The amphitheatre is the Olympus of the peoplé. OPERA IN ENGLAND. draws full houses, even when the roles in the great Richard Wagner's Reminiscences of hostess thought she would do well to attempt to divert the mind of the composer from the train of thought into which he had fallen. The theatre was only a few paces off from the house, and, as Antigone happened to be given that evening, she fancied she would interest Spontini by letting him see the plan adopted by Semper, the architect, to give the stage the form and aspect of an ancient theatre. At first, he thanked her, pretending that he knew all about it, and had done the same thing in his Olympie. At last, however, he yielded and went off with one of the company. But his absence was not long, and he returned with a smile of contempt on his lips. He had, he said, seen more than enough to be completely edified. His companion afterwards informed us that they had selected seats in the amphitheatre which was nearly empty. Scarcely had Spontini heard the first few bars of the chorus to Bacchus, before he rose, saying aloud as he did SO: "C'est de la Berliner Sing-Academie; allons nous-en!" Nevertheless, amid his high-flown notions, we clearly perceived that the composer was al(Concluded from Vol. XXXIV, Page 401.) lowing his mind to be invaded by a fixed idea, D'autre part, étant avisé que, depuis that of stopping some time at Dresden, in order 'La Vestale,' il n'a point été écrite une note qui to get up, one after the other, his principal ne fût volée dans mes partitions" To prove works. But, far from being taken by this idea, that this accusation of plagiarism, levelled Mad. Schröder-Devrient, guided by her liking against his professional brethren, was not a for Spontini, thought it would be advisable to avoid a fresh performance of La Vestale while merely accidental phrase, but founded upon facts scientifically corroborated, Spontini ap- he was still in Dresden. She foresaw that the pealed to the testimony of his wife. This lady success would not come up to his expectations, had had in her hands a voluminous essay writ- and that the second attempt would simply reten on the subject by one of the most illustri- sult in a second disappointment. She pretendous members of the French Academy. In this ed, therefore, to be suffering from indisposiessay, which, for personal reasons had not been tion. As for me, I received from the manage published, the author had proved conclusively, ment the passably disagreeable order to inform we were informed, by the most irrefutable ar- the composer that the next performance of his guments, that, without the prolongation of the opera was indefinitelp adjourned, as the supposixth invented by Spontini, and employed by sititious illness of the principal actress in it did not permit us to hope that it could be speedily him in La Vestale, modern melody would not exist, and that consequently all new melodic repeated. This mission was so painful to me, that I resolved our Musical Director should forms had simply been borrowed from his mushare the responsibility of it. Like myself, sic. These singular pretensions caused in me a feeling of painful surprise, and I attempted Röckel had gained the composer's good graces, to convert the composer to other sentiments. and, moreover, enjoyed the advantage of exAdmitting with him that the state of things pressing himself in French with more facitity was really such as his Academical apologist as- than I could. It was in trembling that we went serted, I ventured to enquire whether he would to Spontini's lodgings. We guessed too easily not feel capable of discovering new musical beforehand the disagreeable reception which awaited us. What was our surprise on seeing forms, supposing anyone submitted to him a There is a great deal of talk about the decline of libretto of a completely novel poetic tendency, the composer, who had already been apprised opera in England; and certainly those who remem- and of a dramatic import hitherto unknown. of the state of matters by a note from Mad. ber what I may call its golden age, which may be Smiling with an air of pity, he observed that Schröder, advance towards us with outstretched regarded as between 1850 and 1870, cannot but nothing could be more absurd than such a sup- hand and smiling face. In a few words he told perceive a considerable falling off. An eminent position. Dans La Vestale"-he said—“j'ai us he was obliged to leave without delay for critic recently wrote as follows on this subject: composé un sujet Romain; dans Fernand Cor- Paris, whence he expected to proceed immedi"The present condition of the lyrical drama in In the latter capital, the holy England may fairly be set down as deplorable. tez, un sujet Espagnol-Mexicain; dans Olympie, ately to Rome. un sujet Gréco-Macédonien; enfin, dans Agnès Father, who had just conferred on him the title Italian opera has always, it is true, been like an exof Count de St. André, was awaiting his arriotic among us, supported by artificial means, and de Hohenstaufen, un sujet Allemand; tout le reste val. At the same time he showed us a second having no locus standi except as a fashionable amusene vaut rien." He hoped, however, that, when ment. Yet we doubt whether at its lowest ebb it speaking about a piece of new tendencies, and not less precious document, by which the ever fell so low as now. It has ceased to be an af had not in my head anything of the so-called King of Denmark had bestowed on him letters fair of art in order to become an affair of artists; romantic school that is, anything like Der of nobility. In reality, the Danish Sovereign and its managers, if they would succeed, must think Freyschütz. Such childish absurdities, he de- had sent him the patent of the Order of the more of fine voices and pretty faces than of the cre-clared, were unworthy of a man with any self- Elephant, which carries with it noble rank, but ations of musical genius. There were great singers respect. Art was something essentially serious, Spontini never mentioned the decoration, conin the past who had honors freely lavished upon and in this style, he said, he had created every-sidering such marks of distinction as of only them; but they were not greater than the art they thing. Besides, he asked, from what nation, mediocre importance. What especially flatserved, and the records of the time are full of evi- from what people was the man to spring capa- tered him was his new-fledged