mental Nocturne of Chopin," it will take more than the utterance of such a jaundiced oracle to convince us. And then the meanness of talking of the hardihood which it required to attempt this work so soon after the magnificent rendering by Von Buelow! Mr. L. had selected this work for this winter's concerts, and had been engaged in the study of it, before it was even understood that Buelow was to come here. And is such a work to be blotted out from the repertoire of such a series of concerts, because a great man chances to come here and play it exceptionally well? It is a part of the system of the Harvard concerts to give every winter one or two of the Beethoven Concertos, as well as a fair proportion of the Beethoven Symphonies; these come round in their turns, as Christmas comes; shall we renounce them from the moment we have heard a better performance than we are able to command ourselves? And if the music is to be given, for the music's sake, shall we not feel indebted to that one of our own artists who will undertake it in an artistic spirit, though probably not dreaming of so rash a thing as rivalling a Buelow or a Liszt! To call this " 'presumption" is impudent presumption in the critic.-But why waste words on an attack so palpably malicious and so base, that henceforth no respect or credit can attach to what may emanate from such a source. The Symphony (Joachim's instrumentation of the thoroughly symphonic "Grand Duo," Op. 140, for four hands), we still think, as we have said before. to be, next to the matchless No. 9, in C, by far the most important of the larger instrumental works of Schubert; and, if so, it is not rash to assert that, among all the pretentious new Symphonies which have been brought out here within a few years,Raff, Rubinstein, Brahms, Svendsen and the rest,it is by far the most important, the most interesting and full of genius. Here again the oracle above quoted shows a lack of quick perception and appreciation when he speaks of it as “dull” and “dreary," and harps almost exclusively on its "inordinate length." Yet he confesses (to lend his article an air of candor, as sometimes when he praises, even overpraises, this or that in a review of which the general drift is meant to be disparaging) that it is impossible to judge of it upon a single hearing. Why not, then, avail himself of the opportunity of hearing it in rehearsal, before saying: Go to, it is naught, of one of the greatest works of the most inspired musician after Beethoven! He finds the Andante charming, and is reminded by it of the Allegretto of Beethoven's eighth symphony, to which it bears no resemblance whatsoever, though it strikingly resembles in one subject the slow movement of the second symphony. We venture to intimate also that he is too strong in his self-conceit, when he declares that Joachim's "method" (of instrumentation)" is not that which Schubert would have followed." May be not, who knows? Not he, at all events. We shall need more space and time hereafter to record our own impression of this Symphony. Another of the tribe praises the Symphony but abuses the orchestra in this wise: "Of the rendering by the orchestra yesterday, little can be said in praise, being too generally mechanical, hard and unsympathetic, and in some places positively weak and at loose ends. Diligent rehearsal under a strong hand is indispensable to the fit production of such a work." "Diligent rehearsal under a strong hand" is just what it did have The musicians became unusually interested in the work, and give it extra rehearsal, working with a will most earnestly. Ignorant prejudice alone could have so written about a performance which even "the other man" who so disliked the work itself, found conscientious and spirited." We did hear the repetition this week of the admirable concerts of the Apollo and the Boylston Clubs, and next time shall have to speak of them, as well as of the fifth Symphony Concert, another brace of Thomas Concerts, Mr. Perabo's Rubinstein Matinée. and several of the six Ven Bülow Concerts (with the Philharmonic Club) which are to occupy every evening of next week. We have re 3rd, Life of Beethoven read by Miss N. French, Springfield. 4th, Selections from the Sonata in A flat, No. 12, Miss Nellie Noyes. 5th, "Adelaide," sung by Miss Leonora Huntington of Springfield. 