ; 

whj tha " pomp and dnOBStaiKe" of vu flhould «Ter elottia 
Itwir In Binsiii i tlM non " tslatbniuplaB" tha aoeompaiil- 






AKmMnt of IlK 
wilt baliald at OambildiR, at li 
liKit to Christ Chnrrb,) an Commi 
P.M. Bf onhr " 

BoatoB, JoIt 11, 18S6. 



IVAKE, Xaeordlnf Saenlaiy. 



UCnC TSACHKR -WAWTBID. 

WANTED. Ii a SeD:ilD>rT of hieh ordn Id ■ bsallbT iDolllv 
>t tbe South, K ttnaif Uu.lc Tncher i>rBnt-nu qmlUf- 



, at appllBiiino bj httar mJilHana lo8. B., VrublDttsaj 

Onrgla fUarv 16(10, 
BostSB, Jnaa tO, IBM. 4t 



A CAPITAL COI.LBCTIOIT OF ACCORDBOH 
HVnO. Jut Fabllalied. — TIh Fhitlna, a CM- 

leclloo of p^nllar Beoia, Openlle AIn. Waltaea, PoUu, 
Hanbaa, ()Dlckst«p*, ke., arfanied fat tha Asaordaoa and 
naltna. IbbweikcoDufniOTtr 100 plecesof nnsle.lDelad- 
lD( tb* Mlowtni aDHHU other sona wllh woida— an amuBal 
Itataralaabaahof ttaWUndi AnA lAwiis, Do tlH mlsa ma 
•thOBtiKalvDarllnaiUljIMi, OoaaaXuilBL sod Walt (or 
the VaaoB, >rin oolV W tux, 
FBbflwd bj OIItw Dttaaa, lit WmtUMI** ^• 



NEW COURSE OF HARMONY, 

BT Ii. H. flOHTHARD. 

Tha PabHahers call the atteDllon of tha mmlcal proftmlon 
I ilili wnrk, as one wilnMitt; calenlaied to llfhian tba labors 
tha tiaeber, and rapkllr adnnea the pnpU. It la enphatl- 
.... _ » _^ .__ ■-- - - , h„niU Bf Imtroe- 



»tly ■ Pi 



irr^og both . 

It of Eha work, tofflhai 

oiiranyilnillu 
1 the work. K 
In tbe laniuai 

I, nnthodkal Id anan(enienC,andiD(tlrlentlj eoplona 



ckind. TtMhen blihtyn 



> ot tbi I 



■ of w 



It can ba ordered tbcooiih uiv rMpccUble Kiuic^ttWer, aod 
will be seat through tba mall on ehi raealpe of iha prfcv, 
(«l,TG,]pcsls«e prepaid. 

«EO. P. RBBD * CO.. PnbltslMn, 



WZLLIAH BESaER, 
PnMlther and Importer of ntulc. 

Ho. S2 Wwt ith Street, CLnalnnaU, 0. 

KEEPS eonatanllT on hand a Uise and Baleet Btook of 
IMPORTED UDSIG, fiv aala at Eaatern prieei. New 
Uoik neelTed b; StouDer as aonn aa pnbllrhad. A llbenl 
diasonnt iraaled to Teachers. All orden promptli attended 
(0. Nikio anuifKl to order. 
n:^ Catalocnes sent pads h; mall. AufSS 



F. F. MULLER, 



a. AHDSf to 00. 'B 

JBcfst of fettiin anlt fisntxtlc fiJUU, 

IB S. inirTB STOIkT, UOVa CBSSTIIUT, 

(East ^a,) PBTLADBLFEIA. 

\iyA eatalasna of our atook of Porelgii Uwle, and of obt 

Booki Imparted to nrdai, as heietolbra, Ennn Qenoanjr, Itajji, 
Tnoc* and Bd^ land. 



OTTO DBE8EI. 

