Ishment, as belonging to those whose science, experience and industry are indispensable to its prosperity. May the appearance of egotism inevitably suggested by this history of our progress be in some degree tempered and excused by such acknowledgments. [On the 27th of December, 1817, the Grand Pianoforte, No, 7,362, was forwarded to Beethoven at Vienna. It had been tried by Clementi, J. B. Cramer and Ferdinand Ries (Beethoven's favorite pupil, and subsequently his biographer), whose names, with those of other professors of less eminence, were inscribed upon it. It was unpacked at Vienna by Streicher, and Mr. Cipriani Potter, then happening to be at Vienna, was the first to try it. Beethoven set such value on it that he would allow no one but himself to play upon it, and, only as a great favor, used to permit Stumpff to tune it. When the composer of Der Frieschütz came to England, John Broadwood and Sons forwarded a Cottage Pianoforte to his residence at the house of Sir George Smart, in Great Portland-street, where it remained from the 3rd of March to the 27th of June. Weber arrived on the 4th of March and died on the 6th of June. Except at his own concert in the Argyle Rooms (at which M. Moscheles played), it is believed on good authority, that Weber only played twice in London away from his own abode-on both which occasions the entries in our books warrant us in stating that, in all probability, he used our instru ments. It may also be pardoned in us mentioning, that the last pianoforte ever played upon by Mendelssohn was one of our manufacture, which had been forwarded to his house at Leipsic, during his temporary sojourn (in the summer of 1847) at Interlachen, in Switzerland. Mendelssohn, on arriving home, found the new instrument, and played upon it for several hours. He had been ordered, however, by his medical adviser, neither to play nor listen to music, and this was the last occasion upon which he infringed the regulation. died very shortly after-Nov. 4, 1847.] He From the beginning of 1780 to the end of 1861, our House has manufactured 124,048 pianofortes, 75,700 of which have been made since 1826. Of the total number, no less than 27,479 were Grand Pianofortes. That these Grand Pianofortes are endowed with a power of resistance, formerly neither attained nor believed to be attainable, combined with a durability at one time regarded as scarcely less utopian, may be gathered from two of their number (fair specimens of the rest), which, though both were completed in 1852, are still, in 1862, the leading concert-instruments. The Concert Iron Grand, No. 18.192, finished September 8, 1852, had, up to January, 1862, been used at 460 concerts. The Concert Iron Grand, No. 18,215, finished December 29, 1852, up to the same date, had been played upon at 458 concerts. During this arduous labor, each instrument lost one string. ** present exists) a treatise-in Philosophical Transactions, vol. Ixxviii. entitled. Of those Musical Instruments in which the Tones, Keys, and Frets are fixed, as in the Harpsichord, Organ, Guitar, &c., (1788). § Op. 40. In the first edition of this concerto may be seen certain passages written in two ways-one for the oid instrument, the other, and of course most brilliant, for the instrument with the additional keys." This instrument with the additional keys" was, at the period under notice, solely manufactured by John Broadwood. "The whole of these improvements "-says Mr. Pole, in his very interesting summary" were made at a very early period in the history of the pianoforte. To whom we are indebted for them appears uncertain. Some accounts state that the hopper was patented by Longman and Broderip (the predecessors of Clementi and Co., now Collard's); but there is a tradition that, when the manufacture of the instrument was taken up by Backers, he himself, in conjunction with Mr. Broadwood and Mr. Stodart (both then young men, just embarking in the business), devoted much time privately to the improvement of the mechanism; and that the joint production of the three, when made public (probably about 1770), was the perfect action, known in England as the Grand Action,' and on the continent as die englische Mecanik,'-being the combination of hammer, hopper, and check, above described. It has been ever since in use; and with only one further improvement, forms now the simplest and best action known. "This last improvement is called the Repetition' mechanism; and its object may be thus briefly explained. In the ordinary action, after the hammer has fallen, the key must rise to its position of rest before the hopper will engage again in the notch of the hammer, so as to be ready for another stroke: and hence a note cannot be repeated without not only requiring the finger to be lifted through the entire height of the key's motion, but also demanding a length of time between the repetitions, sufficient to allow of its full rise. The contrivances by which this inconvenience has been overcome are of various kinds, according to the fancy or the ingenuity of the makers; but they all art on the same principle-namely, by holding up the hammer at a certain height while the key returns; by which means the hopper is allowed to engage itself under the hammer earlier, and to reproduce the note in less time, and with less labor to the finger than before." It is but just to state that the first important step towards improving the power and quality of tone in Grand Pianofortes was made in 1820, when a