The High School Choir. CHAS. H. DITSON & CO. THE CHORUS CHOIR.

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WHOLE NO. 902.

Our Dead.

BOSTON, SATURDAY, NOV. 13, 1875.

[Read at the Annual Reunion of the Harvard Class of
'32, Oct. 27, 1875.]

One by one they leave us, classmates,
We shall meet them hr no more;
Less than half our number lingers,
More than half has gone before.

Some have gone in life's bright Spring-time,
Some ere Summer's days were told,
Some but yesterday have vanished

In the Autumn gray and cold.

Happy they who went so early

In the flush and joy of youth,

Ere the stain of earth had touched them,
Full of purity and truth.

Happy those who left us later,

In the strength of manhood's prime,
Mid the tumult of life's battle,

Ere they felt the hand of time.
Happy they who last have rested,
All their highest duty done;
Calm they sleep, the battle ended,
And the victory nobly won.
Happy all of us who cherish
Hope and courage to the end ;
Come our summons late or early,
Death itself is still our friend.

Carl Maria Von Weber.

BY F. WEBER.

[From the London Musical Times.]

VOL. XXXV. No. 16.

noble efforts to create a home for the musical wonder to us that the pretty, but eminently
drama at Dresden worthy of his country and of drawing-room-scented piece of Reissiger's,
his own daily growing fame. And already the bearing that title, sometimes more charitably
approaching fatal illness casts its gloomy shad- converted into " Weber's Last Waltz," should
ows upon his path in gradually shortening in- up to this day, in spite of periodical contradic-
tervals. Then, as the end draws near, we see tion, pass with the general public for the final
the master, the laurels of Freischütz and Eury-inspiration of the pen which had just written
anthe yet fresh upon his pale forehead, but Oberon, a work which, if somewhat fragmenta-
himself sick even unto death, tearing himself ry, is nevertheless full of poetic life, of youth-
away from all that is dearest to him upon earth. ful fire and enthusiasm. Besides this joyous
Animated only by the one great desire to spirit which we have traced in Weber's compo-
increase amply, as he hoped, the means of sub- sitions, two apparently antagonistic elements
sistence of those whom he knew he should soon are happily blended in our composer's artistic
have to leave to struggle on for themselves, he nature the aristocratic and the democratic.
arrives in England. One more disappointment, The former makes itself known in the air of
the bitterest of all, and the scene closes amidst refinement and cultivation of an elegant grace
unspeakable sadness. Far away from the home" chevaleresqueness" as a German critic
to which he was so passionately attached, his aptly calls it which pervades his music
hopes of material success crushed, his heart throughout, not unfrequently lending to even a
broken, the master lays down his weary head trivial thought a charm and an importance it
and dies. Sad indeed! Melancholy the thought does not otherwise possess. The latter con-
that the latter days of the great man-when his sists in his persistent and generous appeal to
genius had attained its full development, when the hearts of the people, in whose genius he
his inspired song had filled his native country believed, and whom he strove to raise to a
from one end to the other until it burst its higher appreciation of that art to whose service
boundaries, carrying his fame far and wide his life was devoted. It was, however, only in
-should also have been days of harassing toil, the latter period of his career, when he was
of increasing anxiety to provide for his family, ripening into mastership, that he clearly per-
of protracted bodily suffering ending in prem-ceived the democratic mission he had. The
ature death. Surely it is but natural if, with
these impressions on our mind, a glance at the
portrait of Carl Maria von Weber, as we single
it out from among those of other great compo-
sers, should raise in us, for a moment, the
thought that he was born to be a martyr to his

art.

Yet nothing could be farther from the truth. And even now, while thus contemplating the melancholy aspects of his career, we seem to When glancing over the many portraits of hear, as if in protest against the narrow view tone-poets with which modern photographic art we are taking of the artist's life, the joyous, has graced our drawing-room tables, and whose nay, exultant strains representing the leading life and artistic creations have become equally idea-the idea of purest love and devotion perfamiliar to us, we dwell with peculiar fascina- vading his three great operas; strains which he tion upon the features, delicate and thoughtful, has placed in the very centre of his overtures. yet highly intellectual, of Carl Maria von We- and which are so emphatically associated in ber. We begin to ponder over the career of our minds with Weber. Nor is it only in his the great composer with feelings on the whole operatic music that this gladsome spirit manifests itself. of sadness, presenting as it does the picture of Be it in his chamber music, his a vigorous and enthusiastic, but extremely senpianoforte pieces, or his simple songs, wherever sitive, artistic nature gradually being chilled, we point to a particular passage as being pecuat least to outward appearances, by the wear liarly characteristic of Weber, we may be sure and tear of professional struggles and disap- the passage is one expressive of joy of that pointments. We think of him, the youth (pre-elevating joy which lifts us at once from the senting all the forced appearance of a hot-house plant) who at the age of thirteen could already boast the authorship, and not unsuccessful performance in public, of a "grand romantic Opera." We follow the young musician in his noble and successful efforts to shake off, by virtue of the innate vigor of his individuality, the mischievous effects of a mistaken education inflicted upon him on the part of a fond, but also vain and unscrupulous father. Unfolding anon the brilliant demonstrative qualities of his versatile genius, we find the wandering virtuoso embracing life with all the glowing energy and large sympathies of the true artist, tasting fitfully alike the sweet and the bitter cup, and gathering the while the leaves to that sketchbook from which he should draw his masterpieces. But ere long the seriousness of life gains the upper hand, and as the hitherto undefined forms of his artistic ideal begin to shape themselves clearer and clearer before his eyes, his soul is filled with that more intense, if calmer fire, from whence the inspired work of art is derived. Then follow the years of yoke in an official capacity-the years of incessant strife with petty intrigues directed against his