Ksj ba nddieoad at Rkhardnn's Muriea] Bialunie, or at 

this offlee, and will be read; to renlTe pnpUi abont 
Iha middle of September, 



IMPORTANT MUSICAL PUBLICATION, 

W« ibtjl palllab OB Ih. ,0111 of JBIT, 18U, 

BAKER'S CHURCH OUSIC ; 

1 coLucnoR or 

^gmn-Cttnti, S^mtti, ^ntttntm £ ^nt^emt, 

WORKS or BOIK ANCIENT AND UODBRN MASTKKB, 



Ma<M puUnlsrlr Ibr the ue of nholis iB 



This work ti 



■tndlca fbr aohools and claaua, tofatticr witb a vaHetJ ef 
piccea snltibla tot BlBglnf SoekUea and Muleal CsBveDllou. 

la tha anaDfamaDt of the hjua-taoaa, tha adIlDr haa en- 
deavored Id oombLna daiptlel^ and good taste ; avoldlof 
pedantic dlflcnldea, and jet not fSlllDg loto fceblenw. 

The anbjecta of the hjmn-tanea an ebttfl; lafcen ft«m the 
Did mastsn ; bat aa thej ban been men or less altered to 
aolt thsm to diSerent fbmis of metret. It baa aol baec deemed 
nec ii ma r r lo {tve tlie namea of the anthm. 

The hjmn-lnna aad anlbema contrlbnled b; pnlhastonal 
fMwd*, are printed In their art|tnal tbnns, with tba antfaors' 
uoea. The eeUanoM, moteta, and anthama eontalaad Is 
this woA will be ibund adapted to the OM of dUfereot denoml. 
nalh>Di,OD their tvIou onwkHU of worablp. In the hope 



UPPIHCOTT, OKAMBO ft C0HPAN7. 
M. I.oiUai 

XXITH k, WOODS. 

P. B.— Tbe atteaUoB of Hoals TaadMts and LeKlen of Choirs 

ti pankntarlr called lo this new and valoahlr book. 

Frloa f7,6D iier doa., 70 ota. eiiigls. 

^nmiUliw T5 eanta In pDala«* stampa, we will anid 
finally mr tvamlnatlim^' ^_. _«.»_ »T_i._i a. 



Uigitzed by V7V^V.7V1^^ 



■a' 



120 DW 

Novello's Cheap MUSIC, 

(Imported from England,) 

389, Broadway, N. Y. 

MUSICAL PRESENTS. 

NOTELLO'S OCTAVO EDITIONS OF ORATORIOS In 
Tackl Score, wllh ■ aip«mici>csoiiipiiilis«nlfcr th«l)r(in 
01 Pluo-Fnrte. Bj 7111011^ Notiluj. Tlmt worfcirtUbt 
ftnud unpropiiite pnnnU, (omblnliig (ItgtnM wllh ■ mod*- 
nta snUiij far ■ lUndHil mnk. 

WOfKB ALREADY COUPLETED: 
BATI>K'8 

OntUm, (BoDBd) tUtt 

• HAynKL'B 

S<ilom«D„ (BmndJl-SS 

Itnalta^OT*. ^ IS 

SZIS- :::::::::::-.:;:::::: « ii 

S?S±:rrr.v:v;;;;;'v;.;::::::::::;: " II! 

IMdniBB Te Dniio, , I (F>hf)O.SS 
Oofonti™ Abu™, ''«»<look U» PrtBt," f ■ "■ ""'^' ;■" 

]<»hi», (BooniJ)iaB 

AcUudOmlafA, (P«i»r oOTBt) TC 1 

AIhui1«1Fh«, " ml " 8-SS 

Ode 10 St. Cndllkt D>r, " 60) „ ,„ 

Dibonta, " l» 

HKMDBLSBOEN'S _ 

Bt.P.nl, ■-■■■ " 1«S 

HTmnatPnlM— lAt«Muic,(PBnr}«ir»l „ ,« 

A<th>lI>MPuiU, •> «!■■■ '■* 

MOZART, HATDN, AND'BKCTnOTEN. 

Tin Thna IbtotIM Uuw, irltb th* UUn wrfi, •nl »ii 

Bi^Uili iteptUlaD b; R. G. Lonlu, ^ , iuiiihIj : 

U«n1 T.™iftli Mw rP^jar) 88 1 

Hwdn'l Tblrd 01 lBipiid>], '' 68} (BonndJS.lS 

B»(tioTta>i Via In (!, " «* L, „ 

" BngMi; DT, D»TMlBtht WlWem™, (Pipn)0.76 
Honrt'i IWi IbM (0- «tabr««l ttoqatam,). . . " O.W 

UTofttMBeU^ " 6» 

All (ht OhoruM ftnD tho oe(avo fldllloDi mtj b* bmd Hpt- 

ntolT, rreta e «■>• to 13 DnU iuti- 
Al*o (uh pkea ft«m Uu iboTB Ontorioi Co be hid HpumUlj 

tn foil miule Km. 