William Allen discovered the firat systematic combination of Tension Bars "bracings"), with a metallic spring plate, an invention patented by his em-ployers Messrs. Stodart. What our House effected in 1849 and 1851, to neutralize the inconveniences, to simplify, and otherwise perfect the working of this new mechanism-the creation of the Iron Grands," in short-may be seen in the technical description of our work. ** The wire was made by Müller, of Vienna. Moritz Hauptmann. (Translated for the Musical Review and World by FANNY M. RAYMOND.) [Concluded from page 4.] We must once more allude, in conclusion, to Hauptmann's great acquirements in the domain of musical history, which the writer of this learned to know, from personal experience, in all their remarkable extent. Two years ago, the Leipsic philosophical faculty entrusted to Dr. Hauptmann the task of judging and criticizing a dissertation, prepared by the author of the present pamphlet, which treated of the history of musical theory among the ancients, and also comprised a review of the oldest and newest musical histories. In the course of the at first perplexing examination, the master placed the mistakes in regard to the enharmonics of the Greeks, the hexachord of Guido, the Latin verbal explanations, &c., in so clear a light before the author, that he became convinced of the incorrectness of several of his statements. This was done, however, with so much kindness and fine philosophical taste, that the first anxieties of examination were replaced by unbounded confidence. This confidence in him was felt by all his scholars; an assertion that is best proved by the universal honor in which the master is held. His whole life has been a confirmation of the old say The Grand Pianoforte, indeed, may, at this present period, be said to have attained the maximum of power. The scientific application of the principles of mechanics and acoustics to enriching tone and facilitating touch, so as to add still further to the resources of the skilled performer, must henceforth be the chief if not sole object of manufacturers. With what constant solicitude our House, from the commencement, has studieding:these important desiderata we have endeavored, in the foregoing pages, to explain. That we shall not deteriorate for want of zeal, or from a belief that absolute perfection has been reached, A LIST OF THE Published works of may, we hope, be taken for granted. * As the ears of the musical public became more and more sensible to the charm of a sweet, full and mellow tone-legiti mate tone, in short-the clothing of the hammers, in leather, or whatever covering preferred, by the manufacturer or by his patrons, became more and more substantial. † Muzio Clementi, one of the greatest pianists and composers for the pianoforte of whom the history of the art makes mention, was born at Rome, in 1752, and died near London, March 10, 1832. In conjunction with Longman, Broderip, and Co., he founded a pianoforte manufactory himself, under the title of Clementi and Co., from which has descended the now eminent firm of Collard and Collard Tiberio Cavallo, a learned Italian, who established himself in London during the second half of the eighteenth century, published (among other works of which no reliable record at i Strength in art makes morals sure; Is the artist high and pure, Then the man is better, truer. Op. 35. Op. 36. Op. 37. Op. 38. soli and chorus. Six sacred songs for two soprani and alto. Three motets-1. "Come holy spirit," for soli and chorus.-2. "Lord, our Lord," for the same.-3. "Praise be to God in the highest," for male voices, with ad libitum accompaniment of two horns and three trumpets. Six songs for voice and pianoforte. Cantata, "Lord! Lerd! turn to the prayer," for soli and chorus, with accompaniment of the organ and four trumpets. Op. 39. Hymn for St. Cecilia's day, "Over the leafy grove," for soli, two choruses, and pianoforte. Op. 40. Three motets for soli and chorus.—]. "Lord, hear my prayer." ."-2. Open wide the door."-3. " Rule, near and far." Op. 41. Three motets for soli and chorus.-1. "Christ, thou lamb of God."—2. “God be merciful."-3. "Praise the Lord, my soul." Op. 42. Op. 43. Six of Frederick Oser's sacred songs for a chorus. Three church pieces for chorus and orchestra.-1. "Thou will not quite forget me."-2. "And the will of God is good."-3. "Thou, Lord, showest me the way." Op. 44. Three sacred choruses. Op. 45. Op. 46. The 84th psalm: "How lovely are thy Motet for chorus and dwellings." soli. Two-part songs without accompaniment, the words by K. F. H. Strass. MORITZ HAUPTMANN. Op. 50. Op. 51. Motet Lord, who shall dwell in thy Op. 52. Op. 4. The Anacreontics of Vittorelli; voice and piano. Motet from Psalm 111, "I thank the Lord with all my heart," for soli and chorus. Three Sonatas for pianoforte and violin, in G minor, E flat, and D major. Sonatinas for pianoforte and violin. Two quartets for two violins, viola, and violoncello. Op. 53. Three sacred choruses. UNNUMBERED WORKS. Six dances for the pianoforte. Three easy Sonatinas for pianoforte and violin. 