prosaic cares of daily life into a purer sphere of
existence. And this joyous enthusiasm never
Witness his latest
forsakes him to the last.
work, Oberon. Remember the thrilling notes
of the overture; a work familiar to everyone,
even though the Opera to which it forms the
prologue has all but disappeared from the rép-
ertoire of our operatic establishments. Above
the tumultuous waves of contending tone-mass-
es rises higher and higher, with increasing
confidence, the theme suggestive of the heroic
love of a noble woman, bursting forth at last
with triumphant exultation:

restless fire within him, which shaped his course
in his earlier days, led him to seek new forms
and modes of musical expression among all
manner of nationalities in quaint rhythms and
modulations. Thus we have his Polaccas and
Ecossaises, his Sicilianas and Rondos Ongareses,
and even an Overtura Chineza. These, how-
ever, were but studies of costume, admirably
adapted indeed in the masterly music he wrote
to the melodrama Preciosa-not by any means
an
as we have repeatedly seen it
'Opera,"
Ere
styled-and to some extent in Oberon.
long his attention was attracted nearer home,
and became at last concentrated upon that mine
of wealth for poet as well as for musician-the
German Volkslied.

66

It was from thence he should derive his finest inspirations, and it is by no means a mere coincidence that the period of some four years, over which the composition of Der Freischütz extends, should also be marked by a number of Weber's most charmings songs, all leaning more or less to the simplicity of the Volkslied. Freischütz came, a work conceived

in the very spirit of the "song of the people" itself, and created an enthusiasm, an almost frantic excitement in all ranks of German society, of which it is impossible in this more critical and eminently business-like age to form an adequate idea. But although the excitement with regard to this, Weber's first great opera, has long since made room for calmer emotions, the popular voice still claims this evergreen work as peculiarly its own, while Euryanthe, undoubtedly his masterpiece, in which his powers appear exhibited to their fullest extent, in which all his artistic aims are concentrated, has failed to this day to win for itself that high place in popular estimation it so richly de

serves.

"My Huon, my husband, we're saved, we're saved!"
These three elements, then, viz., the refined
Who can detect the trembling hand of the suf- gracefulness, the spirit of popularity and withal
fering master in these strains? Yet they had the joyous enthusiasm, as they are among the
been wrung from his genius while death was
chief characteristics of Weber's music, so they
impatiently knocking at the door. And here, are equally illustrative of the whole character
if anywhere in the career of a great composer,
of the man.
And if-as has been maintained
the truth is proclaimed-that true art and true-among the many new phases of modern mu-
religion are twin-sisters, dependent for their sical development to which his genius has given
inspirations upon the same divine source from
which they sprang. This spirited orchestral
work, indeed, worthily represents our compo-
ser's "last thoughts;" and it is a matter of

the first impulse, he is also the originator of what is called "Programme Music;" so we may, in a wider sense, consider his whole life, a life of the highest and noblest aspiration, to

66

and his Euryanthe presented, in the tumultuous son's death ushered Neate into life. In his
demonstration of party spirit, more the appear- time flourished Sir Joshua Reynolds, Benjamin
ance of pitched battles, than of representations West, Sir Thomas Lawrence, Sir David Wilkie,
of productions belonging to a peaceful art, Northcote, Sir Francis Chantry, Canova, Thor-
intended for recreation and edification. Every-waldsen, Walter Scott, Byron, Shelley, Thomas
one understood, that with these works Weber Moore, Goethe. Schiller, Pitt, Fox, Sheridan,
indirectly aimed at the due recognition and Washington, Warren Hastings, Wellington,
firm establishment in his country of the national Napoleon, Mrs. Siddons, John Kemble, Ed-
German opera, i.e., of an Art-Work-to use a mund Kean, Spohr and Mendelssohn. What
Teutonic term of modern adoption-conceived, glorious contemporaries!
poetically and musically, in the German spirit. "Mr. Neate is the finest pianoforte player
Hence, at the very outset, he found arrayed and the most scientific and systematic instructor
against him in powerful league a number of in the kingdom, or perhaps in Europe." Thus
Italian composers of undoubted talent, occupy- writes, in 1818, one of the foremost musical
ing the most influential positions at Imperial critics of the day. In 1821 I find also written:
and Royal operatic establishments in Germany, We know not where to look for a professor
who, in the instinct of self-preservation, had of sounder ability, in various departments of
for years systematically kept down the native this art (music), than Mr. Neate." A record of
production. Those who are acquainted with the first performance by Mr. Neate of Beetho-
the life of Mozart, know the malicious envy, ven's E flat Concerto, "The Emperor," is in-
emanating from that quarter, which was so teresting. "At the fifth Philharmonic Concert,
busily at work in order to suppress the growing 1820, a concerto by Beethoven was performed
fame of his genius. Still Italian opera, no mat- for the first time in this country by Mr. Neate.
ter what its merits, remained the plaything of Beethoven wrote it expressly for himself; but
fashion, and thus the guidanceship of the taste his slovenly habits of execution were unequal
of the people was entrusted to men who-like to the task. The Tutti introduction is fine,
Salieri in Vienna, Morlacchi in Dresden, Spon- and the executive parts for the pianoforte are
tini in Berlin-during a long residence in their very various, very difficult, and, at times, very
adopted conntry, had not even thought it nec-effective, though frequently incongruous. Mr.
essary to acquire so much as the elementary
part of its language.