JOHN 8EWABD WMGHT, 
pianist, Ifttganfxt anb Sliutti at piutt 

AT THB HUSIO HALL, (Bn. TnoDDU Pjiuu'i aaam,) 

Gires /jrariiFcr/ow ojv ths piano. 
Sadd«M, IS ATar; StrMt. 

KANISI AND TEiCHEB OF MUSIC, 

OFFBRfl hh •errioei u u lonniPtot In the blsbrr bnnebe* 
«f Ptuo dUtIdk. Mr H.m»ybeiulLlr««ed»llb«nni>lo 
•toru of Knaur Biobauhk, £83 WuhLngun St. 01 ». P. 
Riu k Oo. 17 Tnmoot Bow. 
RnHIKW :~lln. C. W. Loring, 33 Mt. Tenon 8t 
Ulu E. B. Prince, Stlem. 
HlB NtebcJe, ao South St. 
UIm Milt, b huikUn FU». Vab. IS. 

THOMAS BTAN, 

TEACHER OF MUStO, 
EXSISZHCS, No. IS DIX PLACB. 

FOK THE KPiaCOPAI. CBDRCH. 

rn CHURCH MANOAL:~A CompendlBm of origlul 
CHiBM, RWDKW, el«., iBclodini T« »«o«, Oiouii, 
BtBonn, ke. <»- Adapted id the eeiTlcie at ebt PuMeMmt 
XsieeoBal Ghnnh. Bj T. Buull. Filoe 11. 
>abB>hedb7 _ ,. 

Oliver DttaoM, 116 ITuUifrm 81. 

L. H. SOUTHARD. 
TEACHES OF HVSIC, 

MS WMUnftOB KiMt, BMtoa. 

CHICKERING & SONS, 

MAttOPACmRBRS 01 

PATENT ACTION 
GRAND AND SQUARE 

01 XTBRT DBSCBrPTION. 

W^AREROOKES, 

ac^jsosrxo nmnxpxixi, 

TREMONT STREET, 
AjclB B09T0N. tf 

""""^'''"''''''^^^ ^"^^^■£wAByir''B!AXCH^ 



IGHT'S JOURNAL OF MUS 



IC. 

ORGAN-HARMONIUMS, 

M A60N &. HAM LIN. 

THE Or^ui-IIennriqinm \a in entlre}j new (pmtent) muricel 

rom of keye, u»d Hght itoH, u frilLon : — 1- Dlepuon ; X 
Ihi)i!iuk;8. Prlodpal; i. lialt; &. Bourdon ; B. Hsntbnr; 
T. KipniMoB ; 8. Osnpler. It !• detf(Ded Bon •■lieclaUy tut 
the see of ehnrcbee, iFotare-roomi, end «lb#r lAFge pubUe 
htlla, btTlDC power nearlj eqael to n Chontud doUu orfu '. 
Itli*]eoupibl«ofni>nT(a>o.«aoM*, *adbe«tnwnrl>l; In 
the propertjr or qniUlj of ton*. It li Hpntellj' edepted to 
the die of orgiB-aeetaen ud etadenti, be(D( n idmlmbb 
nib«tlta(«(OrDr|u-pTeetiee. XuisIdmIos fmm ikU lu;*reMed 
li nH)ectnillj KUeltal, 

HBBon & Hamuli's Kodel Kelodeons ! 

lUeanmeBded hy tin beet tnufdeluu and orpLBlete Ib the 
oouBtrj', luiDFiuoB loillotl»n,) unoBtwhom wementkn 
the MIowIde: Lowelt Kuan, Wn. B. BrediJOIJ, George F. 
Root, G- W. Uofgu (Imte ornBln to tfa* Hannoole UbIob, 
London I, S. A. Buumn, L. B. Ilomer, 1. R. Ssalhud, B. 
Bmn, etc, etc. 

FrltMB from *60 to S17S. 

