65 stops, and the other for the St. Olai Church in With such a wide and well-earned reputation, it is forward fifteen feet upon the stage, the wings re- Directors of the Hall are not anxious to have the report appear before the flash. The cost of the organ proper is about $20,000; the case will cost some $12.000 and; transportation, insurance, cost of erection, &c., will swell the sum to a considerably higher figure. A friend has kindly translated for us, from Schilling's Universal-Lexicon der Tonkunst, a brief notice of the builder of our Organ, which, although by no means complete, will interest our readers. It must be borne in mind that the article was written in 1838, and therefore does not include the period of Walcker's greatest worksthe organ at Ulm, for instance, which has 100 speaking stops. One of the most distinguished and skilful organ builders of the present time, is E. FRIEDRICH WALCKER. He was born in Carnstadt, near Stuttgart, and learned his art from his father, Eberhard Friedrich Walcker, who was himself a reputable organ builder. Aided by the manifold experiences of his father, he sought always to enlarge his learning and knowledge through his own studies, attempts, and personal intimacy or correspondence with the most celebrated artists and builders; and in the year 1820 he established himself as organ builder in Ludwigsburg in Wurtemberg. He began, it is true, at first, in a very modest way; simply for the want of pecuniary means. Meanwhile he found opportunity to repair and build several organs, which proved to be very successful works. Especially, the new organ in the Garnison church in Stuttgart, of 20 stops, 2 keyboards and pedals of 30 keys compass. This soon recommended him to the world, and he had the good fortune to be chosen as the builder of the great organ in the Paul's Church, at Frankfort am Main, which, by his proposition, was made to consist of 76 sounding stops, 3 keyboards, and 2 pedal organs of 27 keys. The success of this work decided that of his whole life, and gave him, almost at once, a European name. So that since then, not less than 28 new organs, without reckoning many extensive repairs of old organs, have been given to him to build. All these organs, without exception, have been found entirely satisfactory by the best judges. Some of the instruments built by Walcker are in Tübingen, a 16 foot toned organ, with 35 stops, and 3 keyboards; a similar one in Reutlingen, and with the exception of the case, a new and powerful instrument; the organ in the Michael's Church at Halle, having 38 sounding stops, 3 keyboards and pedal, also a 16 foot diapason in the great organ; the organ in the Hof Church at Stuttgart, of 24 stops; and he is now (1838) building two great instruments, one for the St. Peter's Church in St. Petersburg, having and pleasant to the player, even in the largest or- Paradise and the Peri. Mr. J. C. D. PARKER and his Club of amateurs tivated soprano, most expressively, and also a more And The choruses and quartets are remarkable, each entirely individual and original. First the quartet, admiring the beauty of the "sweet Indian land", where the Peri makes her first search for the gift that shall open the gate of Eden to her; then the series of choruses describing the ravages of war, the vain resistance to the tyrant, the death of the young hero, the lament, and the grand finale of this first part, in which the Peri and chorus sing of the holiness of blood shed for liberty. This is the grandest chorus in the whole work, and this whole passage is in the highest degree dramatic. Then how marvellously beautiful, both voices and accompaniment, the chorus of Genii of the Nile, near the beginning, and the song of the Peri and chorus, "Sleep on," at the end, of the second part! Happiest of all perhaps, and most original, the chorus of Houris opening the third part; then the religious chorale, which hails the tear of the penitent sinner; and then the uncontainable rapture of the Peri song and chorus at the end!— These were generally sung in fine style by the assemblage of refined, fresh, young voices, and made a most agreeable impression. gave their friends a rare musical treat last Saturday There could not be a better subject for a large vocal and orchestral composition, than such a poem, nor one better suited to the best vein of such a genius as Schumann's. He has sometimes failed, is sometimes forced, obscure and sickly; but here he has been throughout happy, throughout original, blessed with interesting and most apposite ideas; melody and harmony and instrumental coloring have all worked together, mutually enriched and fused together in the warm atmosphere of his imagination, rendered Oriental by his meditation of