(To be Continued.)

The Oldest Living Musician.
[From CHARLES K. SALAMAN'S "Recollections," in the

London Concordia.

form the great "Programme or commentary
to his artistic creations; the study of the form-
er being indispensable to the perfect apprecia-
tion of the latter. If this would seem to be
applicable more or less to the works of any
other great artist, it is the case, at all events,
to an exceptional degree with those of Weber.
Indeed, in this all but inseparable connection
between the artist and the individual may be
partially traced the reason why he, who in
almost every department of his art produced
works full of creative power, yet attained in
but few of them that finish, that harmony of
the parts which make them rank as classical.
Whereas the great masters of the classical peri-
od, at the end of which Weber was placed, the
period marked by Haydn, Mozart and Beetho-
ven, stood, at least when at the height of their
imaginative powers above their creations, Weber
always stands in the midst of his own, throwing
into them the full weight of his individual
experiences in joy and sorrow. Thus upon all
his truly original compositions he impressed the
stamp and seal only of his fresh and vigorous
individuality, with which they must either
stand or fall, and at the end of each manuscript
he inscribed the words, "Wie Gott will;" obe-
dient rather to the voice within him, than to
the dictates of the "school." His genius
lacked the steady, symmetrical development,
which characterizes the career of the classical
masters above referred to. But that which,
from one point of view, must be considered his
weakness, was in truth Weber's great strength.
Surrounded as he was by a swarm of mere im-
itators of the style of Mozart on the one hand,
and of infatuated followers of the dolce far
niente creed of Rossini on the other, this distinct Charles Neate is probably the oldest living
and most marked individuality makes him musician in Europe. As such he has a special
stand out in bold relief from his contemporaries, claim to notice, irrespective of his former emi-
and could not fail to exercize the most enliven- nent professional status, and the many inter-
ing and refreshing influence upon the art of his esting musical associations attached to his name
time. Although some twenty-five years in the and epoch. He was born in 1784, the year of
grave, it was only in the second decade of the the great commemoration of Handel in West-
present century that the stupendous genius of minster Abbey. Mr. Neate is therefore now in
Mozart came to be universally acknowledged, his 92nd year. He may be regarded as the link
and produced a type of more or less talented which unites the musical past with the musical
musicians, to whom there was but one true art present. The mind is overwhelmed when
and Mozart was its sole exponent. The result reflecting upon the momentous occurrences
was a legion of compositions, operatic and which have rendered memorable the long period
otherwise, all bearing such a strong family of Mr. Neate's existence. This esteemed musi-
likeness, that it would puzzle the most learned cal professor, about sixteen years ago, sought
musical antiquarian of our days to detect any at Brighton a peaceful retirement, and the
distinct individuality in the majority of them. enjoyment of the otium cum dignitate which he
Rossini, on his part, had leapt into European had honorably earned. He has thus preserved
fame at a bound, and the sweet, effervescent his life, his health and good spirits, together
melodies of the Swan of Pesaro" had made with a tolerable amount of strength. I carry
sad havoc among the "nation of thinkers, my thoughts back to the year of Mr. Neate's
which-turning a deaf ear to the grave warnings | birth. What a throng of persons of transcend-
from the partakers in the Mozartian infallibili-ent genius in art, literature, science, govern-
ty-abandoned itself for a time, like the rest
of the world, to their intoxicating influence.
Midway between these two extreme parties
stands Weber, whose reverence for Mozart
amounted almost to religious veneration, and
whose dislike for anything connected, however
remotely, with Rossini-the Rossini as he knew
him, not in the latter phase, manifested in Tell,
which Weber never witnessed-might appear
exaggerated, but for his profound belief in the
sacredness of his art, and an inner conscious- In 1784 Gluck still lived, at the age of 72,
ness of being, in part, responsible to the Ger- and Piccini, his rival, at 56. Haydn was com-
man people for the inheritance of a great past. posing six orchestral symphonies for the Loge-
But he was not a blind worshipper of Mozart, Olympique, at Paris, at 52; while Mozart, at 28,
neither did his keen eye entirely overlook the was, by his compositions, still adding to his
merits of the volatile Italian maestro's numer- immortal fame. Cimarosa, one of Italy's
ous operas. He thoroughly understood his glories," was in his zenith, at 32, and Philip
time. With a mind enlarged by self-culture, Emanuel Bach, the originator of the modern
with a critical faculty developed to a degree forms of musical thought, yet lived, at 69.
hitherto unknown among practical musicians, Boccherini was 48, and Zingarelli 32. Clementi,
he felt himself en rapport with all the artistic at the same age, was in the full blaze of fame.
strivings of the period, and clearer than any Dussek was 24, and Viotti and Steibelt both 29.
composer had ever done before him, he recog- Albrechtsberger was a youth of 18, and the
nized the intimate relationship and inter-com future mighty Beetnoven was a wild, impetu-
munication which ought to exist between poetry ous lad of 14. Woelff was a student only 12
and music. He made a stand against Rossini years old, and Weber was not yet in existence.
ism and the Italian party in general, which was Paganini, Spohr, and Sir George Smart were
then still all powerful at the more important both born in the same year as Neate; but they
German courts where opera was cultivated, and have long since been “ gathered to their fath-
the first performances both of his Freischütz | ers. The year that marks Dr. Samuel John-

ment, diplomacy and war pass, in imagination,
before me! How events crowd around my
memory! As by an earthquake, how has the
world been shaken since that time! Ideas,
habits of thought, manners, customs: how have
they changed! What revolutions in states, in
governments! What volumes of history have
been enacted and written! And music
"Heavenly maid, "-her modern history only
dates from about the same period.