\SJ- CbenUrs eostelnini k full deeeripOon of the Hodel 

HelodeonJ eent to mnj addnei, 00 kppUcetlaa to the under* 

uiriT Miso*. ) BIA80X A HAMI.IK, 

uiiiiiii ainLD. f Oanbridgi Si. [ar. ^ OloiUi,) Baiiin, Ni. 

NEW AEBTHETIO JOURNAL. 
THE CRAirON, 

A WeekljPnpei dented to ART, (rlTentleelftalbf (ttOBtton 
of HI who nre Iniereeled In the elemlBf ud rtllBlBf hifln- 
•ncM of BeautT. Amonf tbe eontrlboton to TBK CRAYON 
■Iread; ere Bnan, Ldwcu, SnuR, Bhibuhbt Puui, A. B. 
DouBB, Preddanl of the N>tk»iJ Aiadinjr ofDMfgs, Dum 
BCTHTDiaTOH, HuilT K. BuwB, ud aaioBget tboee eBfitted 
are Loioruaw, BjITAU Tiiun, Oio. Wm Cinra, Her. H. 
W, BuoBiB, Rot, Bihdu, O«oaao, Rrr. H. W. Bniowi, Hon. 
GHAiug Bdw'U, ud othenof oar Bioel eminent wrlLere. A 
■erlee of pepere bj RUMLUt. ud eMiTi left bj the emlDent 
eculplor, llouno Quuiouoh, add to the liduat of The 

We hare already etrontly 

e'rerj enoreedlaf ODmbar prorea U to be B»re and more vdftby 
of allwabaTeKldinlH pnlis. Ko Jonmal, denxed to An, 
bat erer been eo ablj eondnetad, ]■ Ibia eonntrj ; and If H 
Dorta with tbe nppoit It ae rlchlr dtaerrea, we have do donbt 
oftheoooBtiT. ueooenpon 

PnUlahedbr BTILLHAN & SnRAldl, No. 97 Broadwaj, 
Hew York. Tenu, 98 per aDBDin.lBadTBDOa. Baeknim- 
beri loppUed. 

SCHARFENBERG & LUIS. 
IIHFOBTERS OF FOREieiV HVSIC, 

■a. 769 BKOASWAT, soniei of 5iRtIi St. 
HBW roRK. 

TEACHER OF HTJBIC, 260 Waahiiigtnii St. 

RBaiDENOB. ...13 SHAWHDT STKBBT, BOSTON. 

A GK>OD TIME TO BUBBCBIBEI 

DWIGflT'S JOURNAL OF MUSIC, 

El f RftT tt Sit Bnli Uttxaittit, 

PnliUilwd STMrj Saturday, at SI StliMl St. Botton. 

Tiro DoUiua per unnuii, IM adwanee* 

IhirlD( the three yean ifaiea It wat eatabUihed, thia Joimal 
haa met with ooDllnBall; iDCreatiBg II,*or, ud It anteiMI 
apoo IM SBTEHTH TOLOME wllb the number tbt Salnrd^, 
April Tth. 

lie oonteat* relate malnlr to the Art of Uono, bat with 
(taneea at the whole World of Artand of PnUtaLltentore; 
laotBdlniihoutlmetotlme— 1. Crltloal IUTlew*orCaB<^eIta, 
Oratorloe, Operaa ; wlthtlmel; Aoaljaeaof the tiotable Work* 
perfbrmed, aoconnta of Cbeir Cotupoavn, ke. 2. Notlcee 4f 
Hew Hods. S. Mnalsal Newi (torn all parte. 1. Corf«a- 
poodence from mualDal penona and plana. 5. Eteaf I on 
Btnaleal ■tjlea, achoola, period*, aothon, ampaaltloBB, tn- 
ttrnmenta.thtoilee; on Miuleal EdncatloB ; on Hnaklnlta 
Keial, BDdal, and Rellgloiu baariBgij ob Uoala In Uie 
Choich, the Oonctrt-Toom, tlia Thaatn, lb* Chamber, and 
the Street, fto. t. Tranalatkoa from the beet Cennan aad 
FroBob writan opuo Mnrie and Art. 7- OccaaloBal Notlcea of 
Banlptnn, PalnllBf , fte. 8. OriglBal and Saleetod Poemi, He. 

