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The amphitheatre is the Olympus of the people. draws full houses, even when the roles in the great hostess thought she would do well to attempt It is always crammed. It is only to be reached by masterpieces are taken by debutants. The critic I to divert the mind of the composer from the falling in queue in the street an hour or so before have quoted does not, however, wholly despair of train of thought into which he had fallen. the perforinance begins. It is here that one may the opera. He says, “ the lyric drama cannot die, The theatre was only a few paces off from the listen to the divinest music, and witness the most and every indication of its present weakness is the house, and, as Antigone happened to be given ethereal of ballet dancing for the moderate sum of precursor of a change to vigorous life under other ' 'all-a-crown," or sixty-two cents. Here you will conditions. It may be that the immediate future
that evening, she fancied she would interest find clerks and cads of all sorts, small shopkeepers has something in reserve even for our own national Spontini by letting him see the plan adopted with wives and daughters, counterjumpers and com opera, more strange mutations having astonished by Semper, the architect, to give the stage the mercial travellers with sisters and sweethearts. Ithe world than that which would build the English
form and aspect of an ancient theatre. At first, verily believe that the amphitheatre is the happiest lyric stage on the ruins of its rival and erstwhile
he thanked her, pretending that he knew all portion of the three thonsand listeners to the works conqueror. At present English opera seems to be about it, and had done the same thing in his of the
maestri. To get a front seat in the amphithe no better than a valley of dry bones ; but doad fash: Olympie. At last, however, he yielded and atre requires work and patience; and a man enjoys | ions, have a wonderful habit of coming to life, and
went off with one of the company. But his aba thing more that he has worked for, especially if whatever is true in art, though it may lie dormant,
was not long, and he returned with a it is an amusement. When there is an encore, it cannot perish.” He admits that, considering music smile of contempt on his lips. He had, he said, starts in the stalls, and is echoed with tenfold vol- in its wider field, there is a marked advance all
seen more than enough to be completely edified. ume in the amphitheatre. In the intervals between along the line as regards the character of concert the acts—which at Covent Garden are frightfully programmes, and it is perfectly true that St. James's
His companion afterwards informed us that long-you see a curious sight in the corridors and Hall, Exeter Hall and the Hanover Square Rooms they had selected seats in the amphitheatre
which was nearly empty. ante-rooms. For once every shade of English soci. have in the past few years pushed the opera hard in
Scarcely had Sponety melts into the others. Princes eat ices cheek point of popularity.
tini heard the first few bars of the chorus to
Bow Bells. by jowl with haberdashers. You know not wheth
Bacchus, before he rose, saying aloud as he did er you are jostling a Duke or a draper. People
80: “C'est de la Berliner Sing-Academie; allonsmeet on a common grondd of sympathy for ice cream Richard Wagner's Reminiscences of nous-en!” and coffee cake. It is a reunion to which all the
Spontini. world is invited, and to which all the world goes.
Nevertheless, amid his high-flown notions,
we clearly perceived that the composer was alAs I sit among the eminently respectable in the
(Concluded from Vol. XXXIV, Page 401.)
lowing his mind to be invaded by a fixed idea, second tier. I look along the line of boxes, and up
D'autre part, étant avisé que, depuis that of stopping some time at Dresden, in order and down the wide balcony, and mentally contrast • La Vestale,' il n'a point été écrite une note qui to get up, one after the other, his principal the British physique and toilettes with the physique ne fût volée dans mes partitions” : : : . To prove
works. But, far from being taken by this idea, and toilettes I have so often studied in the Rue that this accusation of plagiarism, levelled Mad. Schröder-Devrient, guided by her liking Lepelletier and on the Boulevard des Italiens. Here is fatness, redness, gaudiness; there was
against his professional brethren, was not a for Spontini, thought it would be advisable to swarthiness, piquancy, litheness, and indefinable merely accidental phrase, but founded upon avoid a fresh performance of La Vestale wbile taste and grace. This seems destined to be a season facts scientifically corroborated, Spontini ap- he was still in Dresden. She foresaw that the for new operatic experiments. On Tuesday evening pealed to the testimony of his wife. This lady success would not come up to his expectations, the role of Matilda in “ William Tell” was taken by had had in her hands å voluminous essay writ- and that the second attempt would simply rea pleasant but by no means brilliant young artist, ten on the subject by one of the most illustri- sult in a second disappointment. She pretendMlle. Bianchi, who made her first appearance on ous members of the French Academy. In this ed, therefore, to be suffering from indisposithe boards of Covent Garden last year as the page essay, which, for personal reasons had not been tïon. As for me, I received from the manage. in. Un Ballo en Maschiera." Mlle. Zara Thalberg published, the author had proved conclusively, ment the passably disagreeable order to inform will make her first appearance on any stage on Sat we were informed, by the most irrefutable ar the composer that the next performance of his urday week, assuming the difficult part of Zerlina guments, that, without the prolongation of the opera was indefinitelp adjourned, as the suppo, in “Don Giovanni,” and thus having to contest the sixth invented by Spontini, and employed by sititious illness of the principal actress in it did palm with the memory of Patti, Kellogs, Piccolom- him in La Vestale, modern melody would not not permit us to hope that it could be speedily ini and Lucca in the same part. Herr Seidemann, & German basso of some reputation, will make his exist, and that consequently all new melodic repeated. This mission was so painful to me, debut on Monday as Bertramo in " Roberto Il Dia forms had simply been borrowed from his mu- | that I resolved our Musical Director should volo," and Senor De Sanctis appears for the first sic. These singular pretensions caused in me share the responsibility of it. Like myself, time on Saturday night as the Duke in “ Un Ballo.” a feeling of painful surprise, and I attempted Röckel had gained the composer's good graces, Mlle. Bianchi appears for the second time on Thurs to convert the composer to other sentiments. and, moreover, enjoyed the advantage of exday as Inez in “ L'Africaine.” M. Maurel has taken, Admitting with him that the state of things pressing himself in French with more facitity as far as he can, the place of the great Faure, and was really such as his Academical apologist as than I could. It was in trembling that we went though he does unquestionably well, he is far from serted, I ventured to enquire whether he would to Spontini's lodgings. We guessed too easily the equal of the famous French basso.
rot feel capable of discovering new musical beforehand the disagreeable reception which forms, supposing anyone submitted to him a
awaited us. What was our surprise on seeing 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: “ The present condition of the lyrical drama in composé un sujet Romain ; dans Fernand Cor- Paris, whence he expected to proceed immediEngland may fairly be set down as deplorable
. tez, un sujet Espagnol-Mexicain; dans Olympie, ately to Rome. In the latter capital, the boly Italian opera has always, it is true, been like an ex
un sujet Gréco-Macédonien; enfin, dans Agnès Father, who had just conferred on him the title otic among us, supported by artificial means, and de Hohenstaufen, un sujet Allemand'; tout le reste of Count de St. André, was awaiting his arrihaving no locus standi except as a fashionable amuse
ne vaut rien.” He hoped, however, that, when val. At the same time he showed us a second ment Yet we doubt whether at its lowest ebb it speaking about a piece of new tendencies, I 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 core 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 mobility. The dence that the public cherished a love for music as well as admiration for its professors. We have ble of measuring his strength with him? He satisfaction and the joy caused him by the news
vented themselves in transports of child-like changed all that, and the alteration is not for the treated the Italians purely and simply as better. If anybody doubt, let rim study the histo
“cochons” (“ pigs "); the French confined rapture. The touch of an enchanter's wand ry of the few past operatic seasons and observe how themselves to imitating the Italians; and the had suddenly transported him from out the little has been done actually on behalf of music, and Germans could not tear themselves loose from narrow circle of the labors accomplished in the
With the calmness and sehow completely personal considerations have pre- their puerile reveries. They had, it is true, Dresden Theatre. vailed." There is some truth in this; yet I think given some grounds for hope, but it was not renity of a man supremely happy, he looked at it exaggerates the situation. The managers still re- long before they had compromised themselves us from the height of bis glory, and cast upon sist the temptation to turn aside from the great utterly by their dealings with the Jews.