64

Neate played with remarkable brilliancy, and was greeted with never-ending applause." In 1823 is noticed the same gentleman's first performance of a MS. Concerto by Steibelt. "His ability," says the critic, "as a player of the first class needs no blazon by us; his eminent merits are known, admitted and established." Charles Neate, in conjunction with Salomon (Haydn's friend), Clementi, the two Cramers, Attwood, Bishop, Dance, Horsley, Griffin, Shield, Viotti, Sir George Smart, and other resident musicians of the highest rank, founded and established, in 1813, the Philharmonic Society. Mr. Neate was one of its most prominent members, one of its earliest directors, and one of the pianists most frequently heard at its concerts.

Neate was indebted to his friend James
Windsor for his introduction to music. He

gave him his first lessons on the pianoforte.
Mr. James Windsor afterwards settled at Bath,
then the most musical, as it was the most beau-
tiful city in England, and became an eminent
and esteemed professor of music; he was also
reputed to be one of the best read men in the
kingdom. Neate remained in London, and
practised the pianoforte assiduously; he subse-
quently received valuable tuition
on that
instrument from John Field-Clementi's gifted
pupil, one of the most accomplished pianists in
Europe-at the same time that he studied the
violoncello under Michael Sharpe. He acquired
remarkable proficiency on both instruments,
and as pianist and violoncellist soon had the
opportunity to exhibit his talents publicly. In
the former capacity, young Neate performed a
Concerto at the Lent Oratorios, then under the
management of Mr. Ashley-surnamed “Gen-
eral Ashley," one of four brothers of excellent
musical repute. He also played a Duet for two
violoncellos, with "Old Bob Lindley-the
finest player in the world,"-to adopt Mr.
Neate's designation of him. He once performed
in the orchestra at a concert held at the Argyll
Rooms, in Regent Street, at the same time with
the famous Dr. Crotch, who, among his numer-
ous accomplishments, was also a violoncellist.
Dr. Crotch was left-handed. Neate was seated
on the right side of the orchestra, according to
the old prevailing custom, using his bow with
his right hand, in the usual manner, while
Crotch was placed on the left side of the
orchestra, playing with his left hand. Magrath,
a popular Irish tenor, and wit of the time, ob-
serving this, remarked, much to the amusement
of those present:-" And sure but it must be
for uniformity's sake that they are playing in
this extraordinary fashion!"
Both these gen-
tlemen were my very noble and approv'd
good masters!"
In 1816 Charles Neate left England for Vien-

66

na, the home of Beethoven, and the then most
famous musical city in Germany. He went to
study counterpoint under Albrechtsberger, and
with the hope to make the personal acquaint-
ance of the illustrious Beethoven, to whom he
carried an introduction from his friend Mr.
Herring, a well-known English amateur violin-
Mr. Neate resided in Vienna for eight
ist.
months, during which time he was in constant
intercourse with the great master, whose
friendship and confidence he had the singular
good fortune to gain. He also lived in close
intimacy with all the musical celebrities who,
at that time, inhabited the Austrian capital.
Thus he greatly increased his musical knowl-
edge and experience, and added considerably
Beethoven,
to his professional reputation.
who was in frequent correspondence with the
Philharmonic Society of England on the subject
of his orchestral works, as they were succes-
sively produced, found in Neate, an influential
member of that body, a valuable friend and a
zealous agent. Many letters from Beethoven
to Neate, relating to the performance and pub-
lication of his works in England may be read
in the biographies of the great composer, by
Moscheles and other writers. On his return to
his native country, Mr. Neate's professional
position was, no doubt, greatly enhanced by
his long residence at Vienna, and by the repu-
tation of his personal relations with Beethoven.
He at once took high rank as a pianist and
teacher, and soon was in very extensive prac-
tice as an instructor to the nobility and gentry.
For this he was probably greatly indebted to his
high personal character as a gentleman and a
man of honor.

piano, violoncello, harp. and harmonium. Hardly
daring to hope that the representative at the piano
might be no less than the great Abbé himself, we
made for the nearest "Zukunfts" music-shop, and
found that the report was true! The matinée would
consist of Liszt's compositions-the maestro would
accompany his elegy-and, best of all, would be sure
isfy the cravings of his worshippers. Upon our
to play a solo at the end of the programme, to sat-
inquiring at Herr Blüthner's office, we were most
courteously presented by him with a ticket, and
armed with all the possible appliances for investiga-
ting the great man's face and technique at a distance,
we set out for the concert-room. A glance at the
programme sufficed to show that all our powers of
enduring cacophony (in the shape of choruses from
Prometheus) would be tested to the uttermost before
we heard a solo from the giant's fingers.

like most of the favorite opera-singers of France, educated at the Paris Conservatoire, where, a pupil of M. Auber, she carried off the premier prix for opera comique, the latter gaining for her, almost as a matter of course, an immediate engagement at the Salle Boieldieu. And it was in comic opera that, before her Euglish career commenced, Madame Roze-Perkins gained her chief laurels in her native land. She appeared, it is true, in 1869 as Marguer ite, at the Grand Opéra, and although she immediately followed Mesdames Nilsson, Hisson, and Miolan-Carvalho, who all sang the same part during the same year at the same theatre, the youthful Mdlle. Marie Roze succeeded in gaining the favor of one of the most cultured andiences in France.