DT'Baek nombera, tna the eommeDeemest, «an b* flu- 
nlihed. Addren (poa(.TaM) 

J. S. DWIGHT, Zl Scaooi Bt. Bmto>. 

TERMS OF ADVERTiaXNO. 

FtnthMrton, per line 10 Mi. 

Bach nbieqaeni injcrtlOD, per line licli. 

lor one ool^mn, (llS Uaei) fint Ineertlon VOM 

Da do eaah labaeqaeBt MOO 

Special notlcee ( leaded 1, each ieeertlon, perUn* 90 eta. 
Plants reoBlred in adruee i for jearl; adTanbematl, 
dliartaill ■ 

HoTa iT'BCHobi. "btbbb^ 

Uigitzed by V7V^»^^V 



SUPERIOR TO ALL. 

U6HTE, NEWTOi mADBOBrS PUIOS. 

NATHAlf RXCHARDSOK 

WoBld nepntfully lufDnB tho public that he haitakan the 
AnnOT Ibr tbe New Bngland ttatea, for the lale of the aboTe 

BIUU7 be kept at Ua 

MUSICAL EXCHANGE, 

282 Waihiugtoii Street, Boston. 

Theec loitrBmeBta are warraBted In all caMa, and pnt npla 
eeonre boxee, iVae of eipenee, tn traneportatioB to aBT die* 

lance. AlK, NEW MDSICfnnailpanaof Bnnpeud 

.America reettied aa (oaa aa pnbliibed. which, tcgetbar with 
Dur owB poblkatloBB, forme tlie largaetptoek and freataet 
nilatj of Sheol Made to be fauod In the United Statee. The 

Catalogue! pent to anj add reee, $''4' rd. -.Superior MiLobaoBB 
alwa/a on hand.— PIANOS TO LRT, on mmi Imni. 



HENRY S. CUTLER, 

SSAClISSi OS S3I3 BAftAff, 



IT ROOM IN TUB 

OREBN BTRGET. 
0""OommnnleatlooB maj be laft with OUTik 



THE ASTENT, 



D. ALI.KX daalrel a aUnatlon a* Ornnlat In 
, .1. — ,. ■- n ..... =.j jgg^ ffonwter.l 



RanuHou— Bumner Hill, E. Hamilton, J 



PATENT AMERICAN ACTION 

PIANO-FORTE, 

nannfiiatorr. 3T0 'WaabliiKtsB Street, 

BOSTON, UABB. 



TOine UDKS' TOML IDSIG SCIOOL 

E. R. BI.AIICHARD, Taaelwr. 

Thia Sctaoal le tLalgned tot theae who wlah to aeqnln tba 
ablUtT torudmuiio nad% at right, aBdlipanlenlarb adapt- 



w\ 



MB. J. 0. D. PARKEE, 

ba bappj Id (It* Inatmetton In Pluo-fbrte and 
Organ plailog, ud (be Ttaaorr of Hnalo. AddreM: — 
8 Hajward Plaoe. Haj 26. tf 



METER & TRETBAR, 



ie Bhonait time poirible, bnj 



IF JOB wlih to Irani to play Ib tbe 1 

■ODEM SctoOI F0E°fi''FIUI)-r01TI, 

■faleb la aekBowledgad bj the meet emloent mnridue of 
Eorope and Ameitea to be the BEST iBatncUon Book that 

haa eiel b«u pobllalied. Price Three Dollare. 

DT'Pnbllabed al tbe MUSICAL EXCHANQB, Beaton, and 
tat (ale at all Hnale Sloree. 



J. TRENKLE, 

TEACHER OF THE PIANO-FCRTE. 

RaaideBOe Hs. M Kneeland Street. 



G. BRE VSIIWO, 

IMPORTER OF FOREIGN MUSIC, 
701 BROADWAY, NEW YORK, 

Depot of Erard't Grand Pianot. 



ADOLPH BAUMBACH, 
T£ACHEB OP THE PIAZVO-FOBTE. 



L. O. EHERBON, 

Biultt at itit ^[KRO'^artt, ffiigan, ft JSInjiIng. 

ORQAKIST AND DIRECTOR OF UUSIO AT 
BCLYINCH STREET CHURCH. 

Uktic Baem uHdtrUu OainJt Ilmdaia,H Indiana Ft. 

BOBTOH. 

Applleatlau maj alio be made al 01lTerI>iliaB>e,lie WaA- 
Ington St., to whom he It pamltted to refcr. 