"Oh! us a glance of mild compassion. It may easily masterpieces, and reject them for sensational works. croyez-moi ”—be exclaimed— * il y avait de be supposed that Röckel and myself were proOpera has certainly not sunk so low as the drama in l'espoir pour l'Allemagne, lorsque j'étais em fuse in our benedictions on the Pope and the England. Mozart and Rossini are to lyrical music pereur de la musique à Berlin; mais depuis que King of Denmark. Satisfied with the happy. what Shakespeare and Sheridan are to the theatre; le Roi de Prusse a livré sa musique au désordre, conclusion of our mission, we bade Spontini realistic plays and Boucicault sensations, the public par les deux juifs errants qu'il a attirés, tout farewell, but we did not separate from him
To put the finishing touch still insist that “ Don Giovanni,” “The Marriage of espoir est perdu.”* At this point our amiable without emotion. Figaro," William Tell” and “ The Huguenots
to the joy of this extraordinary man, I promised should be kept on the boards to the exclusion of aering Jews to whom Spuntini referred were Meyerbeer
* It is scarcely necessary to remark that the two Wan. him that I would maturely weigh his advice, Lohengrin” and the later school. Covent Garden and Mendelssohn.
and think, at my leisure, over the reasons h:
OPERA IN ENGLAND
THE SOFT-PEDAL SENTIMEYT.
had adduced to turn me from the career of a were all the time resounding. It was only by the by an empty, stiff, weak touch, relying npon the dramatic composer.
aid of the concert programme that my tortured ears pedal for weight. We will escape into the next This was the last time I saw him. A few could arrive at the conclusion that this confusion of street. Oh, horrors ! what a thundering on this years later, I was informed of his death by a tones was meant to represent two pieces by Döhler piano, which, by the way, is sadly out of Inne ! letter from Berlioz, who assisted him in his and Thalberg.
It is a grand—that is, a long, heavy-étude, with last moments, and remained faithfully at his pedal which raises the dampers on
Cruel fate that invented the pedal! I mean the the most involved passages, and a peculiar style
he piano. bedside when he was dying. Berlioz told me
composition, probably with the title “ On the that, on the approach of death, Spontini strug- Stand acquisition, indeed, for modern tiines! Good Ocean," or " In Hades," or " Fancies of the Insane;"
Our piano performers must have lost pounded off with the pedal raised through the most gled long, and endeavored to hold fast the life their sense of hearing ! 'What is all this growling marvellous changes of harmonies. Finally, the which he felt was escaping from him.
and buzzing? Alas, it is only the groaning of the strings snap, the pedal creaks and moans; concluveux pas mourir;" he exclaimed, “Je ne veux wretched piano-forte, upon which one of the modsion, c sharp, d, d sharp resound together pas mourir!" In one of these moments of an ern virtuosos, with a benvy beard and long hang. through a few exhausted bars, and at last die away guish, Berlioz, thinking to console him, said: ing locks, whose hearing has deserted him, is blus in the warm, soft, delicious air. Universal applause
Comment pouvez-vous penser à mourir, tering away on a bravoura piece, with the pedal from the open windows! But who is the frantic vous, mon maître, qui êtes immortel!” “Ne incessantly raised, - with inward satisfaction and musician who is venting his rage on this piano ? faites pas d'esprit!”—replied the old man, in a
vain self-assertion! Truly time brings into use a It is a Parisian or other travelling composer, lately tone of irritation.
great deal that is far from beautiful : does, then, arrived with letters of recommendation, who lias The fatal news reached me at Zurich, where this raging piano revolutionist think it beautiful to just been giving a little rehearsal of what we may I then resided, * and affected me profoundly, bring the pedal into use at every bar ? Unhappy expect to hear shortly in a concert at the “ Hôtel de
Schmerz." despite the singular reminiscences which had
But enough of this serious jesting. Hummel been left by our interview at Dresden. I wrote
never used the pedal. He was an extremist; and, You exclaim: “ What is that? an article for a local paper, directing attention in his graceful, clear, elegant, neat, thongh not
- a sentiment in it to the loss which music had sustained. I grand playing, often lost five effects, which would times! most of all, a musical sentiment! I have
for the soft pedal ! a sentiment of any kind in our insisted principally upon one point, namely, have been produced by the correct and judicions not heard of such a thing in a concert-room for a that Spontini, pursuing an opposite course to use of the pedal; particularly on the instruments long time!” that followed by Meyerbeer and Rossini, was of Stein, Brodmann, Conrad Graff, and others then
When the foot-piece to the left on the piano is always distinguished for the deep faith he had in use, which were usually, lightly leathered, and pressed down, the key-board is thereby moved to in his art and in his own genius." This faith in had a thin, sharp tone. The use of the pedal, of the right; so that, in playing, the hammers strike himself degenerated, it is true, during his later
course always allowing it to fall frequently with only two of the three strings, in some pianos only years, into absolute idolatry-into a singular precision, was especially desirable in the upper one.
In that way the tone is made weaker, thinner, superstition. I had seen a striking example of treble, in cases where the changes of the harmony but more singing and more tender. What follows this weakness, but I did not then allow myself struments, although sweet and ay reeable, had not madness, play a grand bravoura piece, excite them
were not very frequent; for the tone of those in from this? Many performers, seized with a piano to dwell upon it.
much depth, and the action had but little strength selves fearfully, clatter up and down through seven Imjaediately after Spontini's departure, my and elasticity. But on our instruments, frequently octaves of runs, with the pedal constantly raised, – occupations in the Dresden Theatre did not
too softly leathered, which have a full tone, and are leave me leisure to reflect on the strange im
bang away, put the best piano out of tune in the so strong and penetrating, especially in the bass, it first twenty bars,—snap the strings, knock the ham. pressions I had received; and I do not recol- is enough to endanger one's sense of hearing to be
mers off their bearings, perspire, stroke the hair out ject feeling the want of the slightest effort to subjected to such a senseless, incessant, ridiculous, of their eyes, ogle the audience, and make love to make them agree with the high esteem which deafening use of the pedal ; frequently, moreover, themselves. Suddenly they are seized with a senI professed for the author of La Vestale, and combined with a hard, stiff touch, and an unsound, timent! They come to a piano or pianissimo, and, which I felt growing stronger in me every day. incorrect technique. A musical interpretation in
no longer content with one pedal, they take the soft It is very evident that I had become acquainted any degree tolerable is out of the question. You pedal while the loud pedal is still resounding. Oh, with only the caricature of the illustrious com
cannot call that art, it cannot even be called manual what languishing ! what soft murmuring, and what
labor: it is a freak of insanity! poser. The exaggerated outbursts of his amour
a sweet tinkling of bells! what tenderness of feelpropre, however, enabled us to judge what he A few words to the better sort of players. The ing! what a soft-pedal sentiment! The ladies fall had been in the days of his strength and youth. foot-piece to the right on the piano-forte raises the into tears, enraptured by the pale, long-haired young When I saw him his judgment was weakened, and sing, and takes from them the dryness, shortdampers, and in that way makes the tones resound artist.