nobility. The dence that the public cherished a love for music as ble of measuring his strength with him? He satisfaction and the joy caused him by the news well as admiration for its professors. We have vented themselves in transports of child-like changed all that, and the alteration is not for the treated the Italians purely and simply as "cochons" ("pigs "); the French confined rapture. better. If anybody doubt, let him study the history of the few past operatic seasons and observe how themselves to imitating the Italians; and the little has been done actually on behalf of music, and Germans could not tear themselves loose from how completely personal considerations have pre- their puerile reveries. They had, it is true, vailed." There is some truth in this; yet I think given some grounds for hope, but it was not it exaggerates the situation. The managers still re- long before they had compromised themselves sist the temptation to turn aside from the great utterly by their dealings with the Jews. "Oh! masterpieces, and reject them for sensational works. croyez-moi "-he exclaimed-"il y avait de Opera has certainly not sunk so low as the drama in l'espoir pour l'Allemagne, lorsque j'étais emEngland. Mozart and Rossini are to lyrical music pereur de la musique à Berlin; mais depuis que what Shakespeare and Sheridan are to the theatre; le Roi de Prusse a livré sa musique au désordre, yet, while the latter are eschewed for burlesque, realistic plays and Boucicault sensations, the public par les deux juifs errants qu'il a attirés, tout ""* At this point our amiable still insist that “ Don Giovanni," "The Marriage of espoir est perdu.' Figaro," "William Tell" and "The Huguenots should be kept on the boards to the exclusion of Lohengrin" and the later school. Covent Garden I *It is scarcely necessary to remark that the two Wanaering Jews to whom Spontini referred were Meyerbeer and Mendelssohn. The touch of an enchanter's wand had suddenly transported him from out the narrow circle of the labors accomplished in the Dresden Theatre. With the calmness and se- . renity of a man supremely happy, he looked at us from the height of his glory, and cast upon us a glance of mild compassion. It may easily be supposed that Röckel and myself were profuse in our benedictions on the Pope and the King of Denmark. Satisfied with the happy conclusion of our mission, we bade Spontini farewell, but we did not separate from him without emotion. To put the finishing touch to the joy of this extraordinary man, I promised him that I would maturely weigh his advice, and think, at my leisure, over the reasons he had adduced to turn me from the career of a dramatic composer. This was the last time I saw him. A few years later, I was informed of his death by a letter from Berlioz, who assisted him in his last moments, and remained faithfully at his bedside when he was dying. Berlioz told me that, on the approach of death, Spontini struggled long, and endeavored to hold fast the life which he felt was escaping from him. "Je ne veux pas mourir; " he exclaimed, "Je ne veux pas mourir!" In one of these moments of anguish, Berlioz, thinking to console him, said: "Comment pouvez-vous penser à mourir, vous, mon maître, qui êtes immortel!" "Ne faites pas d'esprit!"-replied the old man, in a tone of irritation. The fatal news reached me at Zurich, where I then resided,* and affected me profoundly, despite the singular reminiscences which had been left by our interview at Dresden. I wrote an article for a local paper, directing attention in it to the loss which music had sustained. I insisted principally upon one point, namely, that Spontini, pursuing an opposite course to that followed by Meyerbeer and Rossini, was always distinguished for the deep faith he had in his art and in his own genius. This faith in himself degenerated, it is true, during his later years, into absolute idolatry into a singular superstition. I had seen a striking example of this weakness, but I did not then allow myself to dwell upon it. Immediately after Spontini's departure, my occupations in the Dresden Theatre did not leave me leisure to reflect on the strange impressions I had received; and I do not recollect feeling the want of the slightest effort to make them agree with the high esteem which I professed for the author of La Vestale, and which I felt growing stronger in me every day. It is very evident that I had become acquainted with only the caricature of the illustrious composer. The exaggerated outbursts of his amour propre, however, enabled us to judge what he had been in the days of his strength and youth. When I saw him his judgment was weakened, and his mind, so to speak, had lapsed into second childhood. This appeared only too clear ly from the passionate energy with which he laid claim to certain pretended discoveries of no importance, while he was silent upon his real merits. But all this could not alter my admiration for his works, nor diminish their great value. Shall I state frankly the truth? I felt inclined to excuse his unbounded vanity and his unbridled pride, when I reflected that they were inspired by the comparison he drew between his own value and that of his succes sors. When remarking the contempt he manifested for those who then swayed the musical sceptre, I felt that, in the depths of my soul, my thoughts and his met; and I instinctively perceived that my opinions and his agreed more closely than I should then have dared to confess. The result was that, notwithstanding the ridiculous side of his visit to Dresden, I felt invaded, despite myself, and with a sort of terror, by profound sympathy for this strange man. I have never seen any one like him. RICHARD Wagner. were all the time resounding. It was only by the aid of the concert programme that my tortured ears could arrive at the conclusion that this confusion of tones was meant to represent two pieces by Döhler and Thalberg. Cruel fate that invented the pedal! I mean the pedal which raises the dampers on the piano. A grand acquisition, indeed, for modern times! Good heavens! Our piano performers must have lost their sense of hearing! What is all this growling and buzzing? Alas, it is only the groaning of the wretched piano-forte, upon which one of the modern virtuosos, with a heavy beard and long hanging locks, whose hearing has deserted him, is blustering away on a bravoura piece, with the pedal incessantly raised,-with inward satisfaction and