Whole No. 172. 



BOSTON, SATURDAY, JULY 21, 1855. 



Vol. VIL No. 16. 



PUBLISHED EVERY SATURDAY. 



J. S. DWtOHT, EDITOR AND PSOPRTETOR 

EDWARD L. SALCH, PBDrTEa 

tT' OVPIcn, BTo. 31 Sohool Btraet, Beaton. 



SUBSCRIPTIONS RECEIVED 

At tlM OVnCE 0:P publication 31 Schaol BL BoMdd. 

Bt NATHAN BICHAiU>60H, 291 WahlDpa St. " 
'1 aKOKGR P. RMBD » CO...UlniDMitRn, " 

A.1I. LELAND, PiDridtDH, R. I. 

C. BBEU3INQ, TO] Brmdnj. Niw Yolk. 

sfflAJtFENBEita k una, TOt Kntomj, '• 



OEOBOB II 



fe 00... .IB So 



JOHN H.IULIX>B,. „ 

— Jc^BEiCHAM,. ,1S1 BUtimonSt. Bultimon. 

...ClenUBdlo^ 



" COLBtrnX ft TIELD, 



M>H&i.',' 



nmuldcd fti[ tbli JouTuL 
>Ma A. B. Miu^ "Mo* arib»rtf»Ma& amtni?," 

If we follow step by rtep tlie coarse of Nature, 
we find that everywhere man fitst conuuencBB 
wtthhii senses; — and so too in his mudc Ikearl 
that is the first germ of masic; ercn the cry, 
which joy or sorrow reads involuntarily from the 
breast, first becnDes aught to me, when I hear it 
I hear — tbat is as much as to say : I become eon- 
sciont of bearing, I become aware of that which 
lets itself be heard. Whether it rest there with 
the mere fact that I have perceived something, or 
whether that something becomes beneficial, plev 
■ant or injuriooa to me, already it has knit rela- 
tions between me and ihe outer world ; it can 
awaken desire in my breast, even were it only 
the desire to perceive a sound again, and conse- 
quently to produce the sound myself, in order 
that I may perceive it. 

Here Music, on the lowest step of course, com- 
meoces its existence. I produce, myself, I render 
aodible the sound for which I craved ; I craved 
eimplj to hear in general, — or to hear this given 
•oond, — or it may be shifting sounds. In all this 
there is scarcely anything bot sensual appetite ; 
the anderstanding steps in only inth tlie repetition 
of the one, or with the alternation of the several 
sonnds, BO as to establish a rhj-thmical observance 
of time and accent, and make the whole intelli- 
gible through some sort of (wder in the anj^e 
momenli of sound. 

Thus &r the whole essence Ot the matter ia a 
purely outward play with sennble objects, 
(scnods), the individual purport and agnificanoe 
of which for the time b^ng remains wholly un- 
regarded. But the play.groand ia a wide one 
and continually expanding ; and &e result, the. 



product of the play issmore eclaiged poesesnon, 
a more enlarged power and dominion of Art 
I hear, have a pleasure ttcrcin and a wish 
to hear again; produce something bearable 
by my own act, enjoy at once the sensible 
phenomenon and my own energy, which approves 
itself therein. In this mere impulse to excite the 
sense variously, to avoid wearisome monotony, 
to enlarge the sonorous arena, sounds of the most 
diSerent quality were brought together ; our va- 
rieties of instruments, from dmras and tympanl, 
cymbals and triangles, through the wind initni- 
ntents and harps and viols, are thousands of years 
old ;— the timbrels of Israel, tlie sistra of ancient 
Egypt, tbe Antes and salpinxes and lyresof India 
and Greece prove this. In obedience to the same 
impulse to open tho widest path to the rhythmical 
play and alternation of sounds, has the tone-eys- 
tem kept progressively extending ; thus the 
Greeks of old invented ever fuller and more 
extensive systems, and in our own d^ our pianos 
and our onJuetras are conMnully stretching 
upward and downward into new octaves. 