I describe here the period of piano mania, which and his mind, so to speak, had lapsed into sec.
ness, and want of fulness, which is always the has just passed its crisis; a period which it is necond childhood. This appeared only too clear- objection to the piano-forto, especially to those of essary to have lived through, in order to believe in ly from the passionate energy with which he the earlier construction. This is certainly an ad the possibility of such follies. When, in the beginlaid claim to certain pretended discoveries of vantage; the more the tone of the piano-forte re- ning of this century, the piano attained such conno importance, while he was silent upon his sembles singing, the more beautiful it is. But, in spicuous excellence and increased power, greater real merits. But all this could no alter my order not to injure the distinctness and detract technical skill could not fail to be called out; but, admiration for his works, nor diminish their from the clear phrasing of the performance, a very after a few years, this degenerated into a heartless great value.
Shall I state frankly the truth ? skilful and prudent use of the pedal is necessary in and worthless dexterity of the fingers, which was I felt inclined to excuse his unbounded vanity rapid changes of harmony, particularly in the mid- carried to the point of absurdity and resulted in inand his unbridled pride, when I reflected that dle and lower portion of the instrument.
tellectual death. Instead of aiming to acquire, they were inspired by the comparison he drew
You all use the pedal too much and too often, before all things, a beautiful, full tone on these richbetween his own value and that of his succes- especially on large, fine concert pianos of the new sounding instruments, which admit of so much and When remarking the contempt he mani- construction, which, with their heavy stringing, such delicate shading, essential to true excellence
of performance, the object was only to increase fested for those who then swayed the musical have in themselves a fuller, more vibrating tone;
at least you do not let it fall frequently enough, mechanical facility, and to cultivate almost exclusceptre, I felt that, in the depths of my soul, and with precision. You inust listen to what you sively an immoderately powerful and unnatural my thoughts and his met; and I instinctively are playing. You do not play for yourselves alone ; touch, and to improve the fingering in order to perceived that my opinions and his agreed more frequently you play to hearers who are listening make possible the execution of passages, roulades, closely than I should then have dared to con for the first time to the pieces you are performing: finger-gymnastics, and stretches, which no one be. fess. The result was that, notwithstanding Try a few passages without pedal,—for instance, fore had imagined or considered necessary. From the ridiculous side of his visit to Dresden, I those in which the changes of the harmony succeed this period dates the introductiou of virtuoso per. felt invaded, despite myself, and with a sort of each other rapidly, even in the highest treble, formances with their glittering tawdriness, without terror, by profound sympathy for this strange and see what repose, what serene enjoyment, what snbstance and withont music, and of the frightful I have never seen any one like him.
refreshment is afforded, what delicate shading is eccentricities in art, accompanied by immeasurable RICHARD WAGNER.
brought out. Or at first listen, and try to feel it in vanity and self-conceit,—the age of " finger-beroes."
the playing of others; for your habit is so deeply It is indeed a melancholy reflection, for all who re*The reader may remember that, after the events of rooted that you no longer know when and how tain their senses, that this charlatanry is made the 1849, Richard Wagner was coinpelled to flee to Switzerland. (Note by M. Victor Wilder.)
often you use the pedal. Chopin, that highly gift. solitary aim of numberless ignoble performers, suz fi must here remind the reader that it is merely Rossi-ed, elegant, sensitive composer and performer, may tained by the applause of teachers and composers ni and Meyerbeer to whom reference is here made. (Note serve as a model for you here. His widely dispersd, equally base. It is sad to see how, engaged in artiby M. Victor Wilder.)
artistic harmonies, with the boldest and most strikficial formalisms and in erroneous mechanical stoad
ing suspensions, for which the fundamental bass is ies, players have forgotten the study of tone and of An Old Master on the Use of the Pedal* essential, certainly require the frequent use of the correct delivery, and that few teachers seek to im
pedal for fine harmonic effect. But, if you examine prove either themselves or their pupils therein.
and observe the minute, critical directions in his Otherwise they would see and understand that, on I have just returned exhausted and annihilated compositions, you can obtain from him complete a good piano, such as are now to be found almost from a concert, where I have been hearing the pi. instruction for the nice and correct use of the everywhere, it is possible with correct playing, ano pounded, Two grand bravoura movements | pedal.
founded on a right method, to play, without exterhave been thundered off, with the pedal continually By way of episode to my sorrowful lecture on nal aids, forte, fortissimo, piano, pianissimo,-in a raised; and then were snddenly succeeded by a soft the pedal, we will take a walk through the streets word, with every degree of shading, and with at murmuring passage, during which the thirteen con some beautiful evening. What is it that we hear least formal expression; and that this style of play. vulsed and quivering bass potes of the fortissimo in almost every house ? Unquestionably it is ing, with the requisite mechanical skill, sounds far
piano-playing; but what playing! It is generally more pure, and is more satisfactory than when a * From Advanced Sheets of “ Piano and Song: How to nothing but a continual confusion of different feeling is affected through the crade, unskilful, and of FRIEDRICH WIECK, by MARY P. NICHOLS. Boston: chords, without close, without pause; slovenly absurd use of the pedal, especially of the soft pedal Noyes, Holmes & Co.
passages, screened by the raised pedal ; varied of which we are now speaking. This affectation
ON THE PEDAL.
only gives one more proof of our unhealthy, stupid, impressive aids to the proper rendering of this with the music of Prince Radziwill an 1 Lindpainter, and unmusical infancy in piano performances. A church music, than King's chapel. Invested with the second with that of Pierson. good-natured public, drummed up and brought to the blessing of two creeds, one cannot sit within Among the most thankless tasks in the way of gether by patient persuasion and by urgent recom- its honored walls and not feel something of the in composition must unquestionably be reckoned mumendations, of which virtuosos can obtain an abun Auence that its age bestows. There is nothing of sic to plays. The public concentrates its attention dance (for the tormented cities which they have the blazonry of modern churches inside this edi- fully upon the subject and representation of the visited cannot otherwise get rid of them), attend fice; the pews are not narrow and uncomfortable, piece. Music however draws off the attention or these concerts and listen to dozens of such inexperi- the pulpit looms up as a relic, the organ is old and interrupts the action of the play; at best, a pretty enced piano-players. One plays exactly like another, sweet.