་་

But

although Marguerite was always a favorite charac ter of Mdlle. Roze, and although in every shop window of every photographer might have been found The salle was filled with an assembly of about five a portrait of the beautiful Gretchen, distaff in hand, all shades of opinion were represented, from the opera, and at the Théâtre de l'Opéra Comique, that hundred of the most eminent musicians of Leipzig; sitting at the spinning wheel, it was only in comic famous theoretical Cantor of the Thomas-school, up to 1868, when she left the Salle Boieldieu to Richter, to the youthful and long-tressed fanatic of study the repertory of Grand Opera under the celethe Conservatorium. Precisely at eleven o'clock a brated Professor Wartel, that she appeared before silver head of hair and a well-known countenance musical audiences. Ten years ago, when Auber's above a cassock-girt figure moved majestically down "L'Ambassadride " was revived, opera-goers the room, and received with Cæsar-like condescen- remarked the artistic manner in which Mdlle. Roze sion the applause of the surrounding crowd. After rendered the thoroughly ungrateful rôle of La Comhaving stood long enough to allow all the opera- tesse. A year afterwards, when Méhul's " Joseph glasses a sufficient survey of his fine head, Liszt was revived, the pathetic duet of Mdlle. Roze with seated himself in the front row, and commenced Jacob created a furore. Her first creation was the encouraging with many a nod and smile the anxious part of Thérèse, in "Le Fils du Brigadier," but the chorus and soloists. The programme was a long character was calculated to do little more than disone, including the choruses from Prometheus, the play the artist's charms of face and figure and the 13th Psalm, the Kyrie from the Missa Solemnis, and attractions of her magnificent costume. However, a chorus of angels from Goethe's Faust, (Part II.), on the 15th February, 1868, when M. Auber's opera, all of which were most efficiently rendered by the Le premier jour de Bonheur," was produced at the Chorgesang-Verein, of about forty voices, under the Opéra Comique, Mdlle. Marie Roze was expressly direction of Dr. F. Stade. The only pieces, howev-chosen by the great composer to create the princier, which we found musically interesting were the pal female rôle. The artist then had her opportuI became Mr. Neate's pupil in 1826, and re- Psalm and the Chorus of Reapers, which Mr. Bache nity, and the now famous air of "Les Djinns" took ceived my first lesson on the 17th of August of produced at his concert in London last spring. The the whole capital fairly by storm. It was sung in that year; and my last on the 12th of April, remainder appeared to our uninitiated ears a mass aristocratic salons, and was played by military 1830. As a teacher, Mr. Neate was ever of fine, hideous, extravagant, poetical, masculine, bands to the nursemaids in the public gardens. patient, careful and zealous. His system of overdrawn, Italian, and ultra-Wagneresque phrases, 'Les Djinns" became the rage, and its fair interfingering was admirable. I may characterize strung together in the most perplexing confusion. preter one of the most popular personages of the it briefly by supposing him to have adopted, ic, were six in number, the most artistic rendering tion to make a name in grand opera, came her year The songs, which as a whole were more sympathet- French stage of comic opera. Then, fired by ambiwith some alteration, Lord Nelson's immortal being that of the "König in Thule," and "Die and a half's study under M. Wartel, her appearance signal, "Charles Neate expects that every fin- Vatergruft," by Herr Eugen Gura, one of the great- on the stage of the Grand Opéra, and, subsequently, ger shall do its duty." Neate's style of perform-est of German baritones. Of a fantasia and fugue just before the declaration of war, the production at ance was of the "Cramer school;" it was the Opéra Comique of M. Flotow's "L'Ombre," in remarkable for clearness and delicacy of touch, which Mdlle. Marie Roze created the part of Jeanne. for elegance and refinement, rather than for The war broke out, and Mdlle. Roze was, as one of impassioned expression. Neate, with his puthe most popular vocalists of Paris, chosen to sing pils, did not rush into Beethoven, but carefully the "Marseillaise" at the patriotic concerts at the prepared them to appreciate the great master's Opéra Comique. During the siege of Paris Mdlle. works by a previous training. He taught them Marie Roze refused to take advantage of the liberty Dussek, Steibelt, Woelf, Mozart, Clementi, accorded by the enemy to all women to leave the Cramer, and thus legitimately led them to beleagured city, and remained courageously at her post. During the blockade she gave several conBeethoven. Hummel, Moscheles, and the certs for the benefit of the sufferers by the war, she more fashionable writers of the day, Henri attended the sick and wounded, and generally perHerz and Czerny, were not forgotten. Mr. formed the part of a true and plucky Frenchwoman. Neate played to his pupils, and thus afforded The Commune came, and Paris was filled with them the inestimable advantage of hearing, wretches amongst whom were the vilest of the vile. when studying Beethoven's sonatas, how the Still Madame Roze did not flinch. When mengreat composer executed such and such a pascourageous, indeed, but less courageous than a wosage, and the time in which he played his man-fled the city in fear, the popular vocalist works. remained; and when, after the assault, the troops of M. Thiers and Marshal MacMahon once more entered Paris, there they found Mdlle. Marie Roze. For lady was presented with several medals, and by the these and kindred acts of courage and of charity the Government of France with a special diploma of thanks for distinguished bravery. But more grati fying than any outward mark of honor was the deep feeling of gratitude and of respect in the minds of the Parisians for the noble-hearted and patriotic lady, a feeling which not even a lengthened residence in a foreign land can eradicate.