vain self-assertion! Truly time brings into use a great deal that is far from beautiful: does, then, this raging piano revolutionist think it beautiful to bring the pedal into use at every bar? Unhappy delusion. But enough of this serious jesting. Hummel never used the pedal. He was an extremist; and, in his graceful, clear, elegant, neat, though not grand playing, often lost fine effects, which would have been produced by the correct and judicious use of the pedal; particularly on the instruments of Stein, Brodmann, Conrad Graff, and others then in use, which were usually lightly leathered, and had a thin, sharp tone. The use of the pedal, of course always allowing it to fall frequently with precision, was especially desirable in the upper treble, in cases where the changes of the harmony struments, although sweet and agreeable, had not were not very frequent; for the tone of those inmuch depth, and the action had but little strength and elasticity. But on our instruments, frequently too softly leathered, which have a full tone, and are so strong and penetrating, especially in the bass, it is enough to endanger one's sense of hearing to be subjected to such a senseless, incessant, ridiculous, deafening use of the pedal; frequently, moreover, combined with a hard, stiff touch, and an unsound, incorrect technique. A musical interpretation in any degree tolerable is out of the question. You cannot call that art, it cannot even be called manual labor: it is a freak of insanity! A few words to the better sort of players. The foot-piece to the right on the piano-forte raises the dampers, and in that way makes the tones resound and sing, and takes from them the dryness, shortness, and want of fulness, which is always the objection to the piano-forte, especially to those of the earlier construction. This is certainly an ad vantage; the more the tone of the piano-forte resembles singing, the more beautiful it is. But, in order not to injure the distinctness and detract from the clear phrasing of the performance, a very skilful and prudent use of the pedal is necessary in rapid changes of harmony, particularly in the middle and lower portion of the instrument. You all use the pedal too much and too often, especially on large, fine concert pianos of the new construction, which, with their heavy stringing, have in themselves a fuller, more vibrating tone; at least you do not let it fall frequently enough, and with precision. You must listen to what you are playing. You do not play for yourselves alone; frequently you play to hearers who are listening for the first time to the pieces you are performing, Try a few passages without pedal,-for instance, those in which the changes of the harmony succeed each other rapidly, even in the highest treble, and see what repose, what serene enjoyment, what refreshment is afforded, what delicate shading is brought out. Or at first listen, and try to feel it in the playing of others; for your habit is so deeply rooted that you no longer know when and how often you use the pedal. Chopin, that highly gift. ed, elegant, sensitive composer and performer, may serve as a model for you here. His widely dispersd, artistic harmonies, with the boldest and most striking suspensions, for which the fundamental bass is essential, certainly require the frequent use of the pedal for fine harmonic effect. But, if you examine and observe the minute, critical directions in his compositions, you can obtain from him complete instruction for the nice and correct use of the pedal. By way of episode to my sorrowful lecture on the pedal, we will take a walk through the streets some beautiful evening. What is it that we hear in almost every house? Unquestionably it is piano-playing; but what playing! It is generally nothing but a continual confusion of different chords, without close, without pause; slovenly passages, screened by the raised pedal; varied by an empty, stiff, weak touch, relying upon the pedal for weight. We will escape into the next street. Oh, horrors! what a thundering on this piano, which, by the way, is sadly out of tune! It is a grand-that is, a long, heavy-étude, with the most involved passages, and a peculiar style of composition, probably with the title "On the Ocean," or "In Hades," or "Fancies of the Insane;" pounded off with the pedal raised through the most marvellous changes of harmonies. Finally, the strings snap, the pedal creaks and moans; conclusion, -e, e sharp, d, d sharp resound together through a few exhausted bars, and at last die away in the warm, soft, delicious air. Universal applause from the open windows! But who is the frantic musician who is venting his rage on this piano? It is a Parisian or other travelling composer, lately arrived with letters of recommendation, who has just been giving a little rehearsal of what we may expect to hear shortly in a concert at the Schmerz." THE SOFT-PEDAL SENTIMENT. "Hôtel de You exclaim: "What is that? a sentiment times! most of all, a musical sentiment! I have for the soft pedal! a sentiment of any kind in our not heard of such a thing in a concert-room for a long time!" When the foot-piece to the left on the piano is pressed down, the key-board is thereby moved to the right; so that, in playing, the hammers strike only two of the three strings, in some pianos only one. In that way the tone is made weaker, thinner, but more singing and more tender. What follows madness, play a grand bravoura piece, excite themfrom this? Many performers, seized with a piano selves fearfully, clatter up and down through seven octaves of runs, with the pedal constantly raised, bang away. put the best piano out of tune in the first twenty bars,-snap the strings, knock the hammers off their bearings, perspire, stroke the hair out of their eyes, ogle the audience, and make love to themselves. Suddenly they are seized with a sentiment! They come to a piano or pianissimo, and, no longer content with one pedal, they take the soft pedal while the loud pedal is still resounding. Oh, what languishing! what soft murmuring, and what a sweet tinkling of bells! what tenderness of feeling! what a soft-pedal sentiment! The ladies fall into tears, enraptured by the pale, long-haired young artist. I describe here the period of piano mania, which has just passed its crisis; a period which it is necessary to have lived through, in order to believe in the possibility of such follies. When, in the beginning of this century, the