march or dance finds favor, or some of those movewith more or less faulty mechanical execution; and A series of sermons on church music, from the ments which respond to the frame of mind excited none of them are able, with all their thumping and earliest times to the present, illustrated by the by the piece, but least of all entr'acte music, because caressing of the keys, to bring out from the instru- music itself, was given during last December. The between the acts people like to refresh themselves. ment a broad, healthy, full, and beautiful tone, Rev. Mr. Foote, the pastor, delivered a sermon Also in regard to the preparation of it, such music delicately shaded and distinct even to the softest pp. touching on the circumstances and surroundings will, as a rule, be treated with want of tenderness, But, instead of this, they fall into a pedal sentiment; of the royal Psalmist, King David, and the spirit and often arranged with but meagre strength of i.e., they play with outside pretension, and with in- of his psalms. The choir sang in illustration sev. voices and band. The conductor's and manager's trinsic emptiness.
eral of the representative hymns from the Old Tes. red pencil work away with extreme activity on that You unworthy performers, who have so disgusted tament, and also a few from the New. The music account, and often enough the music falls a victim the artistic public with piano-playing that they will at this service was not confined to any particular to it, even in those Nos. which are spared, precisely Do longer listen to fine, intelligent, sensible artists, periods, but was selected with a view faithfully to at that point where, so to speak, the composer was whose dignity does not permit them to force them. represent the spirit of the hymn. This service was, warming to his work, and getting into train. In selves into the concert-ball, or to drag people into however, more of an introduction, and the next came short, the greater part of such play music, if it be it from the streets ! you base mortals, who have ex nearer to the idea of illustrations of the church mu new, and not shielded by a celebrated name, plays a posed this beautiful art to shame! I implore you sic of the past. The first hymn, translated from the lamentable “ Cinderella rôle,” which lets the compolo abandon the concert platform, your battle-field l old Latin by Mrs. Charles, “ Christe, qui lux es,” ser appear as a martyr to his thankless task in so Hack at the piano no longer! Find positions on a was written during the seventh century; the melo- far as that he must generally confine himself to holdrailroad or in a factory. There you may perhaps dy was taken from the music of the eighth. The ing the candle to the playwriter, and must continumake yourselves useful; while by the lessons you "Te Deum” sung on the occasion is ascribed by ally let his fancy be cast down for fear of hindering give (for it usually comes to that, after you have tradition to Ambrosius, archbishop of Milan, A. D. the dramatic action with his music. On this actravelled all over the world) you will only ruin our 380. The melody is supposed to be the oldest known. count few composers but those of the long-suffering young people, now growing up with promising tal. It was adapted to the version in use in King's chap- | German race have undertaken such tasks. ent for piano-playing, and will produce successors el by the organist, Mr. J. W. Tufts. In his adapta Amongst those authors who have written music like yourselves, but not artists.
tion, of course, modern harmony was supplied, yet to Goethe's "Faust” at any length Robert Schumann I must whisper one thing more in your ear. I keeping as near to the theme as possible, and never must unqualifiedly be named before all others, but will say nothing about simple truthfulness, about overburdening it so as to lose sight of it. Naturally he cannot be considered in connection with stage tenderness and sincerity of feeling, or wholesome the melody was very peculiar, and in every in- | performances, because he treated isolated scenes for refinement, about poetry, inspiration, or truly im- stance the prolonged cadence was retained. A the concert hall as he chose, and with unrestricted passioned playing. But, if your ears are not already Veni Creator Spiritus," credited to Gregory the freedom. The comprehensive music of Radziwill, too much blunted, you should be able to discover, Great, about A. D. 600, the melody ascribed to too, is hardly intended for the stage; yet certain at least in a very few minutes, on any instrument, Charlemagne, A. D. 742–814, or Charles the Fat, A. Nos. of it have made their way, and obtained for unless it is of the worst sort, or has already been D. 884-887, was sung in the place of the Magnificat. their author on this occasion a word of notice. battered to pieces by you, how far you can carry Then followed the “ Crusaders' Hymn,” beginning Anton Heinrich, prince Radziwill, born 13th June, the pianissimo and fortissimo, and still “Fairest Lord Jesus,” which is more familiar than
1776, Stadtholder of the Grand Duchy of Posen, tone within the limits of beauty and simplicity. the other selections. The translation was by w
Knight of the Black Eagle, &c., was an ardent patYou will thus be able to interpret a piece with at lis. At the close was given a “ Da Nobis Pacem”. ron and furtherer of music, and through him many least superficial correctness, without mortally set to music, written close after Gregory's time. a distressed man of talent was brought into notice, wounding a cultivated ear by exaggerations and The entire illustrations were rendered by a double
and in the most friendly manner assisted by word by maltreatment of the instrument and its two quartet under the direction of Mr. Tufts in a way and deed, Prince Radziwitz, who from his youth up pedals.
well worthy of the immortal music, and the sermon had enjoyed the society and instruction of the most This style of playing has nevertheless found its was most instructively interesting. The third of distinguished Berlin musical artists, was not only numerous defenders and admirers in our century, the most marked services was given on last Sun an ardent composer, but also possessed a beautiful which has made every thing possible. This sense day, and the music was also from the magnificent tenor voice, and was a considerable amateur violonless enslavement and abuse of the piano has been German chorales. With the exception of the last, cello player. As an intimate friend of Zelter, and said to be "all the rage;" a fine expression of our they were all sung without accompaniment, the or
manager of the Berlin singing academy, he wrote piano critics to justify insane stamping and soft-pedal ganist merely playing as a prelude four measures of for this latter his Faust music, to which he devoted sentimentality:
the choral music. They all belonged to the magnifi
. the greater part of his life. This music made durHow far what I have here said relates to our cent collection of figured chorales, and included the ing 1830-40 no small sensation in Berlin, but one modern errors in singing, and how far it may be following: “O) Haupt voll Blut und Wunden,"— must not on that account be deceived as to its worth. applied to them, I leave to the intelligence of my O sacred Head, now wounded," words by Ger- Though much that was attractive was discovered in readers and to my explanations in subsequent chap- hardt, 1607-76, melody by Schrin, (?) 1621, harmon- | it, it is yet, on the whole, the work of a princely tere,
ized by Bach; "Wer nur den lieben Gott," — dilettante, though certainly of a clever man, and To return to my theme: I have still one word on Leave God to order all thy ways," melody by shows both in design and execution striking meagre. this subject for rational players. Even they use Gastorius, 1675, harmonized by Bach ; "In allen
ness and weakness. In stage representations the the soft pedal too much and too often, and at un meinen Staten," “ Wher'eer I go, what'eer my Easter chorus “ Christ has risen," one of the most suitable places; for instance, in the midst of a piece, task,” by Fleming, 1631 ; Alles ist an Gottes spirited Nos., and the Soldier's chorus, were chiefly without any preparatory pause ; in melodies which Segen,” “ All things hang on our possessing," au. made use of. require to be lightly executed; or in rapid passages thor unknown, from the Nuremberg hymn book, Further we must mention the Faust music of the which are to be played piano. This is especially to 1676 ; and “ Ein feste Burg ist unser Gott.”—“ A court conductor of Stuttgart, Peter Joseph Lindbe noticed with players who are obliged to use in mighty fortress is our God,” Luther, 1483–1546, | paintner, born 8th Dec., 1791, at Coblenz, a struments of a powerful tone and stiff, heavy action, melody by Luther, harmonized by Bach and trans
favorite director and song writer (e. g. “The Stanon which it is difficult to insure a delicate shading la:ed by the Rev. F. H. Fledge, D. D. In the ren dard bearer,”) in addition to many distinctions enin piano and forte. For this reason, a sensible and dition of these the regular choir of the church were nobled. Lindpaintner wrute 20 operas, music to experienced teacher, whose sole aim is the true and unassisted.