One may natrirally ask, in the full feeling of 
what our Art of Music has become, whether what 
prevails upon that lowest step is already Art ? 
For our r^sed apprehension it is not And yet 
some important men have been unwilling to re- 
cognize in our Art anj'thing but a play of the 
senses (Kant), or a play of forms (Hbrbabt); 
Lbibnitz has resolved it into latent, nnconscions 
calculation ; the treatises upon Acoustics (CatAD- 
Ni, Bu^dseil) have ascribed its interest to the 
greater or less simplicity of the tone proportions, 
just as man delights in the contemplation of regu- 
lar figures, such as triangles, quadrangles, but 
" not in sept-angles" (Kepleii.) And how many 
musicians, from their words and works, may 
properly be called professors of the same creed, 
scoffers and dcniers of everything deeper I — 
Rather let us own, that tlicre, already there reigns 
An — only not our perfected Art Is the germ, 
the seed-vessel, out of which the futnre tree or 
living being will have been developed, yet a tree, 
an animal, a man 7 — yet these contain already the 
Etill veiled, unshaped future. 

Yes, tbe progressive influence of these accred- 
ited impulses and strivings must everywhere be 
recognized, and cannot be ignored. 

They have shown their efficacy not only in the 
r^on of sounds and in the tone-systems; 
they have created and disseminated Harmony. 
If already in the East and with the Greeks har- 
monic secondary tones occasionally chimed in 
wiUi the principal tones; if in the Organon of 
the nuddle ages the melody was accompanied by 
a constant succession of Fourths, fifths, and Oc- 
taves, thuslayingthe foundation i^ our Harmony; 



the only appreciable impulse to all that vras the 
pleasure fbund in an increased sonority, in a 
tonally organized fulness of sound — I uig^t say, 
breaddi of sound, which at all events was more 
procurable through these rude harmonies, than 
through the union of ever so many voices in mere 
unison or octavos. It is the same thou^t which 
has introduced the Mixtures in our organs, and 
which keeps them there as indispensable. The 
entire old doctrine of Harmony rests, as its fun- 
damental contrast of consonance and dissonance, 
as every one of its rules shows, throughout upon 
the purely sensuous perception and intellectual 
elaboration of the contrast between " the agreea- 
ble and the reptdsive." The human mind had 
there gradually created a world of harmonies, in 
which their own attractionsand tendencies (for in- 
stance, tho resolutions of the so<aIled dissonances 
and dissonant accords} came forward and impe- 
riously asserted their validity, by no means at 
ways in harmony with what would ^n have 
shaped itself out of the heart and brain of the 
artist. To a higher stondprnn^ to minds " who 
could do what they would," was reserved the 
harmony of the artist's spirit with the independ- 
ent spirit of the tones ; while at tbe same time 
the shifting play with harmonies, unconcerned 
about their spiritual design and meaning, went on 
as before ; so it was with the chromatic writers at 
the turning point of the middle ages; so it has 
been with thousands up to our very newest roman- 
ticists, who — with the any thing but romantic 
SrOBB at their head — riot in keys and barmonios, 
like swimmers in the waves, one signifying just as 
much as the other. 

The same play has begotten Counterpoint, — 
and first through that effected the development of 
Harmony (as I have before suggested.) If in the 
Discant <£ the middle ages the vdcee strayed 
away from union with one another into a Second, 
a Third, a Fourth, and again ran feather into 
unison ; — if afterwards the Flemish contrapuntists 
(and after them the German, English and Italian) 
placed a melodic motive of three or four tones 
now in this and now in that voice-part, now held 
it stationary upon one degree or kmsplanted it 
to othera, and now inverted it: what governed 
here was nothing deeper than the need of a tone- 
play, of change, so as not to become wearied out 
too soon, and of holding fast, so as not to &11 into 
confusion and distraction. This character pre- 
dominated in the whde middle age church munc 
down to PAI.E8TRINA' — and beyond him. That 
no deeper meaning lice in all that melodic, po- 
lyphonic web of tones, the unbiassed student, in 
spite of the halo which Tbibaclt and other 
&nciful dilettanti throw around tbe later ctaners 
in this direction, most rect^lze, if he reaaika 



Uigitzed by V7V^*.^Vl^^ 



'3' 



122 



DWIGHT'S JOURNAL OF MUSIC. 



diat th« Mme forma and fonualas an expended 
npon the most oppodle BentiinenlBaiid wonli, aod 
that any intelligent accenting of the word, an^ 
ngnificant resounding of the mood or lentiinetit 
only appears in brief exceptions, accideniall/ — 
that in to nj without any motive. And must we 
not confen the mme thing even to-day of all the 
French popular melodiea/if a great part of the Gei^ 
man, of the greatest part of all Italian and French 
opera muac, of the instrumental music, of the 
~ ion muric for " society" devoid of all deep and 
[ling interest, and grown blate, tame and 
shallow? 