piano attained such conspicuous excellence and increased power, greater technical skill could not fail to be called out; but, after a few years, this degenerated into a heartless and worthless dexterity of the fingers, which was carried to the point of absurdity and resulted in intellectual death. Instead of aiming to acquire, before all things, a beautiful, full tone on these richsounding instruments, which admit of so much and such delicate shading, essential to true excellence of performance, the object was only to increase mechanical facility, and to cultivate almost exclusively an immoderately powerful and unnatural touch, and to improve the fingering in order to make possible the execution of passages, roulades, finger-gymnastics, and stretches, which no one before had imagined or considered necessary. From this period dates the introduction of virtuoso performances with their glittering tawdriness, without substance and without music, and of the frightful eccentricities in art, accompanied by immeasurable vanity and self-conceit,-the age of "finger-heroes." It is indeed a melancholy reflection, for all who retain their senses, that this charlatanry is made the solitary aim of numberless ignoble performers, su tained by the applause of teachers and composers equally base. It is sad to see how, engaged in artificial formalisms and in erroneous mechanical studies, players have forgotten the study of tone and of correct delivery, and that few teachers seek to improve either themselves or their pupils therein. Otherwise they would see and understand that, on a good piano, such as are now to be found almost everywhere, it is possible with correct playing, founded on a right method, to play, without external aids, forte, fortissimo, piano, pianissimo,—in a word, with every degree of shading, and with at least formal expression; and that this style of playing, with the requisite mechanical skill, sounds far more pure, and is more satisfactory than when a feeling is affected through the crude, unskilful, and absurd use of the pedal, especially of the soft pedal of which we are now speaking. This affectation only gives one more proof of our unhealthy, stupid, and unmusical infancy in piano performances. A good-natured public, drummed up and brought to gether by patient persuasion and by urgent recommendations, of which virtuosos can obtain an abundance (for the tormented cities which they have visited cannot otherwise get rid of them), attend these concerts and listen to dozens of such inexperienced piano-players. One plays exactly like another, with more or less faulty mechanical execution; and none of them are able, with all their thumping and caressing of the keys, to bring out from the instrument a broad, healthy, full, and beautiful tone, delicately shaded and distinct even to the softest pp. But, instead of this, they fall into a pedal sentiment; ie, they play with outside pretension, and with intrinsic emptiness. You unworthy performers, who have so disgusted the artistic public with piano-playing that they will no longer listen to fine, intelligent, sensible artists, whose dignity does not permit them to force themselves into the concert-hall, or to drag people into it from the streets! you base mortals, who have exposed this beautiful art to shame! I implore you to abandon the concert platform, your battle-field! Hack at the piano no longer! Find positions on a railroad or in a factory. There you may perhaps make yourselves useful; while by the lessons you give (for it usually comes to that, after you have travelled all over the world) you will only ruin our young people, now growing up with promising talent for piano-playing, and will produce successors like yourselves, but not artists. I must whisper one thing more in your ear. I will say nothing about simple truthfulness, about tenderness and sincerity of feeling, or wholesome refinement, about poetry, inspiration, or truly impassioned playing. But, if your ears are not already too much blunted, you should be able to discover, at least in a very few minutes, on any instrument, unless it is of the worst sort, or has already been battered to pieces by you, how far you can carry the pianissimo and fortissimo, and still preserve the tone within the limits of beauty and simplicity. You will thus be able to interpret a piece with at least superficial correctness, without mortally wounding a cultivated ear by exaggerations and by maltreatment of the instrument and its two pedals. This style of playing has nevertheless found its numerous defenders and admirers in our century, which has made every thing possible. This senseless enslavement and abuse of the piano has been said to be "all the rage;" a fine expression of our piano critics to justify insane stamping and soft-pedal sentimentality. How far what I have here said relates to our modern errors in singing, and how far it may be applied to them, I leave to the intelligence of my readers and to my explanations in subsequent chap ters. impressive aids to the proper rendering of this church music, than King's chapel. Invested with the blessing of two creeds, one cannot sit within its honored walls and not feel something of the influence that its age bestows. There is nothing of the blazonry of modern churches inside this edifice; the pews are not narrow and uncomfortable, the pulpit looms up as a relic, the organ is old and sweet. A series of sermons on church music, from the earliest times to the present, illustrated by the music itself, was given during last December. The Rev. Mr. Foote, the pastor, delivered a sermon touching on the circumstances and surroundings of the royal Psalmist, King David, and the spirit of his psalms. The choir sang in illustration several of the representative hymns from the Old Testament, and also a few from the New. The music at this service was not confined to any particular periods, but was selected with a view faithfully to represent the spirit of the hymn. This service was, however, more of an introduction, and the next came nearer to the idea of illustrations of the church music of the past. The first hymn, translated from the old Latin by Mrs. Charles, "Christe, qui lux es," was written during the seventh century; the melody was taken from the music of the eighth. The "Te Deum" sung on the occasion is ascribed by tradition to Ambrosius, archbishop of Milan, A. D. 380. The melody is supposed to be the oldest known. It was