1 12 "Salvum fac regem," for chorus. THEORETICAL WORKS. Operatic Finance. (From the New York World.) Breitkopf The facility with which water pours through a ...No one need be told how the leading opera If patience is being wearied, suppose that the $400 Now carry this calculation through a season of twenty representations, and we discover a loss of $8,000. This curious result may pique inquiry still further, and so we will append some items illustrative of where the money goes to. The smallest orchestra that ought to be employed at the Acapemy, as computed by the best authority, should consist of sixty-four instruments, as follows: Violins, first... Violins, second. Violas.. .12 weakness in the string department is lamentable, though owing probably more to the actual scarcity of players than the spirit of managerial economy. Probably a fair estimate of the average expense of instruments then cost about seven hundred and fifty each instrument for one week is fifteen dollars. Fifty dollars for five performances-three nights in New York, one in Brooklyn, and one matinée-weekly In Paris musicians receive from four to six dollars a week at the Grand Opera, consequently an orchestra of one hundred and fifty there is had for the same money that obtains one of fifty here. The salaries generally average higher than the highest European of artists here are paid in gold or its equivalent, and standard, except in certain remarkable cases. Music Abroad. week of March, two representations of Masanello Rossini's Comte Ory, another of the only three or four little operas which have figured at the Imperial Theatre for some time past, was in rehearsal, with Warot, Obin, Borchardt, Mmes. Vandenheuvel and de Taisy in the principal roles. Tamberlik has made his first re-appearance at the Italian theatre in Poliuto. Otello was announced for the following week. The first representation of Mozart's Cosi fan tutte (the title changed to Les Peines d'Amour perdues) took place during the same week at the Théâtre Ly rique. Mr. Maretzek pays monthly to Madame Medori, $3,000; to Mlle. Sulzer, $1,000; to Mlle. Ortolani Brignoli, $1,000; to Signor Mazzoleni, $2,000; to Signor Bellini, $1,000; and to Signor Biachi, $1,000. few years in New York will be gained by giving the An idea of the increase obtained by artists within a salaries that were paid by Mr. Maretzek to a company that excited interest some dozen years ago. Then Madame Bosio received $1,000 or 1,200 a month; Signor Salvi, tenor, 1,500; Signor Badiali, Vietti, contralto, 400. The present company is the baritone, 800; Signor Marini, basso, 800, and Mlle. most expensive one that Maretzek has ever brought out. In addition to the salaries of his leading people and the enormous weekly stipend of the orchestra, the manager is saddled with a heavy rent-how much Offenbach's new operetta, Les Bavards, has obpenditure for advertising and printing, for a chorus, at this time we cannot say positively-a heavy extained an immense snccess at the Bouffes-Parisiennes. and for an army of scene painters, stage carpenters, The Entr'acle talks of the originality of the piece machinery operators, costume makers, supernumera- passed himself, the consummate comic acting and ries, doorkeepers, porters, messengers, ballet people, singing of Mme. Ugalde, the fine mise en scène &c. the beauty of the score, in which Offenbach has sur. &c., besides a number of box-office employees whose ing of a season. services are indispensable to the satisfactory conductOn the 9th of March Mlle. Gillebert (whose name Into these several channels the spelt backwards makes Trebelli, the admired conculation which need not be reproduced here shows money pours from the pocket-source, and a nice cal-tralto) was married to the tenor, Alessandro Bettini, that the average expenses of one single operatic representation are, as we stated, about $1,600. It is seldom that the receipts warrant this outlay. Mr. Grau, we have good reason to believe, seldom allowed his expenses to galop beyond $900 or 1,000 per night, and so furnished an exception to the rule that managers are prone to infatuation and court disaster. But Mr. Grau hardly satisfied the exigent duced, although there can be no question but that taste of his patrons by the system which he introfacts justified his policy. The artists' salaries paid by him latterly, we believe, amounted to a monthly total of 4,000 dollars for six persons. Mr. Maret zek's corresponding expenses for six artists will be observed to foot up as high as 9.000 dollars, and all other expenses are proportionately greater this season greater than before, and the rates of admission are than last. Yet the capacity of the Academy is no the same. Mr. Grau was singularly fortunate in obtaining such good voices as are numbered in his company at such low rates. We doubt if he could do it again. Artists of high European estimation will not cross the Atlantic unless they can obtain a large advance on the salaries which they command in the old world. A year from now the prospect is that the cost of a season's opera will be full one-quarter if not a third greater than at present. steamers. However, these facts should not be deemed wholly 8 8 2 3 64 This classification is about up to opera requirements, but managers have usually deemed it expedi ent to live on half or two-third orchestral rations. We have heard operas at the Academy when only thirty instruments were present; and even now the art is in question! That it does exist needs no con- at the church of St. Roch.