And yet, in ipite of all, this harmless play with 
tone-fbrms is a fbantain head, — and one that 
never can be dried up — for our Art and for the 
well-being of humanity in general. From within 
outward stirs this play, and its attractive charm, 
I the very process of our life. The breath 
draws the vital air into the lungs ; the air exhaust- 
ed i^ its vitality oppresses, stifles us, and must be 
discharged to make room for the renovating in- 
spiration. Espiralion is deliverance, it is re- 
newal of life's hope ; its enei^ is a becoming 
aloud, is voice, — all hi^er life has Toiee ; — 
voice it the blossoming c^ the breath, of the in- 
wardly nourished flame of life. In the voice Che 
v pcdcsof life, joy and sorrow.are energetically 
revealed. In the richness of the voice the rich 
activity of the internal life process announces it- 
self In Uie voice my life announces itself in its 
many-sidedness and fulness, I feel it and others 
understand it ; — and that is a feeling of self, a 
sa(iE&:tion even in the bitterest shriek of pain. 
That too is consolation; only hopelessness and 
absolute despair at« dumb like corporeal death; 
for they are s[uritual death. And inlhesameseDse 
song, or rather " nnging," that richest, freest, and 
most self-determining and Umltleas play among 
sounds of my inner life, may be called the 
blossoming of the voice. So the tree rears its 
blontnos to the sonllght, and lo shining insects 
and silken butterflies, belonjpng to this tree, like 
detached blossoms flit about those fiislened ones, 
which have for their object to become fruit ; just 
>s the breath of life sends forth the vcace, which 
becomes glorified in song. And this " from within 
outward" is met by the Bjtnpathelic sensual charm 
from without inward. 

That is the fountain head of the tone-life in 
nan. It must be inexhaustible, since it is born 
mew in each new man ; it is as old as the human 
race, and it is eternally new. It, with all the joy 
that cleaves to it, is immortal as long as there are 
a, as long as man lives. Hence the suckling 
rings already in his way, and to his last days the 
man ; hence one sings (or whistles) when in 
danger or anxiety ; hence the East had its mourn- 
ing women, and we ourselves have our dii^es at 
the grave. 

But herein is the progress tu a bigfaer step al- 
ready indicated and conditioned. 
[totaontlDHl.] 



Verdi't Few Open. 

ICmehiited fnn ka WMk.] 

Act third commences in the cabinet of Guy de 
Montfort, at Palermo- He is informed that Henri, 
having refused his invitation, bas been brought in 
as a ptiaoner; and the prisoner is led before bim. 
In a duet of considerable merit, the Governor in- 
fenns Henri that he is his father, and a phrase in 



which was well delivered by Boxnedeg, was 
much applauded. Henri trembles at seeing 
before him his enemy, his father and the seducer 
of his molher united. He rushes from the stage 
and flies to seek Procida and H^ilfene, hirfover 
and his friend. 

The scene now changes to the palace of Pa- 
lermo, where the ballet of La Quatrt Saisom is 
represented before the assembled court. Ildl&ne, 
Henri, and Procida arrive masked j Hdt6ne de- 
termined lo carry out her scheme of slaying the 
Governor; Henri, who has not yet informed 
H^I^ne of lEie secret of bis birth, resolved to save 
hia father. She raises her arm to strike, but, at 
the moment the blow U about to fall, ahe finila her 
lover's breaat between her dagger and ibe haled 
tyrant. Henri Ihcnce becomes an object of de- 
testation and scorn lo the conspirators, whose 
plans he has fruatraled, and to Hcline, nbose 
vengeance he bas baulked. She repulses him, 
declaring that he has lost her love for ever. 
Henri rushes from group to group, protesting and 
vowing, but his words are thrown to the wiuds, 
for the conspirators, in a chorus written in unison, 
and sung at the very top of their voices, refuse 
hit explanation, disbelieve his vows, and the cur- 
ta