adapted to the version in use in King's chapel by the organist, Mr. J. W. Tufts. In his adaptation, of course, modern harmony was supplied, yet keeping as near to the theme as possible, and never overburdening it so as to lose sight of it. Naturally the melody was very peculiar, and in every instance the prolonged cadence was retained. A "Veni Creator Spiritus," credited to Gregory the Great, about A. D. 600, the melody ascribed to Charlemagne, A. D. 742-814, or Charles the Fat, A. D. 884-887, was sung in the place of the Magnificat. Then followed the Crusaders' Hymn," beginning "Fairest Lord Jesus," which is more familiar than the other selections. The translation was by Willis. At the close was given a "Da Nobis Pacem " set to music, written close after Gregory's time. The entire illustrations were rendered by a double quartet under the direction of Mr. Tufts in a way well worthy of the immortal music, and the sermon was most instructively interesting. The third of the most marked services was given on last Sunday, and the music was also from the magnificent German chorales. With the exception of the last, they were all sung without accompaniment, the organist merely playing as a prelude four measures of the choral music. They all belonged to the magnificent collection of figured chorales, and included the following: "O Haupt voll Blut und Wunden,""O sacred Head, now wounded," words by Gerhardt, 1607-76, melody by Schrin, (?) 1621, harmonized by Bach; "Wer nur den lieben Gott,""Leave God to order all thy ways," melody by Gastorius, 1675, harmonized by Bach; "In allen meinen Staten,"- ." Wher'eer I go, what'eer my task," by Fleming, 1631; Alles ist an Gottes Segen,"-" All things hang on our possessing," author unknown, from the Nuremberg hymn book, 1676; and "Ein feste Burg ist unser Gott."—" A mighty fortress is our God," Luther, 1483-1546, melody by Luther, harmonized by Bach and translated by the Rev. F. H. Hedge, D. D. In the rendition of these the regular choir of the church were unassisted. To return to my theme: I have still one word on this subject for rational players. Even they use the soft pedal too much and too often, and at unsuitable places; for instance, in the midst of a piece, without any preparatory pause; in melodies which require to be lightly executed; or in rapid passages which are to be played piano. This is especially to be noticed with players who are obliged to use instruments of a powerful tone and stiff, heavy action, on which it is difficult to insure a delicate shading in piano and forte. For this reason, a sensible and experienced teacher, whose sole aim is the true and the beautiful, should make the attainment of an Another illustrative service will be given tomorelastic touch and well-grounded style of playing an row afternoon, when a specially interesting proindispensable requirement. I prefer that the soft gramme will be rendered. It will include a "Gloria pedal should be used but seldom, and, if the pedal in Excelsis" and an Adoramus Te" by Palestrina, which raises the dampers is used at the same time, an "Ave Verum" by Mozart, and five selections it must be only with the greatest nicety. The soft from Mozart's Requiem illustrating the "Dies Iræ." pedal may be used in an echo; but should be pre- These include "Tuba Mirum," "Liber Scriptus," ceded by a slight pause, and then should be em- "Judex Ergo" and "Quid sum Miser." Pergolesi's ployed throughout the period, because the ear must 'Quis est Homo" and "Quando Corpus, Amen," ilaccustom itself gradually to this tender, maidenly, lustrating the Stabat Mater, will conclude the sersentimental tone. There must again be a slight vices. Of the services yet to be given another pause before the transition to the usual more mas- afternoon will be devoted to German chorales, one culine tone, with the three strings. The soft pedal to English church music after the time of Henry is, moreover, most effective in slow movements with VIII., and one to modern American music. The full chords, which allow time to bring out the sing-regular choir consists of Mrs. O. T. Kimball, sopra ing tone, in which consists the advantage of the no; Mrs. Flora E. Barry, alto; Mr. Charles Clark, stroke of the hammers on two strings alone. tenor; and Mr. D. E. Spencer, bass. Mr. John W. Tufts is organist and director.-Advertiser, April 24. The Music of the Past. SERMONS WITH ILLUSTRATIONS IN KING'S CHAPEL-LATIN HYMNS AND GERMAN CHORALS, No place in this city is more richly endowed with old associations and soft, suggestive reminiscence, " 66 Music to Goethe's "Faust." (From the "Leipziger Tageblatt und Anzeiger" of March 22.) To-day and to-morrow both parts of Goethe's "Faust" will be performed on our stage: the first with the music of Prince Radziwill and Lindpainter, the second with that of Pierson. Among the most thankless tasks in the way of composition must unquestionably be reckoned music to plays. The public concentrates its attention fully upon the subject and representation of the piece. Music however draws off the attention or interrupts the action of the play; at best, a pretty march or dance finds favor, or some of those movements which respond to the frame of mind excited by the piece, but least of all entr'acte music, because between the acts people like to refresh themselves. Also in regard to the preparation of it, such music will, as a rule, be treated with want of tenderness, and often arranged with but meagre strength of voices and band. The conductor's and manager's red pencil work away with extreme activity on that account, and often enough the music falls a victim to it, even in those Nos. which are spared, precisely at that point where, so to speak, the composer was warming to his work, and getting into train. In short, the greater part of such play music, if it be new, and not shielded by a celebrated name, plays a lamentable "Cinderella rôle," which lets the composer appear as a martyr to his thankless task in so far as that he must generally confine himself to holding the candle to the playwriter, and must continually let his fancy be cast down for fear of hindering the dramatic action with his music. On this account few composers but those of the long-suffering German race have undertaken such tasks. Amongst those authors who have written music to Goethe's "Faust" at any length Robert Schumann must unqualifiedly be named before all others, but he cannot be considered in connection with stage