-On the same day, at noon, in the church of St. Eustache, "Mozart's Requiem was performed in memory of Wilhelm (found. er of the Orpheonist societies), by the Orpheonists, the choirs of the city of Paris and the orchestra of the Popular Concerts, under the direction of M. Pasdeloup. The proceeds went to operatives in cotton mills thrown out of work. (Sunday, March 8) had for its programme: Symphony No. 31 of Haydn; Chorus from Castor et Pollux, by Rameau; fragment from Beethoven's "Men of Prometheus"; Psalm (double chorus) by Mendelssohn; 7th Symphony by Beethoven. The fifth of the famous Conservatoire Concerts On the same day was the fourth Popular Concert of Classical Musical (third and last series), under Pasdeloup's direction. The pieces were: Symphony (op. 58) by Mendelssohn; Heroic Symphony by in G, No. 45, by Haydn; Allegretto un poco agitato Beethoven; Overture to Semiramide.-Mendelssohn's 'Fingal's Cave" overture, and Schumann's Symding concert. phony in B flat were the chief features of the prece BERLIN--The tenor Wachtel has had great success in the parts of Jean of Leyden in the Prophéte and Raoul in the Huguenots. Two little French operas, Les Pêcheurs de Catane and La Cloche de l'Eremite have had a good run at Kroll's, where Sivori, the violinist, also helps to draw the crowd. Handel's oratorio of "Samson" has been given with great effect by Stern's Society. Mlle. Artot was to sing her part in the Domino noir in German. The Baroness Delphine von Schauroth, to whom Mendelssohn dedicated his Concerto in G minor, lately performed that piece in a charitable concert given by six ladies of noble birth. Mendelssohn became acquainted with her in Munich when she was a young girl, and admired her talent so much that he wrote the Concerto for her. She has com; posed some classical pieces said to be of sterling merit. Her playing, both as to technics and artistic conception, is highly praised. VIENNA.-Adelina Patti and the tenor Giuglini have had wonderful success in La Sonnambula. Their triumph in Don Pasquale was equally great. In Il Barbiere, Patti's Rosina ravished the audience; and Carrion (the Almaviva) is one of the few tenors who recall the best days of the Rossini period. DRESDEN-Rubinstein's new opera, Lalla-Rookh, has been given at the court theatre with great suc bass at the Grand Opera of Paris. To counterbal- Mlle. Adelina Patti! Mlle. Patti could ill be so much that was excellent has been offered) took the form of a benefit to him, and was given in the Academy of Music. The audience was very large. The orchestra sounded well, although two important members of the first violin group, Messrs. Eichberg and Schultze, were missing.The opening piece was Spohr's Symphonic Poem (as it might be called with as much reason as those works of Liszt, the commonly accredited inventor of the form and name), "The Consecration of Tones." The programme contained an English version of the poem, which furnishes the cess. Critics praise its fresh and graceful melodies, however, Nemorino, as stated. The other lady sing. poetic contents of the music. its original, yet not far-fetched, rhythms and modulations, its richly colored, yet simple and natural instrumentation. "In short the whole score breathes a dreamy, oriental poesy, perfectly in harmony with the subject." The principal parts were sung by Schnorr von Karolsfeld (tenor) and Mme. JannerKrall. TRIESTE.-Alfred Jaell still follows up his triumphs. Four concerts have not sufficed for the enthusiasm of the people of his native city. A young violinist, Consolo, pnpil of Léonard, took part in Jaell's concerts. It is said he promises to be a future Paganini-but that is said so often! London. ers are Mlles. Antoinetta Fricci, Marie Battu, Dottini Herr Formes. Two works new to this country are promised Signor Verdi's La Forza del destino and M. Flotow's Stradella. "Three of the principal rôles having been written expressly for Madame Didiée, Signors Tamberlik and Graziani" will make the production of the former comparatively easy. Among the revivals most worthy notice are La Gazza Ladra, Otello and the Etoile du Nord. Meyerbeer's opera was produced towards the close of the season 1855, and performed seven times. In 1856 the theatre was burnt down. The part of Caterina is to be sustained by Madame Miolan-Carvalho. The band and chorus will speak for themselves on the opening night, Tuesday, April 7th, when Masandistribution of parts as last season. HER MAJESTY'S THEATRE (Opera), Mr. Maple-iello is to be given, with (we may presume) the same son manager, was to open last Saturday, April 11. The best artists of last season are retained, and the strength of the company increased in each department. Mlle. Titiens, Mlle. Trebelli, Mlle. Louise Michal, Madame Lemaire, Signors Giuglini, Zucchini, Vialetti, M. Gassier, and Mr. Santley, alone make up an efficient company. To these the director has added Madame Alboni, Mlle. Kellogg (the young American prima donna, promised last year), Mlle. Artot (her first appearance in England), and Mlle. Rosa de Ruda (ditto); Geremia Bettini (brother to Alessandro), Alessandro Bettini (brother to Geremia); two new tenors-Signor Baragli, from Madrid, and Signor Gambetti, of whom we know nothing; Signor Delle Sedie, the barytone, whom Mr. Mapleson originally introduced to London at the Ly. ceum, and who last year was at the Royal Italian Opera; Signor Rovere, formerly prima buffo at Covent Garden; Signor Fagotti, whom E. T. Smith brought out at at Drury Lane in his Italian Opera Season: Signor Fricca, of the Royal Opera, Berlin, and Signor Bagagiolo, from Parma and Barcelona, both first appearances. Among these may be concealed a Tam burini or a Lablache. The new works promised are Verdi's last opera, La Forza del destino, to be brought out under the "immediate personal superintendence" of the composer; M. Gounod's Faust, to be produced under the "per sonal superintendence" of its composer; and M. Flotow's Stradella, also to be produced under the personal superintendence of its "eminent composer." (Is M. Flotow the only "eminent?") The following operas will be revived:-Linda di Chamouni, for Mlle. Kellogg; Fidelio, for Mlle. Titiens: and Oberon, with the following cast-Sir Huon, Signor Baragli; Oberon, Signor A. Bettini; Scherasmin, Mr. Santley; Babekah, Signor Gassier; Fatima, Madame Alboni; Puck, Mlle. Trebelli; Mermaid, Mlle. Kellogg; and Rezia, Mlle. Titiens. ROYAL ITALIAN OPERA.