the poem. We do not say that all parts of the composition are equally in spiring, but all are good, too good to make it possible to turn away until you have heard the whole. To show how perfectly he has treated his subject, we should have to take up the poem and the music piece by piece, which is impossible here, but we may yet attempt it at some length. To no new work which we have heard here for some years, in any form, is such an exposition of its beauties so well due. It was our good fortune once, in Berlin, to hear "Paradise and the Peri," with the orchestral accompaniments, a large chorus, and the best solo singers; and it was a memorable experience. Not the less, but all the more have we enjoyed this nearer reminder of it, although on a small scale and with only a piano accompaniment. But the piano arrangement, made we presume by Schumann himself, is excellent, and all the rare, rich harmonies, the delicate, fine figures, the descriptive bits, or rather suggestions of crystal heavenly heights, angelic harmonies, sky, waters, winds, wings, "sandal groves and bowers of spice," the battle field, the heavy, drowsy atmosphere of plague, &c., &c., were clearly, nicely hinted in Mr. Parker's tasteful playing. Mrs. HARWOOD sang the opening verse: "One morn a Peri at the gate of Eden stood," with her highly cul MUSICAL FESTIVAL AT ST. PAUL'S.-Under the direction of Dr. S. P. TUCKERMAN an interesting series of specimens of church music, partly historical, were performed on Thursday evening, April 16th, and again (with a slight change of programme) on the following Thursday, for the benefit of sick and wounded soldiers. The selections were mainly the same as those given in the same place last year by Dr. Tuckerman. First a portion of that old choral service by Tallis, with its monotonous intoning, varied only by response between choir and priest, until a blessed relief comes in the shape of the commonest chord cadence-not without its impressiveness however. This ended with the Venite, to the 8th Gregorian Tune. In Part II. we had, as last year, an Ambrosian chant in unison, a Plain Chant (unison) by Guido Aretinus; his Diaphonia, setting the teeth on edge by consecutive fifths and fourths; and a more palatable bit of two-part harmony by Franco (11th century). Part III. opened with the famous Miserere by Allegri, which sounded better than last year and which certainly has a strange beauty, even thus severed from its traditional surroundings. The first choir was composed of Mrs. FowLE, Miss GILSON, Mrs. SHATTUCK, Mr. SANGLIER and Mr. RYDER; the second choir of Mrs. FISK, Mrs. CARY, Miss CARY, and Mr. POWERS:-a very rich and powerful ensemble. Mrs. Fowle sang Cherubini's Ave Maria. Then came an Anthem by Mendelssohn, consisting of a choral: "In deep distress I cry to Thee", a fine aria by Miss HOUSTON, and a quartet. Then a Lamentation and Sanctus by Palestrina, large and grand. Then, in extreme contrast with the last, the Benedictus from Weber's Mass in G, warm, romantic, sentimental, Freyschütz-like. Then a beautiful quartet for female voices by Dr. Tuckerman, which was much enjoyed. Then Gratias aginus from Haydn's 16th Mass; Bass Solo from Elijah: "Draw near, all my people”, grandly sung by Mr. Powers; and the subime Choral by Bach, in four and five parts, from the 5th Motet. NEW YORK, APRIL 27.-Madame MEDORI left for Europe last week, to the regret of those who admire her impassioned acting, and, in many respects, fine vocalization. The operas given by the Italian company during the past two weeks, have been Verdi's noisy "I due Foscari," and repetitions of "Tone," "Norma," "Il Ballo," and "La Favorita." MARETZEK promises Verdi's " Aroldo," and other novelties, for the short Summer season, to commence on May 4th. ANSCHUTZ' German company has given "Fidelio" and "Don Giovanni" at the Academy, with much less effect and success than at the small theatre, where the little troupe had no disadvantageous comparisons to fear-of course leaving the character of the music they perform and their excellent orchestra out of the question. Nicolai's "Merry Wives of Windsor" will be given, for the first time here, tonight. Part IV. contained the air: "Jerusalem" from St. Paul, effectively sung by Miss Houston; the Angel Trio: "Lift thine eyes"; a strangely interesting Trio for male voices from Cherubini's Requiem; Terzetto (soprano and alto): "Not unto us", by Mendelssohn; "O rest in the Lord", from Elijah, beautifully rendered by Miss Cary; Quando Corpus, which is the best thing in Rossini's Stabat Mater; Eia Mater, from the same; and finally Luther's Chorale: Ein feste Burg, as harmonized by Bach :-truly a glori-ing of Sunday, April 19th, under Mr. ANSCHUTZ' ous and solemn close. Here