As an impartial narrator, I cannot state that I ever considered Mr. Neate's compositions his best claim to recognition as a musician of high merit. He published many; but while giving indication of knowledge and experience in the art of "making music," they are noticeable for a deficiency of fancy, and the want of that almost indefinable quality which we term "genius," without which all compositions, artistic and literary, must prove dry, uninteresting, and consequently, unenduring.

CHARLES K. SALAMAN.

(on the name of Bach!) for two pianofortes, origi-
nally written, we believe, for the organ-of-the-future,
we forbear to speak. We invoked the shade of the
immortal Sebastian, when his name was libelled by
the inevitable breaking of two strings each by the
young and thrashing performers.

But at last sunlight broke through the fog to
which our intellect was reduced, as (in striking con-
tradistinction to his two would-be imitators) Franz
Liszt took his seat as a rock at the piano. In the
elegy he was assisted by Herr Grützmacher of Dres-
den as violoncellist, and with true artistic feeling,
which many modern pianists would do well to imi-
tate, set himself to give all prominence to his coad-
jutors. As the elegy ceased, a general cheering
throughout the room showed that the Abbé was not
to be let off so lightly, and compelled him to take
his seat again at the piano, this time alone, and begin
an extempore fantasia. After a few bars of prelude
he took the theme from Wagner's "Kaiser-marsch,"
and by degrees worked himself up into a storm of
and thunder-chords, until at last the hair fell over
runs, hail-like shakes, lightning-arpeggios,
the forehead, and as he tossed it back the figure at
the piano recalled the well-known inspired look of
the pictures of our youth! But to leave high-flown
language and return to commonplace; it was wor-
thy of remark that all Liszt's effects were produced
without resorting to a single "thump," or causing
us the least feeling of overstrained strength.

rain-like

At last to our great regret the last run and chord comes, the master rises from the piano as cool as he sat down, proceeds in the same regal fashion from the room to his carriage, graciously acknowledges the raised hats of the crowd, as he drives away; while we ret rn to pen these few lines, and wonder if the next fifty years will produce such another marvel as the Abbé Franz Liszt.

Leipzig, S ptember 12th, 1875.

S.

Franz Liszt in Leipzig. [Correspondence of the Musical Record, London]. A short account of a most interesting private concert here may, perhaps, be acceptable to your readers. On Sunday week last, in small characters in a remote corner of the Musikalisches Wochenblatt, Madame Marie Roze-Perkins. might have been seen a notice that Franz Liszt was [From the Saturday Programme, London.] about to visit Leipzig, and on Sunday, the 12th inst., at a private matinée, given in his honor by A French singer, and a popular artist on the Herr Blüthner (of pianoforte manufacturing celebri-operatic stage of Paris, it is very easy to guess the ty), would bring to a first hearing an elegy for early career of Madame Roze-Perkins.

She was,

It was by the merest chance that Mdlle. Marie Roze did not come to England to take part in the ill-fated Italian operatic venture of Mr. George Wood, at Drury Lane Theatre, in 1870. Mr. Wood went over to Paris to hear her, and offered her an engagement. But a delay arose, and in the interim M. Perrin pressed her to create the part of Jeanne, in M. Flotow's "L'Ombre," at the Paris Opéra Comique. The offer was accepted, the war broke out, and, after the cessation of hostilities, Mdlle. Roze sang in Belgium in Italian opera. Mr. Mapleson heard of her as an artist of high merit, engaged her, and in the early part of the season of 1872 Mdlle Marie Roze came to London and adopted the career of an Italian operatic vocalist. She sang in 'Faust," and in the course of the season (on the

credit.

memorable 20th of June, 1872), she created the part of Marcellina in the only performance of "Les Deux Journées" ever given in England. Cherubini's opera was called an "opéra comique,” but if any work is entitled to the name of grand opera it is Les Deux Journées." Madame Roze has subsequently created the part of Queen Berengaria in Balfe's "Il Talismano,' and in the capital and in the provinces has sustained a variety of rôles with every Madame Marie Roze-Perkins is so thoroughly well known in England that it seems somewhat superflu ous to speak of her artistic merits. Her voice, a high mezzo-soprano, is of good quality, while her vocalism, essentially of the French style, is of its sort admirable. She is an actress of more than ordinary intelligence and power, and although her forte is undoubtedly French comic opera, it is a curious fact, and one which redounds highly to her credit as an artist, that in the provinces she is invariably chosen to replace Madlle. Tietjens on those rare occasions when that gifted lady is unable, from indisposition or other causes, to appear before the public. We have known the time when, at the wish of Mr. Mapleson, Madame Roze has sat up all night to study, at three days' notice, the part of Leonora, in "Il Trovatore," a rôle with which she was previously entirely unacquainted. Madlle. Roze was appealed to to do her best to permit Mr. Mapleson to fulfil his engagements. She did so, and came off with flying colors, and Mr. Mapleson has not forgotten this and many other kind acts. Malle. Tietjens has been engaged for America this winter, and Madame Roze-Perkins is the artist chosen to fill her place as Ortrud, in "Lohengrin," and as Agata in "Der Freischütz," during the provincial tour.