many plays, 6 masses and other church music, mel. the beautiful, should make the attainment of an Another illustrative service will be given tomor- odramas, ballads, concerti, &c. His invention is elastic touch and well-grounded style of playing an row afternoon, when a specially interesting pro devoid of genius and unwieldly, conventional, prosy, indispensable requirement. I prefer that the
soft gramme will be rendered. It will include a "Gloria but his music betrays everywhere the mature musipedal should be used but seldom, and, if the pedal in Excelsis ” and an “ Adoramus Te” by Palestrina, cian. Of his Faust music the overture and the which raises the dampers is used at the same time, an “ Ave Verum" by Mozart, and five selections entr'acte have chiefly made their way. it must be only with the greatest nicety. The soft from Mozart's Requiem illustrating the “ Dies Ire.” pedal may be used in an echo; but should be pre. These include " Tuba Mirum,” .. Liber Scriptus,” views on the other hand is Pierson's music
Unquestionably higher and more akin to modern ceded by a slight pause, and then should be em Judex Ergo” and “Quid sum Miser.” Pergolesi's second part, which on this account deserves higher ployed thronghout the period, because the ear must “Quis est Homo" and Quando Corpus, Amen," il.
and more willing estimation.
Of accustom itself gradually to this tender, maidenly, lustrating the Stabat Mater, will conclude the ser
talent thoroughly original, Pierson was singularly sentimental tone. There must again be a slight vices. Of the services yet to be given another
in advance of his age ; his music frequently approach. pause before the transition to the usual more mas afternoon will be devoted to German chorales, one
es near to the style of a Schumann, à Liszt, or 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.
Wagner, and that, at a time when Schumann's and
The full chords, which allow time to bring out the sing regular choir, consists of Mrs. 0. T. Kimball
, sopra ing, and when Liszt had written scarcely a note of
Wagner's important creations were only just emerging tone, in which consists the advantage of the no; Mrs. Flora E. Barry, alto; Mr. Charles Clark,
his symphonic works. 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. edness, the intense coining power of thought, or the
If Pierson was not dowered with the copious giftThe Music of the Past.
Music to Goethe's "Faust."
sovereign boldness or power of such spirits to a like
degree, the spiritual kinship to them remains, a SERMONS WITH ILLUSTRATIONS IN KING'S CHAPEL-LATIN
(From the “ Leipziger Tageblatt und Anzeiger" of most surprising one; and, indeed, his often striking, March 22.)
enchaining characteristic style, and the earnestness No place in this city is more richly endowed with To-day and to-morrow both parts of Goethe's and nobility with which he handled his task merit old associations and soft, suggestive reminiscence, Faust” will be performed on our stage: the first much warmer recogoition than fell to his lot, espec
HYMNS AND GERMAN CHORALS.
are prominently characteristic the introduction and guaranty for future concerts." (This reserved fund, Symphonies: No. 1, in D, 3; No, 2, G minor. 2;
ially in his later years. Authorities like Robert 'Symphonies and Overtures to be secured first ; “Verdi Prati," from “ Alcino." (Do.); *“Con Schumann and others spoke earlier with remarka- Concertos, Solos, vocal and instrumental, to depend
ranco mormorio," from Rodelinda," (Do.); ble warmth of his works. As especially regards
* “ Cangio d'aspetto," from “ Admeto” (Miss on the sale of tickets, but in no case to be introsuch a prominent creation as his Faust music, the
Fairman). element of originality and tendency towards rhap. duced to the injury of the general tone and unity of Air from “ Israel in Egypt: ” « The enemy said" sody in his nature steps forth most unveiledly in the programme.”
(Nelson Varley); Tenor Airs from “L'Allegro" the overture, where he has been probably led on by
(G. L. Osgood).
The experiment was so successful that the numthe kaleidoscopic graphic style of Goethe's work. Proportionately, therein, the mystic introduction: ber of subscription concerts for the second and the DURANTE: * Magnificat, in D. for chor., soli and
orch., 2. (first time inder Mr. Kreiss'nann; secand the angelically glorified conclusion, which, how. third year was increased to eight. A “three-fold
ond time by The Cecilia, under B. J. Lang:) ever, one could wish a little more festive, exbibit guaranty" was offered : “1. of pure programmes ; THOMAS WELKES: * Six-Part Madrigal: When most genius. In a still more favorable light does 2. of the right audience, of which there could be no
Thoralis delights to walk ” (Cecilia.) the first highly fragrant and extensive vocal piece, better nucleus thon the members of the Harvard
GLUCK. Ariel and Chorus of Elves, show the composer. While the march to the introduction of the Kaiser Association and their friends; 3. of disinterested | Overture to “Iphigenia in Anlis," 3 ; Tenor Aria
from Do.: Nur ein Winsch” (A. Kreissmann); draws with a few powerful strokes the pompons dis-management,—the concerts to be given not for indi
* Rec. and Aria from “ Orfeo :” “Addio, () miei solving character of the court and government, a
vidual profit, but for Art.” “The programmes were protracted intermezzo illustrates in attractive style
sospiri” (Mrs. Barry); * Chaconne from “Orfeo,”
for orchestra. the appearance of Paris and Helena. The introduc controlled entirely by the Concert Committee. The
“La Trille du Diable" tion to the second act unites with masterly touches Subscription was kept at first wholly within the Tartini: Violin Sonata,
(Listemann). the leading features of the overture; and the rise of circle of the H. M. A.; and not until its members the Homunculus is enveloped by the chorus of ele- had pledged themselves for season tickets enough to Symphonies (Breitk. & H. ed.): No. 1, E fat, 2;
Haydx. ment spirits in mysterious vapors. One of the most winning sketches is the introduc- make the financial success of the Concerts reasona
No. 2, D; * No. 3, E Aat; No. 4, D; No. 5, D; tion to the third act, and in like manner the female bly certain was the list opened to the public. Fi * No. 8, B flat, 3; * No. 9, D minor; No. 11, chorus following enchants us with its attractive mel. nally the whole income of the concerts was either
"Militaire,” in G; No. 12, B flat; No. 13, in G, ody. Also the later march and chorus is a splendid invested in the concerts themselves (in making them
4-Of the Wüllner edition : * No. 1, in B major piece, full of lustre and freshness. One of the most