-A remarkable feature in Mr. Gye's prospectus is the strange names it includes. No less than nine singers are announced to make "their first appearance at the Royal Italian Opera," all of whom, except one (Signor Naudin), pay their first visit to England. These are-Miles. Fio retti, Maurensi, Elvira Demi, de Maffei and Pauline Lucca; Signors Naudin, Ferenesi, Caffieri, and M. Obin. Signor Naudin was last season at Her Majesty's Theatre. That much dependence is placed on the new comers is shown by the parts assigned to them. Mlle. Fioretti (well known to Naples, Vienna and St. Petersburgh) comes out as Elvira (1 Puritani), Mlle. Elvira Demi as Desdemona, Mlle. Lucca as Valentine (Huguenots), Signor Ferenesi as Edgardo (Lucia), Signor Caffieri as Arnold (Guillaume Tell) and M. Obin as Bertram (Robert le Diable)—all characters of importance. Of Mlle. Lucca the Berlin journals speak in high terms, and M. Obin is first It is unnecessary to add that Mr. Costa is once more "director of the We cannot think that this was a happy selection for the winding up of a series of concerts, Spohr, with all his excellencies, musical magnate as he was, had not the quickening and inspiring sort of genius. In his larger works, even the best of them, he grows monotonous, fatiguing. You feel that there is much excellent matter, many beautiful and delicate thoughts, wonderful skill in treatment, and even great diversity in the successive phases of the masterly unfolding; and still the effect is cloying, wearisome and drowsy. This Weihe der Töne is his best work, and every one really interested in music wants to hear, more than once in his life, the best work of so great a musician as Spohr. We heard it ourselves with great interest when it was first brought out here ten or twelve years ago by the Germanians; we have not found that interest to grow with repetition. Although several passages, such as the Cradle Song and more of the second part, the Dwight's Journal of Music. theme of the Allegro, after Tone is born, &c., are BOSTON, APRIL 18, 1863. The change from the habits of a weekly to them will serve for next time. For A little time will adjust the machinery. Then, with method, and, above all, conciseness, friends, we shall begin to go all right. always beautiful, yet the work as a whole seems away the sultry and oppressive atmosphere of that The other purely orchestral pieces were the Andante from the "Jupiter" Symphony of Mozart, and Beethoven's "Leonora" Overture, No. 3, always most acceptable. Miss ELIZA JOSSELYN played Mendelssohn's G minor Concerto in a manner very creditable for a young lady for the first time attempting so formidable a task, with orchestra, before a great public. She has studied earnestly and intelligently during her three years in Weimar and Leipzig. It would be too much to say that there were not defects; there was a certain stiffness in Concert Review. the general rendering, more force than delicacy PHILHARMONIC.-The sixth and last of CARL often, and in some parts, especially the rapid fi ZERRAHN's present series (which we are sorry nale, the execution was not always clean. Doubtto learn has not proved remunerative, although | less allowance is to be made for the debutante chorus of vintners: "The harvest is over." The Building. We have seen no such real mountains in not feeling quite at ease; one may show force of Mr. Eichberg's "Rose of Tyrol." Another light, fresh, humorous little operetta by the author of "The Doctor of Alcantara," who seems to have opened here a vein of composition and a career, which might suggest comparison with those of Offenbach. The Boston Museum, if it keeps on in this vein, will become our Bouffes Parisiennes. The new piece was performed every evening last week to a crowded house. Mr. Eichberg has not been so fortunate in a libretto this time as he was before. The "Doctor" was a trifle, a Possencpiel or nonsense piece, as the Germans, call it, but it had real laughing matter in it, and piqued the composer's humorous fancy more originafly by some of its points. The present plot and dialogue are rather flat and pointless. There are only three characters, Grittly (the Rose) and Franz, ker lover, who are Tyrolean travelling minstrels on their way through Swabia to Strasburg, and Bertholde who figures as a pedler and turns out to be the rich uncle, supposed lost. It all turns on a mistake about the number of a lottery ticket, which the silly Franz has bought, who on the false presumption of a prize, buys out the pedler's fineries and puts on the fine gentleman, in spite of Grittly's sensible protest and entreaties, to whom however he remains faithful, before as after the discovery of the mistake, and so it all ends happily. But there is a chance for some very good music, to relieve the audience, as much as the flat spoken dialogue relieves the singers' voices, and Mr. E. has well improved