performances, because he treated isolated scenes for the concert hall as he chose, and with unrestricted freedom. The comprehensive music of Radziwill, too, is hardly intended for the stage; yet certain Nos. of it have made their way, and obtained for their author on this occasion a word of notice. Anton Heinrich, prince Radziwill, born 13th June, 1775, Stadtholder of the Grand Duchy of Posen, Knight of the Black Eagle, &c., was an ardent patron and furtherer of music, and through him many a distressed man of talent was brought into notice, and in the most friendly manner assisted by word and deed, Prince Radziwitz, who from his youth up had enjoyed the society and instruction of the most distinguished Berlin musical artists, was not only an ardent composer, but also possessed a beautiful tenor voice, and was a considerable amateur violoncello player. As an intimate friend of Zelter, and manager of the Berlin singing academy, he wrote for this latter his Faust music, to which he devoted the greater part of his life. This music made during 1830-40 no small sensation in Berlin, but one must not on that account be deceived as to its worth. Though much that was attractive was discovered in it, it is yet, on the whole, the work of a princely dilettante, though certainly of a clever man, and shows both in design and execution striking meagreness and weakness. In stage representations the Easter chorus "Christ has risen," one of the most spirited Nos., and the Soldier's chorus, were chiefly made use of. Further we must mention the Faust music of the court conductor of Stuttgart, Peter Joseph Lindpaintner, born 8th Dec., 1791, at Coblenz, a favorite director and song writer (e. g. "The Standard bearer,") in addition to many distinctions ennobled. Lindpaintner wrote 20 operas, music to many plays, masses and other church music, melodramas, ballads, concerti, &c. His invention is devoid of genius and unwieldly, conventional, prosy, but his music betrays everywhere the mature musician. Of his Faust music the overture and the entr'acte have chiefly made their way. Unquestionably higher and more akin to modern views on the other hand is Pierson's music to the second part, which on this account deserves higher and more willing estimation. Of talent thoroughly original, Pierson was singularly in advance of his age; his music frequently approaches near to the style of a Schumann, a Liszt, or Wagner, and that, at a time when Schumann's and ing, and when Liszt had written scarcely a note of Wagner's important creations were only just emerghis symphonic works. If Pierson was not dowered with the copious giftedness, the intense coining power of thought, or the sovereign boldness or power of such spirits to a like degree, the spiritual kinship to them remains, a most surprising one; and, indeed, his often striking, enchaining characteristic style, and the earnestness and nobility with which he handled his task merit much warmer recognition than fell to his lot, espec ially in his later years. Authorities like Robert "Symphonies and Overtures to be secured first; One of the most winning sketches is the introduction to the third act, and in like manner the female chorus following enchants us with its attractive mel. ody. Also the later march and chorus is a splendid piece, full of lustre and freshness. One of the most symmetrically worked out pieces is the intermezzo which follows, full of melody; but unquestionably one of the most brilliant Nos., is the lovely closing chorus" Sound immortal harp." In the fourth act The experiment was so successful that the num- make the financial success of the Concerts reasona- "Verdi Prati," from "Alcina," (Do.); *“Con rauco mormorio," from "Rodelinda," (Do.); Cangio d'aspetto," from "Admeto (Miss Fairman). Air from "Israel in Egypt: The enemy said (Nelson Varley); Tenor Airs from L'Allegro (G. L. Osgood). DURANTE:Magnificat, in D. for chor., soli and orch, 2. (first time under Mr. Kreissmann; second time by The Cecilia, under B. J. Lang.) THOMAS WEELKES: * Six-Part Madrigal: "When Thoralis delights to walk" (Cecilia.) GLUCK. TARTINI: Violin Sonata, "La Trille du Diable" Symphonies (Breitk. & H. ed.): No. 1, E flat, 2; MOZART. are prominently characteristic the introduction and guaranty for future concerts." (This reserved fund. | Symphonies: No. 1, in D, 3; No. 2, G minor. 2; the somewhat protracted battle music. The "Te Deum" is most original. In all probability the decline of the German empire at that period swept before the composer's vision, so characteristically do traces of splendor alternate with decay. The introduction to the fifth act is most telling from its delicately lofty design. The song of the warder if rendered with confidence and freshness, cannot fail to enchain through its judicious coloring, and just as striking is the piece of instrumental coloring at the entrance of "Want," "Guilt," and "Necessity." Among the following Nos., stands prominent the ideally glorified delineation of the angel-choirs; also the chorus of anchorites and the double chorus contain features of true worth. The final chorus, though it does not possess any very considerable verve, constitutes, when perfectly performed, with two slight curtailments, a worthy and noble ending. It is to be regretted that Pierson's music can hardly be done full justice to on the stage, partly because the composer commonly writes at such length that curtailments are unavoidable, and thereby much that is good has to be left out, partly because at times very considerable demands are made by him on the resources of the theatre, and one can seldom find a choir sufficiently strong to meet all his demands. On this account, as a rule, many brilliant choral Nos. must be omitted from the performance. Dwight's Journal of Music. BOSTON, MAY 1, 1875. One Hundred Symphony Concerts. The Harvard Musical Association has just completed its tenth Concert Season, having given in all one hundred classical orchestral concerts. The first course (1865-66) was an experiment; but it was well guarantied by the members of the Association among themselves, who with their families and friends composed the nucleus, and indeed by far the larger part, of an appreciative, fit audience. They intended "that this City shonld have one series of concerts every winter, which should be unexceptionable in tone, and which should take the field so well guarantied as to be independent, and have no motive for catering to any