was a Symphony such as the most exacting taste finds evermore refreshing; and here were two fine overtures; that to Semiramide, an enduring favorite, and that to Faust, less familiar. but full of interest; a splendid piece of instrumentation, and not a bad introduction to Goethe's drama, which it commonly preludes in the best German theatres. Then for a piquant little entremet, the "Turkish March." Matter enough, therefore, alike appetizing to the many and the few. Strauss and Gungl were cheerful accessories. A concert was given at Irving Hall, on the evendirection, at which, besides Mozart's G Minor Symphony, arias sung by Mdme. Johannsen, Weber's music to "Preciosa" was performed, by a good chorus and orchestra. In order to give the meaning of the detached pieces, the melo-drama was declaimed (aScheller, a German actress of agreeable manner and dapted and condensed) by Mr. Rose, and Mdme. appearance, and who sang the one song of the drama very pleasingly. Weber's music, so fresh, romantic, and full of melody, was as enjoyable in the concert room as on the stage. The last Philharmonic concert of the season took place, under CARL BERGMANN's conductorship, on Saturday evening. The Symphony was Beethoven's No. 7. This noble creation-perhaps, after the Pastoral, the most generally popular of all the Symphonies, and which seems to have flowed from the soul of the composer in an hour of "peace and good will spiration-was admirably played by the Society; to all mankind," so full is it of joyous feeling and inindeed, we never heard them play with more finish and effectiveness. The other orchestral numbers were, Gade's "Reminiscences of Ossian," in a certain sense a faithful Scotch-or Scandinavian-picture, which, however, will not stand the test of frequent hearings; and Berlioz' overture, "Les frams juges," noisy and unpleasing. Mr. Hoffman played Mendelssohn's second piano forte concerto with much execution; the Keller study and Chopin's polonaise, were less effective in Mr. Hoffmann's very agile hands. Mr. Schreiber played a solo, arranged from Beethoven, on that favorite, but, we think, vulgartonéd instrument, the cornet à-piston, with great facility. On Wednesday, April 22, the last of these pleasant entertainments took place at the Academy of Music, Messrs. MASON and THOMAS gave their last soirée which was crowded from parquet to upper gallery. on Thursday evening, April 21st; the programme The pieces were the Freyschütz overture; a Fantasia (which attracted an over-crowded audience) comfor violoncello, played by WULF FRIES; the C string quartet, in which Mr. TIMM assisted the usual menced with Bach's concerto for two pianos and minor Symphony of Beethoven; a Concert waltz executive firm. Perhaps more fire, more light and by Strauss, called "Dividenden," which certainly shade in the performances would have been an imought to draw; a rather clap-trap Fantasie, describ-provement, for Bach is the last composer to be put ing Swiss life, with horns, cow-bells, real lightin', The old quartet of Haydn, on the hymn "God preoff with ever so fine a merely mechanical execution. &c., by Reinbold; and a chorus and finale (orchestral arrangement) from Ferdinand Hiller's opera serve the Emperor Francis was given, and the con"Conradin," a musician like and interesting piece of cert fitly concluded with Beethoven's immense quarcourse. It is greatly to be regretted that, owing to tet in C sharp minor, No. 14, one of his latest and the closing of the Music Hall, and the pre-occupa- MANN-intelligent and agreeable, if not faultless; greatest. A novelty was the singing of Mr. KREISStion of the other large halls, these concerts are thus but it will not do to be hypercritical as to his singing, brought to an untimely end. The Orchestral Union for we were only too glad to hear the songs he gave have done much for the entertainment and musical culture of a large class of our population. us. Why cannot such be heard oftener, at these, and similar concerts? Why do the orchestra concert directors disdain the fine voices, as such, forget ful that even in musical sound, "a thing of beauty is fine songs? a joy forever," and why will not fine singers give us Is "no compromise the motto of these belligerent powers? The songs selected by Mr. Kreissmann, were some of Franz, and a portion of that series by Schumann Dichterliche." This hearing of Franz and Schumann recalled a comparison we have often made. Franz is the great talent; perfected, and in a certain measure, made; Schumann is the genius; God annointed. Even in their different treatment of Heine's lyric "Im wanderschöuan Monat Mai" (Mr. Kreissmann sang each) we see this; one is a thought; the other an inspiration. Looking back to our old musical impressions we remember how Franz has touched us with quick BOSTON MOZART CLUB.