6th, Sonate Pathetique, by Miss Mary McKee of Waverly, Ill. Miss Huntington is a younger sister of Mr. Ella Huntington Henkle, whose singing was heard in Boston three or four years ago. Miss Leonora's voice is not as high as her sister's but equal in strength and her singing is more sympathetic, perhaps because she excels in Elocution, which is admirably taught at the Institute; indeed I'think the musical is not in advance of the other departments there, although I judge there was but little more preparation made for this occasion than for the weekly exercises in the school room. Do you not think it gives the scholars more culture to study and play classical music themselves, than to have concerts occasionally given at the school by professional musicians? As we often judge of a place by its schools, I take pleasure in writing of the Institute especially as my western pride has been sorely wounded by such questions as "Do the menageries ever get as far West as Springfield?" or "Do you have any side walks there?" asked by intelligent people who had never been out here. ANOTHER PUPIL OF LISZT. The young lady of Cambridge, Miss AMY FAY, who wrote the brilliant letters from Weimar about Liszt, in the Atlantic, is now in New York. The Brooklyn Union, about a fortnight since, had the following notice of a Matinée in which she performed: An entertainment of novel and unusual interest was inaugurated on the afternoon of Monday, December 20, at Chickering's former rooms in Fourteenth street, New York. Mrs. Charles S. Pierce, of Cambridge, addressed an audience of ladies on the subject of the duties of women, the importance of occupation, and the advantages of the co-operative system in reducing the cost of living. Mrs. Peirce is well known in the literary world as the author of a series of articles on co-operative housekeeping, which appeared a few years ago in the Atlantic Monthly." She was followed by her sister, Miss Amy Fay, who gave a piano recital of the following pieces: Study in sixths... Sonata, op. 27, No. 1.... Chant Polonaise, No. 5... Clavierstueck.. Canzonet.. Märchen. Gnomen-Reigen... ..Chopin Beethoven Chopin Schubert .Jensen ...... Raff ..Liszt Miss Fay has lately returned from Germany, where for six years she has studied the piano-forte under masters of world-wide celebrity. Her letters from Weimar, published in the Atlantic Monthly last year, interested the musical world as much in their author as in her subject, and no one can hear her play without predicting for her an unusually brilliant career. Her technique is faultiess, her touch clear, elastic, and sympathetic, and her interpretation of the most varied compositions equally successful. The ease with which she plays the most difficult works is only equalled by her extraordinary memory, and we hope sincerely that the opportunity may soon again be offered the public to listen to music of such an entirely satisfactory character. NEW YORK, JAN. 3, 1876. The New York Quartette, recently organized here for the purpose of performing classical Chamber music, is composed of the following well known artists:- Edward Mollenhauer, first violin; Max Schwarz, second violin; Geo. Matzka, viola and Frederick Bergner, violoncello. Their circular announces six soirées of Chamber Music at Chickering Hall. The programme of the first soirée, which took place on Saturday evening, Nov. 20, was as follows: 1. Quartet No. 10. Op. 76 D minor... Haydn 2. Aria-Soprano. "Alia stella confidente," V. Robaudi Mad. Sophie Dowland. At the second Concert of the New York Philharmonic society, at the Academy of Music on Saturday evening, Dec. 11, the orchestral numbers of the programme were Spohr's Symphony in F, "Die Weihe der Töne," which was smoothly and on the whole very well played; Schumann's romantic" Genoveva" ove ture and Liszt's Symphonic Poem, "Les Preludes," a piece which depends entirely upon the orchestra for its effect, and which had but poor treatment at the hands of the Philharmonic players. Thoroughly delightful and inspiring was the violin playing of the solo performer, Mr. Joseph White, who performed Mendelssohn's Concerto in E, and the Ciaconna in D minor by Bach. Every part of the beautiful concerto was interpreted at the best, and I have seldom heard so satisfactory a rendering, while the Ciaconna, which demands talent and artistic qualiities of the very highest order, was equally well played. The Thomas Orchestra is again engaged for the season by the Brooklyn Philharmonic Society. At the first concert, Dec 18, the programme opened with Beethoven's "Eroica" Symphony, and the other orchestral selections were the Introduction and Finale from Wagner's "Tristan and Isolde " and Liszt's "Rhapsodie Hongroise," No. 1. of the orchestral series. Mme. Antoinnette Sterling sang a Recitative and Aria from "St. John the Baptist by Macfarren, and two Lieder, (Schubert's Kreuzzug and Liszt's "König in Thule.") For an encore she gave Schubert's "Doppelgaenger." At Chickering Hall a series of six classical concerts was begun on Friday evening, Dec. 17, with the following programme. Mendelssohn Quartet in B minor.... Mme. Carreno Sauret. MM. Sauret, White and Werner. a Sonata in D major... ....Nardini b Barcarole and Scherzo...... . Spohr M. Emi e Sauret. "Ballade," in G minor.... Violin Solo Senor Cervantes. ....Chopin Vocal Selections. The second concert of this series came on Thursday evening, Dec 23, and a matinée was given on the same day. The second series of Von Buelow concerts began, at Chickering Hall, on Monday evening Dec 27, where a large audience gathered to welcome the great pianist on his return to New York. The programme which I subjoin was one of the most remarkable ever offered in our city. 1 J. S. Bach-Concerto in the Italian Style. Allegro-Andante-Presto. 