interest except the higher one of Art; "-" Concerts purely artistic in their motive, and as good in matter and in execution as the orchestral means of Boston would allow." It was thought "that one successful season on this plan would pave the way to a permanent organization of Orchestral Concerts, whose certain periodical recurrence, and high uncompromising character may be always counted on in future by the friends of good music in Boston." And so the announcement of the first experimental series, of six Symphony Concerts, contained the pledge of an orchestra of fifty instruments, as well as of pure programmes: more, steadily growing for eight years, has made good the hundred It is a good time now to look back and realize what an amount of noble music, for the most part of the very highest, these one hundred concerts have given us. Of the manner of performance, the orchestra, and several other aspects of the concerts we shall speak another time; our concern is now merely with the matter of one hundred programmes; which may be summed up as follows under the names of the several composers, indicating the number of times each work has been given (when more than once) by a figure after its title. To those which were given in Boston for the first time we prefix a star. J. S. BACH. Orchestral Suite in D (Overture, Aria and Gavotte) Organ works: Toccata in F, arranged for Orches- Violin: Chaconne in D minor, 3, (Carl Rosa 2, B. Arias: "Erbarme dich," Alto, from the Passion Bass: "Give me back my dearest Master," from HANDEL. * Concerto, for Oboe, in G minor (A Kutzleb.) Pianoforte: Concerto for two Pianos, in E flat, 2, Vocal Solos with Orch.-"Deh vieni," from . Fi- Non temer," with violin obligato, (Miss J. E. Houston.) *Song of the Harem Keeper from "The Seraglio" (P. H. Powers); "Non più andrai," from Figaro (F. J. Rudolphson); Tenor Aria: "Costanze!" from "The Seraglio" (G. L. Osgood); 'Non più di fiori," Tilo, 2, (Mrs. Kempton; Miss Ryan); Song: * Loin de toi" (Miss Anna S. Whitten); Song: "Quando miro" (Mrs. Barry); Aria from Zauberflöte: "Ah! lo so (Miss Whitten); * Conc. Aria, Bass: "Mentre ti lascio" (M. W. Whitney); *Conc. Aria, No. 6, "Ch'io mi scordi," with piano and orchestra, 2, (Mrs. Barry, Mme. Rudersdorff); * Conc. Aria, Tenor: "Mise10, o sogno, o son destro?" 2, (Nelson Varley); * Conc. Aria, Bass: “ Alcandro, lo confesso" (M. W. Whitney); * Aria from Tito: " Dch, per questo istante" (Miss Clara Doria); Tenor Aria from Don Giovanni: "Dalla sua pace" (Osgood.) BEETHOVEN. Piano with Orch.- First Concerto, in C, (B. J. Lang); second, in B flat, 2, (Lang); third, Cminor. 3, (Lang, Miss Alice Dutton, Parker); fourth, in G, 5, (H. Leonhard); fifth, in E flat, 6, (Otto Dresel, E. Perabo, 2, Miss Mehlig, Miss Krebs, Mme. Schiller); * Triple Concerto (piano, violin and 'cello), 3, (Lang, Perabo, 2); Choral Fantasia, piano (Perabo) chorus and orch. ; *Fantasia on Ruins of Athens," arr. by Liszt, piano (Miss Alide Topp) with orch. Piano Solo: Polonaise, op. 89, in C, (Miss Krebs); *Thirty-two Variations on Theme in C minor (J C. D. Parker). Ree, and Aria, with orch., from Fidelio: "Abscheulicher!" 2, (Miss Whitten, Mme. Johannsen); *Duet from Ruins of Athens; Sacred Songs to words by Gellert, op. 48, Nos. 4 and 6 (M. W. Whitney); Quartet from Fidelio; Song: "Adelaide,” 2, (C. Gloggner-Castelli, Nelson Varley.) -But we find we are in for a more formidable job than we anticipated. To save any room for other matter, we must stop here, and leave the completion of the list for another time. Chamber Concerts. toms of one danger more than another, it is that of MME. MADELINE SCHILLER gave a concert in the same hall on Tuesday afternoon, April 27, which was largely attended, and with every manifestation of deep interest. This lady, in the two years that she has resided here, has quietly and steadily won recognition as the equal, we had almost said the superior, of any of our pianists in the technical command of all the resources of the instrument, which she appears to wield with perfect ease and certainty; nor is this by any means her only claim to a place among the very foremost. There is noth 4. March and Chorus from "Tannhäuser." The "Walpurgis Night" was well done, the cho balanced. The crescendos and diminuendos were Mr. B. J. LANG gave the first of two Concerts, ating which she cannot execute with exquisite precis-rus manifesting precision of attack, generally good Mechanics' Hall, last Thursday afternoon (April 22), ion, with taste, with delicacy, and with sustained intonation, and being for the most part well which drew the large audience which his concerts power. Her readings are always careful, honest, always command; and it was a concert full of inter- herself before her music. That her understanding, and utterly without affectation; she does not place est. Mr. Lang was assisted by Miss ITA WELSH and her poetic insight, depth of nature is equal to fath Miss GRACE SAMPSON. The latter, a promising puoming the full depth of meaning and of passion in pil of his, a young lady of modest, prepossessing the profoundest works of Beethoven, we do not say; appearance, who seemed entirely intent upon her music, opened the Concert with her teacher; the how many have that power? Nor do we always two giving us a very finished and artistic rendering rather in her selections; if she only did, her confeel that she evinces the best judgment-or tact, of Mozart's Sonata in D for two pianofortes. We certs, we imagine, would be always crowded; for it is are not sure that it has been given here before; at all events it was as fresh as anything in the familiar indeed a rare, peculiar pleasure to hear her and to see her as she sits at the piano. Mozart style could be. It has three movements: a Her programme was as follows: spirited Allegro, starting with a bold and simple theme; an Andante, very melodious, rich in harmo ny, and tender in feeling; and a Finale (Allegro molto), which is exceedingly graceful, buoyant and lighthearted, keeping up its playful humor with exhaustless fancy, The whole work sparkles with fine thoughts, set off to advantage, and must have been quite a bravoura piece in its day. It is thoroughly genial; the only drawback is that the movements are all long. Miss Sampson's touch is nice, her execution clean and even, and her whole performance had not a little of the fineness as well as the vigor of her master's. Liszt's "Benediction of God in Solitude," from his "Harmonies Poétiques et Religieuses," was first played here by Mr. Lang a few years ago. The key to it is in these verses: D'où me vient, ô mon Dieu, cette paix qui m'inonde? The peace of a new life is surely a great theme; whether the Abbate felt it all within him we can hardly tell from this music. There is a certain depth of sentiment in the first half of it, serene, rich and full in harmony, as if in sympathy with all around; this is sustained to a good length and comes to a pause; when with a new and quicker rhythm memories of the storms of passion and of trials past seem to return; and finally the "new man" congratulates himself. For Liszt the sentiment is deep and earnest; but compare it with one of the later Sonatas of Beethoven! What promised nobly in the beginning seems to lose unity and to continue itself vaguely and unsatisfactorily for the mere sake of continuance, toward the end. It is very difficult, abounds in fine effects of sonority and light and shade; and Mr. Lang played it with remarkable delcacy and grasp of its full breadth.-His next selections were Chopin's Impromptu in F sharp minor, op. 36, and a strong, hearty, joyous Bourrée, in G, by Handel, both effectively and characteristically presented. Finally, the brilliant Concertstück in G, op. 92, by Schumann, which has been before twice played by him with orchestra. This time the orchestra was represented on a second piano, played by the pupil. It was well worth recalling and extremely interesting even so, and very admirably given. Miss Welsh evidently suffered from a cold, and sang with more exertion than when she won such favor in "Paradise and the Peri." This was most apparent in her first two pieces: Beethoven's In questa tomba oscura " (for which her voice seemed too light and child-like) and Schumann's "Er der Herrlichste von allen," or, as she sang it in English," The Noblest." In the two ballads: Sterndale Bennett's The Past," and Schumann's "A red, red rose," she was more successful. There her admirable distinctness of enunciation came well in play. If Miss Welsh, who is yet very young, shows symp Beethoven.-Sonata in A flat Major. Op. 110. That Beethoven Sonata is certainly one of the The Chopin Variations, on an air from one of Halévy's operas, are comparatively insignificant among his works, great command of technique, which in this case was not but full of brilliancy, variety and grace, and call for wanting. Nothing more exquisitely perfect, more faultlessly even and connected than her rapid runs and figurative passages of all forms, have we ever witnessed; and there is always delicate and tasteful shading. The Schubert Impromptu was made perhaps a little prolix by coaxing out its sentiment; the Reinecke Variations did not require that to make them both prolix and tedious. The Polonaise by Beethoven, played once in a Symphony Coucert by Miss Krebs, is brilliant. qut not much for Beethoven. The Schubert Valse was a most agreeable relief after the Variations upon Bach, and, being played superbly, Mr. PAINE'S Trio, (in the performance of which Mme. Schiller was assisted by Mr. C. N. ALLEN and Mr. WULF ceived with cordial applause. We will not attempt to give FRIES), we listened to with much interest, and it was rean impression of it without at least a second hearing. made an effective ending of the Concert. not, on the whole, as perfect as they might have been. It is to Mr. Wolfsohn's praise that the orchestra was made to play so softly as not to overpower the not strong solo voices. The solos themselves, although not undertaken by voices of exceptional compass and volume, were done in correct pitch (so far as I observed), distinct enunciation of the words, and intelligent conception of the music. The second part of the programme requires little comment except in regard to the first number, which in my opinion is unsuited to the use here made of it, although for anything I know to the contrary it may be useful practice for the singers. As this was my first acquaintance with this cantata of Mendelssohn's, I may perhaps be pardoned for expressing my sense of its light and genial character; but especially I am struck with the weakness of Mendelssohn's imagination as compared with that of Schumann, which immediately appears when we seek in it for individuality in the various parts. although these are by no means alike, they are very far from manifesting that "humoristic fancy" (as Brendel calls it) which is such a marked feature of all of Schumann's music. For Mr. Wolfsohn's Schumann recitals still continue. FIFTH. Novelletten. Op. 21, Nos. 3 and 4. Mr. C. T. Root. The songs in the fourth recital I do not just now recall. In both these Mr. Wolfsohn's playing has been better than I described it the other day. Especially was this true of the Carnaval and the Sonata, in both which his readings were intelligent and interesting, and I am happy to go on record as not so ultra refined in my taste as to be unable to derive pleasure from such music as this. of Schumann's, even though I might be able here and there to point to some slip in the execution, or some conception not entirely consonant with my notion. The Apollo Club gave a concert about ten days ago under the direction of Mr. Bergstein. The programme included part songs by Kücken, Mendelssohn, and one by the conductor himself, Mr. Carl Bergstein, which was well received. The solo performances were those of Mrs. Jones (soprano), and four pieces played on the pianoforte by Miss Julia Rive of Cincinnati. The Club had about fifty voices and sang in good tune and with taste, though, as will be seen they were not put to any very severe test. The most notable feature of this concert was the playing of Miss Rive. Her selections were varied in character and performed with a clearness and beauty of execution such as I have never seen surpassed, especially in the Tannhäuser March and second Hungari an Rhapsody. Whether this young lady is an artiste in the sense of being an authoritative exponent of such music as that of Schumann and Beethoven I do not know; but as a pianist at all events she must be accorded a place with the most accomplished. Mrs. Jones, a soprano here, received inasmuch as the singer was suffering from a very an imperative encore, which I confess surprised me, bad cold, in consequence of which she made a marked departure from true intonation on the very note which brought down the house. Verily the DER FREYSCHÜTZ. public "is curis." |