-The amateurs gave the fifth and last of their Social Orchestral Entertainments to a crowded hall full of guests, last Monday evening. Mr. ZERRAHN, as usual, conducted, and the general impression was that they had never played so well. The programme was as follows: Part I. .Mozart Grand Symphony, No. 9, D major.. 1. Overture. "Jean de Paris". 2. Romanze, for English Horn and Flute from "L'Eclair." Halevy 3. Minuetto from Symphony No. 3 in Eb........ Mozart 4. Funeral March, from Symphony Eroica, No. 3. Beethoven ..Mozart 5. Overture. "Don Giovanni.". We hurry to press this week on account of the Na-pleasure, haunting melancholy, a sense of wonder, as tional Fast. We are obliged also, by the number of older letters already in type, to omit a new letter from Philadelphia, and even to curtail our New York correspondent, from whom, by the way, we differ with regard to Franz, feeling that his songs show genius quite as much as Schumann's. at something odd and medieval, tempered with re- Mr. Castle. Donizetti .Beethoven The Easter Morning-A Sacred Cantata, by Chevalier Sigismond Neukomm, for Soprano, Tenor, and Basso solo, and Chorus. As your regular correspondent will undoubtedly performance, I would request you to permit me to furnish you his report about the musical part of the give you the following statement of facts connected with the same. The Directors of our Philharmonic Society, it is but just to acknowledge, have long since, in true taking some initiatory step toward the promotion of appreciation of their mission, favored the idea of Vocal music in connection with their flourishing institution. Judge Greenwood, indeed, had sometime ago laid before the Board of Directors the outlines of able reception, Subsequent to that, our townsman, a plan for the purpose, which met with a very favorProf. Edw. Wiebé, privately made a proposal to some gentlemen of the board of Directors of the among the many professional and amateur singers of Philharmonic to organize an efficient chorus from Oratorio, if the Directors of the Philharmonic Socie this city for the purpose of performing a Cantata or ty would lend their influence and co-operation in the matter. that the net proceeds should be devoted to creating a Philharmonic have shown the deepest interest in it, taste. The The Cantata of the "Easter Morning >> was selected for the occasion, for reasons which explain themselves. First, it was exactly fit for the occasion, the is one of the most beautiful works in the department concert taking place in Easter week. Secondly, it of sacred music and well adapted to the popular sive, in some portions of the composition, whilst The words are peculiarly tender and impresGerman poetry was written by Tiedge, an ardent they rise to a high sublimity in other parts. worshipper of religion, not by Tieck, as erroneously stated in Novello's London edition of Neukomm's famous work. The English version which was sung last night, is a much more literal and more singable one and is prepared by Edw. Wiebé, who, assisted by his friend Wm. Cutter, has made many a fine German composition accessible to the lovers of music who speak English. A new edition of the "Easter Morning with German and English words is now in press, in Germany, and will soon be out. In conclusion I would mention that to Mr. Theodore Thomas, who led the performance, much credit is due for the amiable manner in which he helped Mr. Wiebe to mature a plan, which, if successfully carried through, cannot fail to prove beneficial in the development of taste for choral music in this community. untoward accident might deprive him of success. Mr. Schmitz, however, always does well what he attempts, and, knowing this, I banished all fears for his safety, found a seat in the quietest corner of the room, and lay back, considering whether Mendelssohn's overture to "A Midsummer Night's Dream" would have sounded equally well without the obbligato accompaniments furnished by the voluble misses on either side of me. Mr. Grau's company has, thus far, given Linda, Robert le Diable, Les Noces de Jeannette, La Sonnambula, La Juive and Dinorah. Dinorah differs essentially from Meyerbeer's greater works: Robert, Les Huguenots, and Le Prophete, which we are accustomed to regard as types of his style. While the works named seem to possess more of the French or German character, leaning now to the one and now to the other, Dinorah suggests very little of the German, but seems a FrancoItalian mixture, in which the individuality of the author is less conspicuous than in previous works. In one thing Meyerbeer remains true to himself. He gives but few unbroken melodies, but changes