his opportunities. First there is a clever overture, in a light opera comique style, pleasing in all but the rather humdrum quality of the Allegro tune thut sets in after the pretty pastoral introduction. The curtain rises on a rousing : Grittly's ballad in the second act, mourning the loss of her guitar flung away by foolish Franz, is touching and was beautifully sung There follow a nice duet, in which uncle pedler feigns to tempt the Rose; some couplets, very grotesquely treated, between her and Franz: "A fool! a fool!"; a Terzetto (Franz's despair on finding his mistake), and a very effective jubilant Finael, consisting of a full chorus and a brilliant waltz air sung by Grittly. Mr. HILL'S tenor voice still gains in power and beauty, and his singing was artistic in a high degree. The choruses were better sung, and the little orchestra far more effective and more musical, than one would ever have expected from the Museum. But they have Eichberg for director! This evening he is to have a Complimentary Benefit, when both the "Rose of Tyrol" and the "Doctor of Alcantara" will be performed. The first com LISZT'S " LIFE OF CHOPIN." plete English translation of this exquisite tribute of an artist to a brother artist is at length published by F. Leypoldt, Philadelphia. It is, indeed, a beautiful little volume; paper, type, binding, and the whole external style, are most inviting, and worthy of the precious contents. A fine photograph portrait of Chopin faces the title page. Liszt has given us a most loving, subtle, just apHe has preciation of the composer and his music. written the inner life of him as well as the outward. Especially has he illustrated the influence of his Polish nationality, which so pervades his music. More brilliantly imaginative chapters than those in which he describes the Polish dances (Polonaise, Mazurka, &c.) are hardly to be found in any novel. But we have no room now for extracts, nor to say the fitting word of such a book. For the present we will only say that the translation, by Mrs. MARTHA WALKER Cook, reads admirably well, being true to the sense, if somewhat free in style; in this "labor of love" she has entered into the spirit of the book. Every lover of Chopin's music should possess it. Some copies may be found at Ditson's. We have received and shall soon print a glowing article about it from a contributor; its great length precludes it this week. New Music. (From Oliver Ditson & Co.) FRANZ SCHUBERT. The Trout: "One May day in the Morning," pp. 7. arrow " The well known " Forelle" (French, La Truite) of the great German song composer will of course be welcome to all who can sing it or get any one to sing it. It is one of his happiest and most characteristic things. The simple melody, to words describing the sly fish "shooting like an through the brook, and how he is angled for in vain so long as the water remains clear, but when it is troubled nibbles and is caught, is accompanied by a figure which well suggests the flashing, sportive freedom of the happy creature in his element. Well sung and well played it is charming. We only regret that the English words (borrowed from old Izaak Walton) leave the trout entirely out; they are singable, pretty verses in praise of the angler's life. But the German words are also given. OUR ARTISTS.-The third and last "Reception, was given at the Studio Building last week, Wednes. day evening, What is more agreeable than artist life, unless it be their pictures? There is so much geniality, innocent freedom, hearty, happy industry natural good will among them, that we sometimes fancy that the best type of true society we have is that of artists. On these delightful occasions, a thousand or more guests, a brilliant company, are admitted into all the studios in that cheerful and capacious hotel of Art, and meet the artist in the midst of his works. There seems to be endless riches and variety. Especially was it so on this last occasion. Such beautiful creations as you might see wherever you turned in with the tide; such old master-like portraits, "singing" ond "listening" groups, "trumpeter," &c., in Hunt's room; such wealth of color, rivalling the profuse flowers there were there, in Ames's; such lovely crayon heads by Rowse and by Miss Cheney; such truthful, quiet, sincere beach views by Gay; such wondrous marine pictures by Bradford; such charming landscapes by Inness, Bricher, Champney, Gerry, Ordway, Williams, Hodgdon and others; such perfect lithographs by Fabronius; all, while they charm yon separately, make up a bewitching and yet harmonious total impression, by which the mind feels its own in-longs to the Dü minores of German song, who please the many, while the more exacting few turn to rarer geniuses like Schubert, Franz and Schumann. Both German and English words are here given. ward wealth increased and its horizon widened. C. KREBS. The Heather Bell. (Blümlein auf der A very pretty song of its kind, which is not the highest or the most original. A somewhat Tyrolean vein of melody, with an easy flow and likely to be popular. Krebs, like Abt, Proch, Kücken, &c., be L. ARDITI. Il Bacio (The Kiss): with English, A waltz for the voice! And why should not voices waltz, seeing that they revel in so many other daring intricacies of motion, such fantastical gymnastics, such flashing, dazzling pyrotechnics? Concert singers like to display their agile virtuosity in such things; and surely the waltz form is one of the most graceful and most loyal to