In approaching that which was at once the brightest and the darkest spot in her life, it is necessary to speak in gentle terms. Madlle. Marie Roze had the good fortune to be married to a man whom she devotedly loved, a man of the most gentle nature, and one who had, young as he was, made for himself a name which has not been forgotten. A life of unalloyed happiness seemed to be open to the young couple. They passionately loved one another, their tastes were similar, his friends were her friends, their careers seemed indissolubly bound up together. Mr. Julius Perkins and Mdlle. Marie Roze were wedded soon after the conclusion of the season of 1874. Proud of his young wife, he took her across the water to introduce her to his family in America. There they sang together in oratorio, and after a few weeks returned to England, to take part in the provincial tour of the company of Her Majesty's Opera last winter. Mr. Julius Perkins was rising in his profession, not only steadily but rapidly. His delineation of some of the parts which he undertook during the last provincial tour was marked with intelligence of a very rare sort. Husband and wife daily acted together and sang together, and bade

fair to climb the ladder which leads to fortune and fame in each other's company. A few months after wards, and the cup of pleasant hope was dashed rudely to the ground. A slight cold, or something of the sort, brought on a mortal illness, and prematurely cut off a life which was indeed precious to the cause of opera in England. The bright hopes which the young couple had formed for the future were, for a time, dispelled, but with the resumption of her health and strength Madame Roze-Perkins returned to her duty. Keeping steadily onward in the path that Julius Perkins had marked out for her, Madame Marie Roze-Perkins has yet her allotted work to perform, for the Anglo Italian operatic stage could ill afford to lose so thoroughly useful an artist.

The Commerce of Music.

The only question can be as to which shall be adopted of several pianos, all as nearly perfect as they can now be made.

to any particular kind or degree of excellence to be
possessed by the pianos whose makers were to
compete; though it may fairly be assumed that a
manufacturer would not agree to pay down several It is already the custom with some of our most
thousand pounds for the advantage of having his prominent English vocalists to sing in virtue of a
instruments placed before the public under the best regular agreement certain songs, not at so much a
possible conditions, unless he were quite convinced night, but in consideration of receiving so much on
that they were distinguished by at least some points every copy sold. This is partly, though not entire-
of superiority. It seems, however, to have been freely, the explanation of the persistency with which
to any pianoforte maker to purchase the services of particular ballads, usually of simple and more or
the great Munich virtuoso. It soon became evident less striking kind, are presented at concerts again
that the real struggle would be between the firm of and again by particular singers, and by them alone.
Steinway and that of Chickering. Steinway, upon Every one may not be able to understand the process
whose pianos the illustrious Rubinstein had ham- of reasoning by which American amateurs, in spite
mered with such marked success, was determined of the Steinway-Rubinstein and Chickering-Buelow
that the equally famous Von Bülow should strike no bargains, arrive at the conclusion that the best
keyboard and snap no strings but those supplied by pianos must necessarily be those which are played
his firm. Chickering, on the other hand, was
upon by the best pianists; and it is surprising that
resolved not to be eclipsed by a rival hithertɔ fort- none of Chickering's unsuccessful rivals have yet
unate, but who, as he had conquered on a previous pointed out that Dr. Von Bülow could not be induced
occasion by the force of money, might now by the
to play on a Chickering piano for less than $20,000.
same potent agency be defeated. Steinway stood The system, however, of allowing royalties to sing.
on the defensive, and, in spite of a gallant resistance,
ers who engage to bring forward certain songs is
was soon made to feel that he would have to draw still but little known outside the musical profession;
heavily on his financial reserves to meet the vigor- nor can any one except the parties likely to keep
ous offensive movement directed by the gallant silence on the subject say positively which songs in
Chickering. At last, in face of 20,000 dollars brought a given programme are sung for the sake of a royal-
against him by his determined opponent, Steinway ty and which for their own supposed merit. Here,
succumbed. But though beaten at auction, he has however (much as in the case of the pianos), a sing-
since taken his revenge in the concert-room. The er in his own interest may be trusted to avoid songs
only hall in New York suitable for such performances which are not to his own and to the public taste.
as those which Dr. von Bülow proposes to give There is, of course, much more chance of his singing
belongs to Steinway, who naturally will not allow a
songs of inferior merit than there is of a pianist who
Chickering piano to be brought within its walls. has sold himself to a manufacturer playing upon a
Dr. von Buelow cannot play in the hall of Steinway second-rate piano; the merit of a piano being a
on the piano of Chickering, and it seems that a
matter almost of demonstration, whereas that of a
Chickering concert-hall is now to be built for the song, above a certain level not difficult to attain, is
sake of the Chickering piano, on which the great chiefly a matter of opinion. The singer, however,
artist, who will henceforth be known as Chickering's who, for the sake of his royalty, would endeavor to
pianist, is to play.
captivate the public by means of a trivial song
would do the same thing for the sake of applause.
To those who believe that all traffic is disgraceful in
connection with art the royalty system must indeed
appear shameful. But the fact is generally being
recognized that every thing which possesses artistic
value possesses commercial value. Or rather the far
broader principle is being acted upon, that every-
thing worth asking for is worth paying for. A lib-
eral music-publisher, to be able to offer a sufficiently
large sum to a popular composer for his new song,
must be able to get it sung in public by a popular
singer; and popular singers, not more dull in busi-
ness matters than other traders, have discovered
that, if they increase the pecuniary worth of a com-
position by exhibiting its beauties on every possible
occasion to an impressionable public, some portion
of what a political economist would call the "aug-
mented value" should come to them.