key and rhythm frequently, even in solos, in order that music and words should be perfectly in keeping. There is also the same elaborate treatment in the orchestral parts. In Meyerbeer's operas so much depends upon the perfect interweaviug of musical and dramatic thought, that to hear them in an unintelligible language is to remain unconscious of many of their great beauties. In lighter operas this want is felt even more readily, because so much depends upon the action of the play, while in tragic works one may be carried along by the wilder measures and more massive harmonies, and need no explanation of what were, otherwise, mere pantomime. I There are several beautiful strains in Dinorah. was especially pleased with the matter and the manner of MORENSI's solo in the second act, and was surprised at the ease with which Mlle. CORDIER accomplished the difficult shadow aria. She deserved the applause, but the audience did not deserve a repetition of the most difficult part of her aria. The Italians, including Muzio, performed in the left-handed way in which the Italians usually render French or German music. The goat left out considerable portions of its rôle, and was very capricious, which made me conclude it must be a tenor goat. Orchestra and chorus were poor enough. The "real water " for the inundation scene had been procured" at great expense" and was announced in large type, on flaming posters. It overdid its part and, running over the stage into the orchestra, threatened to drown out the musicians. When I hear of Don Giovanni (it is announced for Mr. Grau's benefit, to-morrow) I am reminded of the performance of the same opera by the Anschütz Company, and shudder at the thought of it. NIEMAND. PITTSFIELD MASS., APRIL 8.-The winter with us has been unenlightened by musical sun or stars, and during its long months, nothing, save performers in the minstrel" line, has risen above our horizon. But spring, with its first blue-bird and robin, has brought us also an artistic feast, in a call from the "Mendelssohn Quintette Club," as they passed on their way West. The Programme comprised the best and most pleasing selections from their rural repertoire. May we hear them often, and may our wealthy citizens bestir themselves so that, on their next visit, their music may fill a larger and more commodious Hall, worthy of such music, and of so intelligent and appreciative an audience. On the following evening, April 7th, the "Mendelssohn Musical Institute," a sister companion of the "Club," in its aims and high standard, closed their seventh year by a musical Soirée, at which the Richard Hol Mendelssohn Mercadante .Haydn A. F. Bohlmann. 6. Cavatina from "Nil Andronico.". 7. Grand Sonata in F... 8. Grand Symphony No. 5, in C minor.... . . . Beethoven Misses Chapman and Bly. The pieces are some of them too well known to your readers, to need comment. The Sonata by Schubert is a wonderful example of his fruitful and peculiar genius, sparkling with originality and beauty. The Haydn Sonata was also exceedingly brilliant. The Lied ohne Worte by Mendelssohn was a favorite one, and well performed by a young German, who, as I learn, in the space of a year and a half has made wonderful progress in theoretical study, and has also acquired a good degree of skill in execution. During the first year of his study, being a weaver by trade, and obliged to labor, he occupied his mind with his lessons while at the loom, committing to memory the chords, which were thus thought out, and practising them diligently after release from mechanical toil from eight o'clock to ten in the evening, which was his only opportunity for practice. During the last few months he has for saken the loom for the Organ and Piano Forte, and with determined energy and perseverance is pursaing the studies for which his quickness of thought, application and talents, are adapted. Did time and your space permit, we could speak at length in praise of the performance of the well known and ever wonderful C minor Symphony, and of the vocal part of the programme. "Dove sono "Don Giovanni" was sung in a manner that would do honor to a professional vocalist. from The performances of all the pupils at this concert were highly creditable to their instructors, who must be encouraged by their improvement and skill to pursue the same undeviating course in presenting to them for study such noble works, and in endeavor ing to create a love for them. We are not sufficiently acquainted with Mr. Oliver's method of teaching to know how it differs from others, but we see from its results that his pupils, even after the study of but one year, share his distaste for musical trash and be come imbued with a deep love and respect for the great