some law amid its BIERSTADT'S magnificent picture "The Rocky freakishness. So the Benzano and other waltzes voMountains," is now on exhibition at the Studio | calized, have become favorite show pieces with the bright sopranos. And here is another bright and graceful one, which is the most popular of all just Musical Correspondence. now. It answers its purpose, which of course is not a very high one. OTTO DRESEL. Die Forelle: Song by Fr. Schubert, transcribed for the Piano. pp. 5. Our friend" the Trout" again, revelling in pure tones, are an element liquid and as sparkling as his native brook. This transcription is made by a true artist, and brings voice part and accompaniment together into a clear, beautiful, complete whole. So the pianist, though he be no singer, can tell the story of the trout quite satisfactorily. Its technical difficulty is not so great, but that it lies within the reach of many an amateur player. MENDELSSOHN. Op. 16. Trois Fantasies ou Caprices pour Piano. pp. 11. These need no praise of ours. They are real Mendelssohnian little tone-poems. A fine fancy lies in each of them; and a fine feeling and artistic grace. They are not very difficult, and will form charming studies, such as one after study will not willingly forget. No. 1 opens with a pensive Volkslied-like Andante in A minor, and soon passes into an Allegro vivace in A major, 6-8 time, which tells of, clear blue skies and sunny serenity and life tingling | in every fibre, like the Allegro of the Italian Symphony; only it is a very little sketch compared to that. No. 2, Presto, a light, crisp, fairy-footed Scherzo in E minor, is more in the "Midsummer Night's Dream" vein. No. 3, an even flowing, beautiful Andante. (From G. D. Russell & Co.) C. MAYER. Transcriptions for the Piano. No. 1' Barcarolle by Schubert; No. 2. Zuleika, Mendels sohn; No. 3. Sunday Song, Do. pp. 7, 3, 3. Who is C. Mayer? We have heard hints, but one who can transcribe the gems of song so well, might, one would think, give us some gems of his own; for he treats these flowers as if he knew their inmost nature. But such transcriptions, like that of "The Trout" above mentioned, are a truer service to the cause of Art than nine-tenths of the so-called original compositions of the day. Schubert's exquisite Barcarolle is made to sing itself most perfectly, with the watery accompaniment and all the fine imaginative traits, the ever shifting play of light and shade, of smiles and tears. It is difficult, but worth the NEW YORK, APRIL 7.-The Academy has never, within my recollection, presented such a series of brilliant assemblages as during the past month of the MARETZEK troupe performances. No matter what the weather, what the work announced, what substitution, the house has been overcrowded almost without exception. The general character of the troupe is fair. The leading artists, MEDORI, SULZER, Mazzoleni, BELLINI and BIACHI, are very meritorious. and in some renditions as perfectly satisfactory to the public as could be desired. BRIGNOLI, MINETTI, SBRIGLIA, IPPOLITO and COLLetti are also good in their special roles, and as a general thing have been very successful. My last letter included the announcement of the performance of Ernani. Since then we have had the following performances: Traviata, with Brignoli, Mazzoleni, Bellini; Un Ballo in Maschera with Guerrabella, Sulzer, Mazzoleni, Bellini; La Favorita, with Sulzer, Sbriglia, Bellini, Biachi: Norma, with Medori, Sulzer, Mazzoleni, Biachi; Linda di Chamounix, with Medori, Sulzer, Minetti, Biachi, Colletti; Semiramide, with Guerrabella, Sulzer, Minetti, Biachi; Lucia, with Brignoli, Mazzoleni, Ippolito; Ione, with Medori, Mazzoleni, Bellini, Piachi and Sulzer. The great hit of the season has been Norma. Medori has in the Druid priestess a grand rôle, and she is eminently qualified to interpret it. Norma has had three performances, and to such houses! "Standing room only" is a very brief but indicative sentence, and one very rarely required at the opera, but it was brought out from its dusty resting place and hung upon the "outer wall" of the Academy three successive nights-and what for? Norma, that well-known, well-thumbed, well-whistled, well-ground opera, with its melodies and gems sung threadbare, brought that dusty placard into service again. The performance was certainly well worth the commendation it received at the hands of the public and the press. Medori was magnificent. All the adjectives of the English language were brought into service, and as to Mazzoleni, words were not found indicative enough. The Adalgisa of Sulzer, and Oroves of Biachi were in harmony with the successes of the other rôles, and Norma flourished with undiminished splendor for three nights. Semiramide was produced for one performance, with a very creditable display of scenery and appains to master it.—The Zuleika is an excellent study pointments. The cast embraced Guerrabella, Sulzer, in the art of playing a flowing arpeggio accompani-Minetti, Biachi, all of whom looked very finely, but ment between a deep bass and a treble melody. In his case it is poetry as well.