(very short); * No. 2, in G, (“Oxford.”) symmetrically worked out pieces is the intermezzo
more perfect, increasing the orchestra, the amount Serenade, from the Quartet, hy all the Strings, 2. which follows, full of melody; but unquestionably of rehearsal, &c.,) or reserved—a moderate portion * Cantata : “ Ariadne at Naxos," 2, (Mme. Ruders. one of the most brilliant Nos., is the lovely closing of it in the treasury of the Association as a partial
dorff.) chorus “ Sound immortal .” In
Mozart. the somewhat protracted battle music. The “Te steadily growing for eight years, has made good the
No. 3, E Aat, 3; No. 4 (“ Jupiter,") C, 3; * No. Deum” is most original. In all probability the de- losses of the last two seasons, and doubtless it will 6. C, 2; * No. 9, (“ French.") D. cline of the German empire at that period swept be still suffice, if needed, for several seasons more,
Overtures: * Idomeneo; Marriage of Fig.ro; Zaufore the composer's vision, so characteristically do until the concerts shall have fairly vided over all
herflöte, 3 ; * Tito, 2.-Marches from Figaro and traces of splendor alternate with decay. The intro
Zauberflöte. duction to the fifth act is most telling from its deli- temporary obstacles of outside competition, hard Pianoforte: * Concerto for two Pianos, in E flat, 2, cately lofty design. The song of the warder if ren times, changing tastes and fashions, ir music as in (Lang and Parker); * Concerto, No. 20, in D, (H. dered with confidence and freshness, cannot fail to all things.) In the fourth year the number of con
Daum); Concerto, No. 8, D minor, 2. (Miss Mehenchain through its judicious coloring, and just as
lig, Rich. Hoffman); * Conc, in C minor, Köchel, certs was raised to ten, which has remained the striking is the piece of instrumental coloring at the
491, (H. Leonhard); * Conc. in B fat (J. C. D. number to this day. During the earlier years seventrance of “Want,“ Guilt,” and “ Necessity.” eral extra concerts were given as complimentary | Violin : * Sinfonia Concertante for Violin and viola,
Parker.) Among the following Nos., stands prominent the benefits, or in aid of humane canses, such as the last ideally glorified delineation of the angel-choirs; struggle of the Cretans, the musical education of the
with orch., in E flat. (C. N. Allen and H. Heindl): also the chorus of anchorites and the double chorus Blind, &c. ; these make the number up to the full
* Conc. in D, Köchel, 218, (Camilla Urso.) contain features of true worth. The final chorus, hundred May the second hundred prove as good
Chorus with Orch. “Ave verum corpus;” “O though it does not possess any very considerable in matter, in artistic spirit and in infinence, as they Vocal Solos with Orch.“ Deh vieni,” from. Fi
Isis,” Priests in Zauberflöte, 3. verve, constitutes, when perfectly performed, with two slight curtailments, a worthy and noble ending. certainly will prove much better in the manner of
garo, 2, (Mrs. Barry.) performance! It is to be regretted that Pierson's music can hardly
Concert Aria: “Non temer," with violin obligabe done full justice to on the stage, partly because
It is a good time now to look back and realize to, (Miss J. E. Houston.) the composer commonly writes at such length that what an amount of noble music, for the most part
Song of the Harem Keeper from “The Serat. curtailments are unavoidable, and thereby much
of the very highest, these one hundred concerts lio” (P. H. Powers); “ Non più andrai,” from that is good has to be left out, partly because at
have given us. Of the manner of performance, the Figaro (F. J. Rudolphson); Tenor Aria: “Costimes very considerable demands are made by him orchestra, and several other aspects of the concerts tanze !" from “The Seraglio” (G. L. Osgood); on the resources of the theatre, and one can seldom
we shall speak another time; our concern is now Non più di fiori,” Tilo, 2, (Mrs. Kempton; Miss find a choir sufficiently strong to meet all his de- merely with the matter of one hundred programmes ; Ryan); * Song: Loin de toi" (Miss Anna S. mands. On this account, as a rule, many brilliant which may be summed up as follows under the
Whitten); Song: “Quando miro" (Mrs. Barry); choral Nos, must be omitted from the performance.
names of the several composers, indicating the num Aria from Zauberflöte : “Ah ! lo so" (Miss Whitber of times each work has been given (when more ten): * Conc. Aria, Bass : “Mentre ti lascio” (M. than once) by a figure after its title. To those
W. Whitney); * Conc. Aria, No. 6, “Ch'io mi which were given in Boston for the first time we scordi,” with piano and orchestra, 2, (Mrs. Barry, prefix a star.
Mme. Rudersdorff); * Conc. Aria. Tenor: “MiseJ. S. Bach,
10, o sogno, o son destro?” 2, (Nelson Varley); BOSTON, MAY 1, 1875.
* Conc. Aria, Bass : “ Alcandro, lo confesso" (M. Orchestral Suite in D (Overture, Aria and Gavotte)
W. Whitney); * Aria from Tito:" Dch, per questo 5 times. One Hundred Symphony Concerts.
istante” (Miss Clara Doria); Tenor Aria from Don Organ works: * Toccata in F, arranged for Orches.
Giovanni: “ Dalla sua pace" (Osgood.)
tra by Esser, 4; * Passacaglia in C minor, do. ;
BEETHOVEN. pleted its tenth Concert Season, having given in and Fugue in A minor (Do.)
Symphonies : First, in C; Second, D, 2; Third,
Eroica," E flat, 4; Fourth, B flat, 6 ; fifth, C miall one hundred classical orchestral concerts. The Piano-Forte: * Chromatic Fantasia and Fugue, Dfirst course (1865–66) was an experiment; but it
minor and F (Miss Marie Krebs);-* Organ Prel.
nor, 5; sixth, Pastoral, F, 3 ; seventh, A. 7; eighth, and Fugue in G minor, arr. by Liszt (Miss Anna
F, 6; ninth (Choral), D minor, 2, (Chorus froin was well guarantied by the members of the Associ
Mehlig); Do. in A minor (Do.)
Handel and Haydn Society. ation among themselves, who with their families Violin : Chaconne in D minor, 3, (Carl Rosa 2, B.
Overtuig is: “Men of Prometheus," 2: “ Coriolan,” 7; and friends composed the nucleus, and indeed by Listemann.)
Egmont,” 6 ; **. Leonore,” No. 1, 3 ; *“ Leonore,
No. 2; Do. No. 3, 10; Fidelio," 2; Namens. far the larger part, of an appreciative, fit audience. Arias: *“ Erbarme dich," Alto, from the Passion
music, with violin obligato, 2, (Mrs. F. E. Barry);
feier,” op. 115, in C, 2; *“ Weihe des Hauses," They intended “ that this City shonld have one se
Alto Aria: *“ Well done,” from a Cantata (Mrs.
op. 124, C, 5, ries of concerts every winter, which should be unex
Barry); Cradle Song from Christmas Oratorio, 2,
Miscelaneous Orchestral: Adagio and Andante from ceptionable in tone, and which should take the field
(Do. and Miss Alice Fairman); “My heart ever
• Prometheus,” 4 ; Turkish March, 2; March from 80° well guarantied as to be independent, and have faithful ” (Do.)