masters and for all that is high in musical art. We wish that more of our teachers were moved to labor earnestly for the cultivation of good taste, and we should soon see the result in a general appreciation of classical concerts, and our artists would not so often be obliged to present a sugared pill by offering to the public "light, popular music," Waltzes and “ Opera re-hash," as an inducement to listen to a Symphony or Quartet. Persistent and earnest effort in the right way will accomplish wonders, and a teacher's influence is enduring, for right or wrong. Let each and every one see to it that his effort and influence is for improvement and elevation in music, as well as in mind and morals. Man in his natural state is degraded and unintellectual. The natural and uncultivated "taste for music" is also low and unrefined, only requiring in its primitive development the measured beat of the dance in its various forms, to give pleasure and delight. A slight degree of cultivation introduces melody and song, mingled with the love of rhythmic measure; but it is only after study and devotion to the Art that mingled harmony and melody overcome and banish from thought the still ever ruling and prevailing rhythm, and give that excellent joy and delight which is a foretaste of ACANTHUS. Heaven. Special Notices. DESCRIPTIVE LIST OF THE LATEST MUSIC. Published by Oliver Ditson & Co. Vocal, with Piano Accompaniment. Away Goes Cuffee, or Hooray for '63. and Music by Words A first-rate negro song,which is saying a great deal, The Sleep of Sorrow. Song. W. V. Wallace. 25 A song in Wallace's best style, simple and elegant, and showing the master in the easy and powerful handling of his subject. The Name of Him I Love. Renè Favarger. 25 Enter not into judgment with thy servant, O Lord, Give to Jehovah glory and strength. How beautiful upon the mountains. I will arise and go to my Father. I am the resurrection and the life. In thee, O Jehovah, do I put my trust. I have set Jehovah always before me. Jehovah is my Shepherd. Jeborah is merciful and gracious. Jehovah will be a refuge to the oppressed. Lord. now lettest thy servant depart in peace. Love your enemies. My soul doth magnify the Lord. O fear Jehovah. Our soul waiteth for Jehovah. 0 Praise the Lord. O Love Jehov h. 0 Zion, that bringest good tidings. O be joyful in the Lord, all ye lands. Neukomm. Farrant. Haydn. Atwood. C. H. Rinck. G. A. Naumann. Tallis. V. Novello. A. Neithardt. Nauman. T. Brown. O Jehovah, our Lord, how excellent is thy name. Praise ye the Lord. Pray for the peace of Jerusalem. Rejoice in Jehovah, O ye righteous. Sanctus Sing, O heavens, and be joyful, O earth. The eyes of Jehovah are upon the righteous. When Jehovah shall build up Zion. We have thought of thy kindness, O God. SELECT PIECES AND Choice Collections of Music. FOR THE USE OF SOCIETIES, CHOIRS, MUSICAL CONVENTIONS, Glee Clubs, and Advanced Schools. The Choralist. Comprising Select Anthems, Choruses, &c. In 21 Numbers. 1. O, how Lovely is Zion, Quartet and Chorus: Where are thy bowers, Quartet. 2. Glory be to God on high. Chorus. 3. Hallelujah Chorus. 4. Child of Mortallty, Anthem; Then round about the starry Throne. 5. When winds breathe soft, Anthem. 6. Daughters of Israel, March and Chorus; Achieved is the glorious work, Chorus. 7. Let their Celestial concerts, Chorus; Go forth to the Mount, Solo and Chorus. 8. Thanks be to God, Chorus; The Great Jehovah, Chorus. 9. To God in Heaven, Duet and Chorus. 10. O Lord our Governor, Anthem 11. 'Tis Music that whispers, Quartet; Almighty Lord, before thy throne, Motet. 12. I was glad when they said, Chorus; Swell the full chorus, Chorus. 13. Father, thy word is past; The multitude of angels. 14. Exulting angels; Christmas Anthem. 15. From concave skies, Anthem. 16. Hail to thee; Let every nation, Chorus; O Lord in thee I have trusted, Fugue. 17. Jehovah's praise, Anthem. 18. Let every heart and voice. Solo and Chorus. 19. Sound an alarm, Solo and Chorus. 20. The Lord our enemy has slain, Chorus; The Lord will comfort Zion, Sentence. 21. The Pilgrims at the Holy Sepulchre, Cantata. Palestrina. V. Novello. The Very Best Music Books AND FOR SABBATH SCHOOLS. ADULT.-American Musical Class Book, 60. Grammar School Vocalist, 60. Musical Mirror, 60. Musical Recreations, 50. Musical Wreath, 100. Nason's Vocal Class Book, 40. Operatic Album, 75. Panseron's A B C of Music, 1.00. Part Songs, for Female voices, 60. Seminary Class Book of Music, 60. Twin Sisters. An Operetta, 40. JUVENILE.-Baker's Elementary Music Book, 35. Baker's School Music Book, 35 Bird's Vocal Music Reader, 15. Carmina Meloda, 30 Common School Song Book, 25. Exercise Song Book, 15. Flower Festival, or Banks of the Rhine. 