-The Sunday Song is far easier, although the transcriber tells us in a note, that the main features of his arrangement are borrowed from Liszt's transcription of the same song. LOUIS LIEBE. SONG: We'll meet above (Auf Wiedersehn). Arranged for Alto or Baritone by R. Wittmann. pp. 5. A very 'pleasing, tender melody, simple and well accompanied. The German words are given with a good singable translation by C. J. Sprague. It is the first specimen of a collection of German songs, under the name of "Alemannia." OTTO DRESEL. Army Hymn, by O. W. HOLMES, for solo and chorus ad libitum, with piano accompaniment for two or four hands. The impression which this noble setting of a noble hymn produced at the Jubilee Concert on the First of January, made it imperative that it should be published. Mr. Dresel has Improved it not a little in the meantime, especially in the chorus portion at the end. The simple, noble melody, the grand, broad, ringing harmony, the freedom from all humdrum, all maudlin sentiment, all empty glitter of effect, and the perfeet fitting to the words, make it the most important patriotic offering of music during this great war. "National Air" it cannot be, for much of its essential character lies in the accompaniment, the harmony. A Biachi alone seemed to grasp at the requirements of the rôle. Guerrabella looked as royal and queenly as one could imagine the Babylonian queen herself, and Sulzer made quite a dangerous looking Commander in-chief. Neither artist, however, has voice of sufficient power to cope with the difficult music of Rossini's master-work. Minetti, one of Maretzek's reserve tenors, made his debut in Linda di Chamounix. He is a tenore di grazia of very good method, and was very accepta ble. The performance of Linda was very fine. Medori, Sulzer, Bellini, Biachi, and Colletti were the principals of the cast and were eminently successful. Bellini, as the aged Antonio, was very grand, and in the third act won immense applause. Medori made very charming Linda, and it was a performance meritorious enough to deserve a repetition. Last night Petrella's "Ione," or "The Last Days of Pompeii" was introduced with a magnificent cast and with very fine scenic effects. The plot and principal characters of the opera "were borrowed by Peruzzini from Bulwer's "Last Days of Pompeii," so says the libretto. The argument of the opera is highly dramatic. Details in my next. To-night, Mr. Harrison, the enterprising manager of Irving Hall, introduced Ms. GOTTSCHALK to the public for a short series of concerts. He will be assisted by Mrs. MARIE ABBOTT, Miss EMILIE BOUGHTON-the lady who made the fiasco in Italian opera at the Academy-and several others of reputation. Old Palmo, the first manager of opera in America, who is now a cook in a Broadway restaurant, is to have a benefit given him by the artists now in the city, as a token of their appreciation of his merits and sympathy for his misfortune. The old man has free entrée at the Academy and his hand is clasped by many who knew him in his happier days. Our mutual friend, A. W. T.", the " Diarist," left on Saturday, in the Saxonia, for Hamburg, en route for Vienna. He paid a hurried visit to his friends in this city, who would have liked to have seen more of him. NEW YORK, APRIL 13.-The musical events of the past two weeks have not been altogether devoid of interest. Besides the repetition of well known and somewhat hacknied operas (Lucia di Lammermoor, Linda di Chamonnix, and act of Musamiello), the Italian opera company has given us two comparative novelties; Rossini's Semiramide, and Petrella's lone. The representation of "Semiramide" was a failure from an artistic point of view; neither the Semiramide (GUERRABELLA) nor the Arsace (SULZER) of the occasion, were able to give effect to the pompous, florid luxuriance of the music of their parts. In consequence of this, and from other causes the opera dragged heavily. The name of PETRELLA, the composers of "Ione," is little or not at all known here. He is a man of more than fifty years of age, who has attained a certain celebrity in Italy as the composer of five or six tolerably successful operas. The book of this opera, written by Peruzzini, and partly founded on Bulwer's novel "The last days of Pompeii"-with the plot of which all who read are well acquainted-is highly dramatic, while some of the verses are written with considerable poetic feeling. As to the musicit is certainly not all of the stereotyped Italian cut, but often original in melody, (nevertheless, reminiscences abound), and some of the recitatives are truly expressive of the words and situation. The finales to the second and third acts are remarkably effective, The instrumentation is fine at rare intervals; and again, often below mediocrity. The opera is, throughout, of unequal merit; but its beauties counterbal ance its defects; and, partly owing to its dramatic plot, the interest never flags. It strikes us as the work of a man, who, had his knowledge at all equalled his natural gifts, might have made a great composer. The reminiscences to be found in the work, go to support this conclusion. Was it not Lord Bacon who said, that the more a man knows, the more original he becomes (provided, of course, that the matter that makes the foundation of originality be already there)? MME. MEDORI sang superbly as Ione, and MAZZOLENI sang and acted admirably the part of Glanco ; his fine and distinct enunciation of the words being, as usual, one of the greatest charms of his singing; would we could say as much of Mlle. SULZER; but her pronunciation is so vague and imperfect, that the whole tone-coloring of her voice becomes monotonous and tame, principally from this cause. opera was well put upon the stage; and, if we may trust to encores, recalls, applause, and three performances, has been extraordinarily successful. The |