Fidelio." no motive for catering to any interest except the * Bass: “Give me back my dearest Master,” from Piano with Orch.—* First Concerto, in C, (B. J. higher one of Art; "_" Concerts purely artistic in
Passion Music, 2. (M. W. Whitney), with Violin
Lang); * second, in B flat. 2, (Lang); third, Ctheir motive, and as good in matter and in execu (Listemann);_*“Grief and Pain," Alto, Passion
minor. 3, (Lang, Miss Alice Dutton, Parker); tion as the orchestral means of Boston would allow." Music, (Mrs. Barry).
* fourth, in G, 5, (1. Leonhard); fifth, in E flat, It was thought “ that one successful season on this
6, (Otto Dresel, E. Perabo, 2, Miss Mehlig, Miss
HANDEL. plan would pave the way to a permanent organiza
Krebs, Mme. Schiller); * Triple Concerto (piano, tion of Orchestral Concerts, whose certain periodi- | * Concerto, for Oboe, in G minor (A Kutzleb.) violin and 'cello), 3, (Lang, Perabo, 2); Choral cal recurrence, and high uncompromising character Pastorale, from “ Messiah.”
Fantasia, piano (Perabo) chorus and orch. ; *Fanmay be always counted on in future by the friends Arias from Italian Operas: *"Sonmi Dei,” from
tasia on "* Ruins of Athens," arr. by Liszt, piano of good music in Boston.” And so the announce Radamisto” (Miss A. S. Whitten); * " Il vostro (Miss Alide Topp) with orch. ment of the first experimental series, of six Sympho Maggio,” from “Rinaldo ”(Do.); *“Giacché mo Piano Solo : * Polonaise, op. 89, in C, (Miss Krebs); ny Concerts, contained the pledge of an orchestra rir non posso,” from “ Radamisto” (Mrs. Barry), * Thirty-two Variations on Theme in C minor (J of fifty instruments, as well as of pure programmes : Son confusa pastorella," 3, from "Poro” (Do.); C. D. Parker).
Dwight's Journal of Musit.
Violin Concerto, in D, first movement, 4, (Carl Ro toms of one danger more than another, it is that of CHICAGO, APRIL 17. One of the most interesting sa, Mme. l'rso, B. Listemann, 2.) the tremolo--not yet distressing, but how easily it
concerts of the season was that of the Beethoven Chorus with Orrh.-Chorus of Dervishes from Ru.may become so ! Musical feeling, quick apprehenina of Athens," 2 ; “ Hallelujah ” from “Mount of sion, and spontaneous expression she appears to Society, last night, under the direction of Mr. Carl Olives." have beyond the common.
Wolfsohn. The Chorus numbered perhaps nearly Ree, and Aria, with orch., from Fidelio : “ Abscheu.
two hundred, and the orchestra about thirty. The licher !” 2, (Miss Whitten, Mme. Johannsen); *Duet from Ruins of Athens ; Sacred Songs to MME. MADELINE SCHiller gave a concert in the
progranime was as follows:
PAKT I. words by Gellert, op. 48, Nos. 4 and 6 (M. W. same hall on Tuesday afternoon, April 27, which
The First Walpurgis Night....
Mendelssohn, Whitney): Quartet from Fidelio ; Song : “Ade was largely attended, and with every manifestation Soprano solo, Mrs. Stacey; Alto, Mrs. Joh.son, laide,” 2, (C. Gloggner-Castelli, Nelson Varley.) of deep interest. This lady, in the two years that
and bass, Mr. Jas. Gill. —But we find we are in for a more formidable job she has resided here, has quietly and steadily won
1. Quartet from "Fidelio,''( Au the voices). Beethoven,
2. Larghetto for 'Cello and orchestra........ Mozart. than we anticipated. To save any room for other recognition as the equal, we had almost said the su
Mr. Eicheiin. matter, we must stop here, and leave the completion perior, of any of our pianists in the technical command of all the resources of the instrument,
3. Spinping Chorus from “ Flying Dutchman." of the list for another time.
Wagner. which she appears to wield with perfect ease and 4. March and Chorus from " Tannhäuser."
certainty ; nor is this by any means her only claim Chamber Concerts.
to a place among the very foremost. There is noth Walpurgis Night” was well done, the cho. Mr. B. J. LANG gave the first of two Concerts, at ing which she cannot execute with exquisite precis- rus manifesting precision of attack, generally good Mechanies' 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 concert's power. Her readings are always careful, honest,
balanced. The crescendos and diminuendos were alvays command ; and it was a concert full of inter- herself before her music. Thut her understanding, not, on the whole, as perfect as they might
and utterly without affectation; she does not place Miss Grace Sampson. The latter, & promising pu: oming the full depth of meaning and of passion in orchestra was made to play so softly as not to overest. Mr. Lang was assisted by Miss Ita Weise and her poetic insight, depth of nature is equal to fath- have been. It is to Mr. Wolfsohn's praise that the pil of bis, a young lady of modest, prepossessing the profoundest works of Beethoven, we do not say; power the not strong solo voicas
. The solos themappearance, who seemed entirely intent upon her music. opened the Concert with her teacher; the feel that she evinces the best judgment—or tact, selves, although not undertaken by voices of exceptwo giving us a very finished and artistic rendering of Mozart's Sonata in D for two pianofortes. We rather—in
her selections ; if she only did, her con
tional compass and volume, were done in correct are not sure that it has been given here belore; at
certs, we imagine, would be always crowded; for it is pitch (so far as I observed), distinct enunciation of all events it was as fresh as anything in the familiar indeed a rare, peculiar pleasure to hear her and to the words, and intelligent conception of the music. Mozart style could be. It has three movements: a
see her as she sits at the piano. Her programme The second part of the programme requires little spirited Allegro, starting with a bold and simple was as follows:
comment except in regard to the first number, which theme; an Andante, very melodious, rich in harmo Beethoven.-Sonata in A flat Major. Op. 110.
in my opinion is unsuited to the use here made of ny, and tender in feeling; and a Finale ( Allegro mol
Moderato Cantabile. --Allegro molto. it, although for anything I know to the contrary it
Adagio ma non troppo.-Fuga. to), which is exceedingly graceful, buoyant and light.
may be useful practice for the singers. As this was
Chopin.-Variations.-"Je vends des Scapulaires.” hearted, keeping up its playful humor with exhaust
my first acquaintance with this cantata of Mendelsless fancy, The whole work sparkles with fine
J. K. Paine.-Trio in D minor. First time.
sohn's, I may perhaps be pardoned for expressing
(Dedicated to Mr. John Fiske). thoughts, set off to advantage, and must have been
iny sense of its light and genial character ; but es
Allegro.-Adagio. - Allegro giojoso, quite a bravoura piece in its day. It is thoroughly Schubert.- Improniptu in B Alat Major. Op. 142, No.3.
pecially I am struck with the weakness of Men(!elsgenial ; the only drawback is that the movements
Beethoven.-Polonaise in C Major, Op. 89.
sohn's imagination as compared with that of Schuare ali long. Miss Sampson's touch is nice, her ex
Reinecke.-Variations on a theme by Bach, Op. 52. mann, which immediately appears when we seek in
Schubert.-Valse illustrée par Lizst. Soirées de ecution clean and even, and her whole performand
it for individuality in the various parts.