30. Golden Wreath, 35. Hohmann's Practical Course. 4 Pts. ea. 15. May Festival. A Juvenile Oratorio, 13. Musied A B C, 20 Musical Spelling Book, 75. New York Normal Song Book. 30. Nightingale, 35. One Key Singer, 15. Song Book for Primery Schools. 25. Wreath of School Songs 35. SABBATH SCHOOL.-Cherub: by J, C. Johnson, board. 30; paper, 25. Early Blossoms, 25. Golden Harp, Bds. 25; Pa. 20. Our Saviour. Sacred Oratorio, 30. The Sabbath School. 25. Sabbath School Lute. 25. Sabbath School Wreath, 12. Youthful Voices. Cloth. 50; bds. 35. Mailed, post-paid, by the Publishers, OLIVER DITSON & CO, 277 Washington Street, Boston. Now Ready---A New Edition Trios, Quartets, and Choruses, from Favorite In 12 Numbers. Nancy, see them eye us [Nancy, guarda), This is your future dwelling [Siam giunte], 25 20 25 220 25 25 2222 25 20 20 20 20 20 25 voices. 20 1. Joy, joy. Freedom to day. 2. Away, away, the morning Choral Classics. 22 222 22 Mendelssohn.-Lauda Sion. (Soprano and Chorus), Oratorio Choruses, Complete. Creation, 50 cts. Messiah, 50 cts. Fgypt, 50 cts. May-Queen, 50 cts. Favorite Cantatas. Moses in 60 As the Hart Pants. Mendelsshon. Mailed, Post-paid, on Receipt of Price. 25 40 100 35 Cl. $1; pl. 75 2.00 25 62 30 Oliver Ditson & CO., Fublishers, 277 Washington St. 5000 SOLD IN RICHARDSON'S NEW METHOD FOR THE AND RECOMMENDED BY PIANISTS AND TEACHERS. THOUSANDS OF COPIES HAVE BEEN DISTRIBUTED FROM MAINE TO CALIFORNIA, YET THE DEMAND IS UNABATED. A MOST DECIDED PROOF OF MERIT, AND A VERY STRONG EVIDENCE THAT NO OTHER BOOK FOR THE PIANOFORTE Can be Obtained that suits the Public Want as Well. "Deserves our hearty recommendation."-N. Y. Musical Review, "Unexceptionable in taste and style."-Dwight's Journal. "We quite endorse Mr. Dwight's opinion.”—New York Musical World. "A School that will do excellent service."-Deutsche Musik-Zelting, Phil. "Having an unprecedented sale."-Christian Freeman. "All that it is represented to be."-Godey's Lady's Book. "Soundest, clearest, best book for the Piano.”—Phil Evening Bulletin. "A work of solid and enduring merit.”—Phil City Item. "Will supersede every other of the kind."-Worcester Spy. "An improvement on all other books,"-Syracuse Journal. "Possesses merits not claimed by other works."-Cleveland Herald. "Common sense, plain talk, and brevity."-Boston Journal. "Best Piano Method we have ever seen."-Chattanooga Tenn. Advertiser. "No Piano book comparable in value to it."-New Covenant. "Presents many new and important ideas."--N. Y. Tablet. "No more perfect treatise on the piano."-Norwich Courier. "Distinguished by great & peculiar excellence."-Moravian. "Possesses pre-eminently excellent qualities.”--Providence Advertiser. "General favorite with the musical public."-Biddeford Union. "Highly commended by competent judges,"--Christian Witness. "Adapted to the wants of new beginners."--Times. "Cannot fail to insure satisfactory progress."--A. T. Thorup. "Very best material suited to all capacities."--H. Schwing. "I hope that all teachers will adopt it.”--F. A. Tepe. "Guide to accomplished performances."--J. Bellak. "No work of equal merit is before the public."--C. H. Loehr, "Meets my unqualified approval.”--W. S. B. Matthews. ALL WHO HAVE EXAMINED THIS BOOK UNITE IN SAYING THAT The Lessons and Exercises are not Dry and Tedious, ONE OF ITS CHIEF PECULIARITIES BEING SOMETHING ATTRACTIVE AT EVERY STEP. The result is, the Teacher is enabled to impart a thorough knowledge of the Art with far less trouble and in a far more satisfactory manner than he has been able to do with any other system, and the Scholar learns more rapidly, is better pleased with his daily progress, and looks forward to his next lesson as a pleasant pastime rather than as an irksome task. The usual dull and wearisome exercises for practice are in this NEW METHOD superseded by Charming Melodies that please the ear while they assist the pupil in his efforts to become an excellent pianist. Teachers and Scholars can order this work with perfect reliability upon its being in every particular all that it is represented to be. Two editions are published, one adopting American, the other Foreign Fingering. When the work is ordered, if no preference is designated, the edition with American Fingering will be sent. Be sure that in ordering it you are particular in specifying the "NEW METHOD." Price, $3.00. Mailed, post-paid, to any address. Sold by all Music Dealers.-Published by OLIVER DITSON & CO., 277 Washington St. THREE INVALUABLE BOOKS FOR EVERY PIANOFORTE. THE HOME CIRCLE-A volume of 216 pages, contains 25 Marches and Quicksteps, 47 Waltzes, 31 Polkas, 6 Schottisches, 4 Redowas, 4 Mazurkas, and Polka Mazurkas, 2 Varsoviennes. 