Twenty thousand dollars is a great deal of money, and we do not think that any pianist lives who for such a sum would not gladly forsake either Broadwood for Erard or Erard for Broadwood. The twenty thousand pieces of silver for which Steinway seems to have been betrayed did not pass directly into the possession of Dr. von Buelow. The contractor had agreed to pay him for his services a much larger sum; but the pecuniary value of a formal obligation to perform on the pianos of one particular maker had of course been taken into account. It had been estimated that Buelow's play. ing would bring him so much, and that his "promise to play" on instruments of a certain make to the exclusion of all others could be sold beforehand for so much more. Thus, instead of choosing his piano for himself, which would perhaps have been the more dignified course, Dr. von Buelow consented, as Mr. Rubinstein had done before him, to accept whatever piano might be assigned to him as the result of the highest bidding for the advantage of his patronage. We are bound to believe that while the struggle for his services was going on Dr. von Buelow maintained a strict attitude of neutrality. Like the woman who watched her husband fighting with the bear and placidly declared that she did not care which whipped," he probably reflected that Steinway was about as good as Chickering and Chickering not a bit worse than Steinway.

It will be interesting to see how long a time will elapse before the American custom of employing eminent pianists as live active advertisements of But bad habits are quickly acquired; and, though particular pianos will be introduced into Europe. at first sight there is something repulsive in the idea of a great artist agreeing for a consideration to exhibit at the same time his own talent and the merits, great or small, of an instrument for which notoriety is at any price to be secured, there is (From the "Pall Mall Gazette.") really no great harm in the system. It is simply a The Concordia gives an account of a spirited con- question of delicacy; and, when an artist is bent on test carried on between two eminent pianoforte- gaining money, considerations of delicacy disappear makers for the honor and profit of furnishing Dr. in presence of twenty thousand dollars. An artist von Bülow with instruments during his tour through who hires applause behaves meanly; an artist who the United States. Mr. Steinway, who is understood pays to have a rival hissed behaves infamously. to have contributed half of the very large sum paid There is nothing dishonorable, however, in a pianby way of salary to Mr. Rubinstein when the emi- ist saying that of several instruments that suit him nent Russian pianist was performing in the States about equally well he intends to play on the one on condition of his operating exclusively on Stein whose manufacturer will offer him the highest terms way pianos, would, it was thought, make similar for doing so. As an artist he lowers himself by terms in regard to Dr. von Bülow's engagement. making such a bargain, but the business transaction Mr. Ulmann, however, the well-known concert spec- to which he stoops, regarded in a business point of ulator and musical agent, who has taken Dr. von view, is by no means unfair. We may be quite sure Bülow for a certain period on lease, resolved that that neither the eminent pianist nor the intelligent the question of the instrument to be played upon impresario who speculates in his talent and popushould be decided by public competition. No stip-larity would think, wh tever terms might be offered, ulation seems to have been required beforehand as of accepting a second-r. te in lieu of a first-rate piano.

that the best singers are glad to have an opportuni-
Of course, a composer may be held in such esteem
ty of singing his songs without any question of
royalty being entertained; and if from the concert-
who, instead of charging for the task, agreeable or
room we descend to the music-hall, we find singers
otherwise, of singing a new song, pay for the privi-
lege of doing so. This, again, is quite in accordance
laborers apply for work to the same employer, wages
with the princi. les of political economy. When two
go down.
When two employers apply to the same
laborer for work to be done, wages go up. Now, in
the higher world of music, composers of merit would
seem to be greatly in excess of singers sufficiently
for any moderately good song: whereas in the low-
popular to be able to ensure a favorable reception
er musical spheres popular singers abound, while
songs suited to their sometimes not very lofty abili
ties are evidently rare. The concert vocalist is
indirectly paid (at least in many cases) by the com-
poser, on the sale of whose music he or she levies a
tax. The music-hall singer, however, directly or
indirectly pays the composer. The Era publishes
advertisements from song-writers who seem for the
most part, like Wagner, to combine the poet's with
the composer's art, and who offer to supply music-
hall singers with "words and music" on reasonable
terms. A case, too, has just been reported in which
a popular music-hall singer in the "serio-comic "
line sought to recover damages from the proprietor
of a music-hall who had allowed to be sung on his
premises a song in which the plaintiff claimed
exclusive rights. We are not concerned with the
result of the action; but the evidence was interest-
ing as showing that, far from being paid for the
songs they sing, music-hall singers sometimes pay
for the right of singing them. Opera-goers and
frequenters of the Monday Popular and Crystal
Palace Concerts have probably no sort of acquaint-