For Vienne, No. 3. had not a little of the fineness as well as the vigor
although these are by no means alike, they are very
That Beethoven Sonata is certainly one of the far from manifesting that “humoristic fancy” (as of her master's. Liszt’s “ Benediction of God in Solitude," from deepest in its interior springs of feeling, spiritual
Brendel calls it) which is such a marked feature of
all of Schumann's music, his “ Harmonies Poétiques et Religieuses," was first longing, and imaginative suggestion, as well as one
of the most beautiful. This, too, is a meditation, played bere by Mr. Lang a few years ago.
Mr. Wolfsohn's Schumann recitals still continue. to it is in these verses: "poétique et religiense,” in a far deeper and more real
The fourth and fifth were these : sense than that work by the Abbe Liszt of which D'on me vient, ô mon Dieu, cette paix qui m'inonde?
FOURTH. we have spoken above. Its tenderness and pathos D'où me vient cette foi dont mon caur surabonde,
Nove'letten. Op. 21. Nos. 1 and 2. A moi qui tout à l'heure, incertain, agité,
are of the sweetest, noblest, manliest; the wound is Blumen Stück Op. 19.
Carnaval, Op. 9.
Novelletten. Op. 21, Nos. 3 and 4.
Arabeske, Op. 18.
genius, summon around itself airy counsellors and Song: “Belshazzar." Et que, séparé d'eux par un abime immense,
sympathizors, beautiful, bright thoughts, and fond Un nouvel homme en moi renait et recommence.
Sonata, F sharp minor, Op. 11. diversions, which so enrich, relieve, but not evade or The peace of a new life is surely a great theme; bide the serious confession. How calmly, sweetly The songs in the fourth recital I do not just now whether the Abbate felt it all within him we can it begins ! Then comes that sudden Aight of soft recall. In both these Mr. Wolfsohn's playing has hardly tell from this music. There is a certain and luminous arpeggios of gossimer lightness, all been better than I described it the other day. Esdepth of sentiment in the first half of it, serene, rich over the keyboard, which Mme. Schiller can give pecially was this true of the Carnaval and ihe Soand full in harmony, as if in sympathy with all with such perfect evenness and lightness, and then nata, in both which his readings were intelligent around; this is sustained to a good length and comes the singing monologue goes on again, continually and interesting, and I am happy to go on record as to a pause ; when with a new and quicker rhythm giving out such delicate and fleeting coruscations— not so ultra refined in my taste as to be unable to memories of the storms of passion and of trials past the “heat lightning” of the brain! The Allegro derive pleasure from such music as this.of Schuseem to return; and finally the“ new man" congrat- mollo, answering for a Scherzo, was beautifully mann's, even though I might be able here and there ulates himself. For Liszt the sentiment is deep and played. The wonderful Alagio, so deeply impas
tu point to some slip in the execution, or some conearnest; but compare
it with one of the later Sona. sioned, now recitative-like, now cantubile (Arioso ception not entirely consonant with my notion. tas of Beethoven! What promised nobly in the be- Dolente), fitful, yet in perfect keeping with itself, The Apollo Club gave a concert about ten days ginning seems to lose unity and to continue itself seems almost beyond the power of adequately ex ago under the direction of Mr. Bergstein. The provaguely and unsatisfactorily for the mere sake of con pressive rendering through material means. How gramme included part songs by Rücken, diendelstinuance, toward the end. It is very difficult, naturally it comes to a close, lingering thoughtfully sohn, and one by the conductor himself, Mr. Carl abounds in fine effects of sonority and light and
on the last note, and then the quick Fugue begins Bergstein, which was well received. The solo pershade ; and Mr. Lang played it with remarkable del | in circling six-eight rhythm; the mournful melody formances were those of Mrs. Jones (soprano). and cacy and grasp of its full breadth.-His next selec- returns, and then the Fugue theme, inverted, brings four pieces played on the pianoforte by Miss Julia tions were Chopin's Impromptu in F sharp inipor, the Sonata to a close. Mme. Schiller’s rendering Rive of Cincinnati. op. 36, and a strong, hearty, joyous Bourrée, in G, was all that could be desired in the way of execu The Club had about fifty voices and sang in good by Handel, both effectively and characteristically tion; no wonder she could not enter into and inter
tune and with tasie, though, as will be seen they presented. Finally, the brilliant Concertstück in G, pret all its depth of passion and of meaning, as only
were not put to any very seyere test. The most op. 92, by Schumann, which has been before twice kindred genius can.
notable feature of this concert was the playing of played by him with orchestra. This time the orches The Chopin Variations, on an air from one of Halévy's | Miss Rive. Her selections were varied in character tra was represented on a second piano, plaved by the operas, are comparatively insignificant among his works; and performed with a clearness and beauty of exepupil. It was well worth recalling and extremely great command of technique, which in this case was not
cution such as I have never seen surpassed, especinteresting even so, and very admirably given. Miss Welsh evidently suffered from a cold, and lessly even
and connected than her rapide erung and fami: ially in the Tannhäuser March and second Hungari
an Rhapsody. Whether this young lady is an rative passages of all forins, have we ever witnessed; and sang with more exertion than when she won such
there is always delicate and tasteful shading. The Schu- artiste in the sense of being an authoritative expofavor in “ Paradise and the Peri." This was inost bert Impromptu was made perhaps a little prolix by coax nent of such music as that of Schumann and apparent in her first two pieces: Beethoven's “ In ing out its sentiment; the Reinecke Variations did not re
Beethoven I do not know; but as a pianist at all questa tomba oscura” (for which her voice seemed quire that to make them both prolix and tedious. The Polonaise by Beethoven, played once in a Symphony Cou
events she must be accorded a place with the most too light and child-like) and Schumann's “ Er der cert by Miss Krebs, is brilliant. qut not much for Beetho accomplished. Mrs. Jones, a soprano here, received Herrlichste von allen," —or, as she sang it in Eng- ven. The Schubert Valse was a most agreeable relief after an imperative encore, which I confess surprised me, lish, " The Nohlest.” In the two ballads : Sterndale made an effective ending of the Concert.
the Variatievs upon Bach, and, being played superbly, inasmuch as the singer was suffering from a very Bennett's “ The Past,”-and Schumann's “A red, red Mr. PAINE's Trio, (in the performance of which Mme. bad cold, in consequence of which she made a rose," she was more successful. There her admira Schiller was assisted by Mr. C. N. ALLEN and Mr. WULF marked departure froin true intonation on the very ble distinctness of enunciation came well in play. ceived with cordial applause. We will not attempt to give FRIES), we listened to with much interest, and it was re
note which brought down the house. Verily the If Miss Welsh, who is yet very young, shows symp an impression of it without at least a second hearing. public " is curis.
Mr. C. T. Root.