1 Gorlitza, 4 Galopades, 14 Cotillons & Quadrilles, and 44 Dances, Hornpipes, &c., arranged for the Piano. THE SILVER CHORD-A Companion to the "Home Circle," containing a Collection of Favorite Songs, Ballads, Duets, and Quartets, with Accompaniments for the Piano-forte. THE SHOWER OF PEARLS-Containing the most beautiful Duets for 2 Sopranos, Soprano and Alto, Soprano and Tenor, Soprano and Bass, and Tenor and Bass. Arranged with an Accompaniment for the Piano-forte. The large amount and great variety of Piano and Vocal Music comprised in the above Collections, have rendered them immensely popular, and much sought after by Players and Singers. They furnish the most suitable pieces for every time and occasion, and are adapted to every grade of performance. Each volume is a complete library in itself of Choice Music, and no one will fail to recognize in one and all a great desideratum for every Piano. Price of each, in cloth $2.25 : in plain binding $2.00.on receipt of which copies will be mailed, post-paid. OLIVER DITSON & CO., Publishers, 277 Washington Street, Boston. Camp Songs.-New Edition, Enlarged. "Camp Songs" is a collection of NATIONAL, PATRIOTIC, SENTIMENTAL AND SOCIAL SONGS, to many of which the music is attached, designed to relieve the dull monotony of the soldier's life and lighten the hours of the long and weary march. To do this nothing has been found to equal music, and no collection can excel Camp Songs in the number and variety of its pieces, comprising, as they do, something for every occasion. The old heroes" should each have a copy, and the "600,000 more" be well supplied. The price of Camp Songs is only Twelve Cts. on receipt of which a copy will be mailed to any address. Ditson & Co., Publishers, 277 Washington Street, Boston. THE SHOWER OF PEARLS, A COLLECTION OF CHOICE VOCAL DUETS. WITH PIANO ACCOMPANIMENT. The Shower of Pearls, contains the most beautiful Duets for Two Sopranos, Soprano and Alto, Soprano and Tenor, Soprano and Bass, and Tenor and Bass. Arranged with an Accompaniment for the Piano-forte. Bound in Cloth. Price $2.25 on receipt of which it will be sent by mail, post paid. Oliver Ditson & Co., Publishers, 277 Washingington Street, Boston. MASSES FOR CHURCH SERVICE Farmer's Mass in B Flat. Cloth 75 ct. Paper 50 ct. Beethoven's Mass. Cloth $1.00. Paper 75 cents. De Monti's Favorite Mass in B flat. Cl. $1. Haydn's 3d Mass in D. Cloth $1. Paper 75 cts. Mozart's Requiem, (15th Mass). Cloth 1,00. Paper 75 cts. Mozart's 12th Mass. Cloth 1,25. Paper 1,00. Rossini's Stabat Mater. Cloth 1,00. Paper 75 cts. Weber's Mass in E flat. Cloth 1.00. Weber's Mass in G. Cloth 1,00. Lambillotte's Mass, Pascale in D. 3,00. Guignard's Mass. 1,00. Unison Mass, by LaHache, 1.50. Zimmer's Mass, 2.00. Copies mailed, post-paid, on the receipt of price. OLIVER DITSON & CO., Publishers, 277 Washington Street, Boston. POPULAR, PATRIOTIC & HOME SONGS. NEARLY 200 FOR 12 CENTS. THE SHILLING SONG BOOK. Part 1.-Containing all the best songs of the day, a large number of which, being copyrights, are not to be found in any other collection. Part 2.-Containing the Words of Popular Songs that have appeared since the publication of the First Part, together with numerous other favorites. Price of each part, 12 cents. Sent by mail, post-paid, on receipt of the price. Published by OLIVER DITSON & CO., 277 Washington Street, Boston. CHURCH MUSIC. Mostly Selected from the Works of the Great Masters. With a Separate Organ Accompaniment. PY WILLIAM A. KING. Editor of the Grace Church Collection, &c. The favor with which Mr. King's previous works have been received, and their continued popularity, will insure for this new candidate for public patronage a cordial welcome. The book is finely printed, and bound in cloth. PRICE $2,00$18.00 per dozen. DITSON & Co, Publishers. 277 Washington Street, Boston. Copies mailed, post-paid on receipt of price Four-Part Songs for Male Voices. Mendels 1ohn's Four-Part Songs. For Male Voices, two Tenors & ad two Basses. English and German Words. Price 75 cents. Arion : A collection of Four-Part Songs for Male Voices, mainly to be sung without Accompaniment. In 5 books comprising separate Vocal parts and Piano Score. Price, complete, 5 Vols $3. Vocal Parts, 4 vols. $2,25. Single vocal part, 75 cents Piano Score $1,50. The above sent post paid, on receipt of price. Published by OLIVER DITSON & CÒ., 277 Washington St., Boston. DWIGHT'S JOURNAL OF MUSIC. ONLY ONE DOLLAR A YEAR! Each number containing sixteen pages, including FOUR PAGES OF SUPERIOR MUSIC, MUSICAL ESSAYS. CRITICISMS, REVIEWS, REPORTS OF CONCERTS, a General Summary of MUSICAL INTELLIGENCE, and CORRESPONDENCE from all parts of the United States and Europe. Pub Specimen copies mailed free on application. lished by OLIVER DITSON & CO., 277 Washington Street, |