2. Handel. Miss Lizzie Cronyn. [a] Sonate Pathetique, [4] Rondo capricioso. Op 129,} .Spohr .......Beethoven ..Mercadante Miss Lizzie Cronyn. 3. Piano Solo-Ballade. Op. 23, G minor......Chopin 4. 5. Quartet-Op. 18, No. 1, F major........ Beethoven The Quartets were admirably played and the audience was fair in number. The second soirée took place Dec. 21, with the assistance of Miss Bertha Baruch and Mr. Alfred Pease. The first Thomas matinée of the season took place at Steinway Hall, on Saturday afternoon, Nov. 27. The or A BEETHOVEN COMMEMORATION. ceived the following communication from Spring-chestral pieces were Beethoven's Overture "Consecration field, Ill., bearing date Dec. 27, 1875. On the 17th of this month I went to the "Bettie Stuart Institute" in this city, to listen to some music performed entirely by the pupils in remembrance of the great master's birthday 1st, Scherzo from the 8th Symphony by Miss Nellie Noyes, from Evanston, Ill. 2nd. Moonlight Sonata, by Miss Bertie Latham, Lincoln, Ill. of the House;" Schumann's first Symphony; The Ballet Music and Wedding Procession, (new) from Rubinstein's opera, "Feramors," and Wagner's Tannhäuser Overture. Mme. Antoinette Sterling sang Bach's aria Esurientes implevit bonis" from the Magnificat in D, and two Lieder: "Der Krenzzug" by Schubert and "Es war ein König in Thule " by Liszt. Messrs. Carl Wehner and A. Lockwood performed a Concerto for Flute and Harp, (manuscript) by Mozart. At the second Thomas Symphony Concert, Saturday evening Dec. 4, the following programme was given. 4. Canzonetta, La Primavera ". Grand quintet in F, Op. 55, for piaro, finte, clarinet, bassoon and horn.... 5. .Rubinstein Third Concert, Dec. 31. Quintet in F, Op. 55. Cavatina from "Der Freyschuetz". Miss Lizzie Cronyn A sacred song. this, preeminently religions in its character. breathing a cheerful but solemn confidence. Note the character-figure of dotted quaver and semiquaver groups in the accompaniment, never appearing in the voice part, but giving the song much of its point, and serving, by its comparative | unevenness, to enhance the effect of the firm wellbuilt melody assigned to the singer. No. 46. QUARTET-Since by man came death. The new effect which this number introduces has already been noticed. It remains to be said that the chords here assigned to four voices are the essence of all that is solemn in harmony; seldom has a musician laid on such deep color by so few strokes. No. 47. CHORUS-By man came also the resurrection of the dead, Is an exuberant passage of joy, in contrast-almost too great to the preceding number. In No. 48. QUARTET-For as in Adam all die, The effect of No. 46 is recurred to, with an exquisite result; the sunshine of the last few bars of chorus is again obscured by dark summer storm clouds, but only for a moment, and in No. 49. CHORUS-Even so in Christ shall all be made alive, The choral sunlight bursts out again. No. 50. RECITATIVE-Behold I tell you a mystery; We shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet, Introduces the next. " conclusion, in this great hymn. A broad stream of All this, however, is but the prelude to the sub- In No. 51. AIR-The trumpet shall sound and the dead presently provides clear ground for another outset; shall be raised incorruptible, and we shall be changed; for this corruptible must put on incorruption, and this mortal must put on immortality. The new effect of the solo trumpet, which this number introduces, is one which it will be worth some pains to appreciate. There is no point in which the ordinary hearer of an oratorio goes less prepared to listen well than in regard to orchestral effects. The effect of a trum pet is, indeed, one of the most palpable of these; it is also one of the finest, and the hearer of "The trumpet shall sound," in Handel's "Messiah" should train his ear to distinguish and enjoy the mellow brilliance of the instrument. The bold and stately conformation of the air is especially adapted to display this beauty. No. 52. RECITATIVE-Then shall be brought to pass the saying that is written: Death is swallowed up in victory, Carries the sense on to No. 53. DUET-O Death! where is thy sting? O Grave! where is thy victory? The sting of death is sin, and the strength of sin is the law. A number not often used; but exhibiting none of that weakness which generally characterizes vocal duets, the rhythm of the two voice parts, and the harmonic intervals between them, being both unusually varied. No. 54. CHORUS-But thanks be to God, who giveth us the victory through our Lord Jesus Christ, Is again not seldom omitted, It is a joyful, tumultuous chorus; but the fatigued attention is by this time little disposed to exert itself; and the number presents nothing new to excite it. No. 55. AIR-If God be for us, who can be against us? Who shall lay anything to the charge of God's elect? It is God that justifieth; who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the right hand of God, who makes intercession for us, Is usually omitted, though, except for the weakness of human nature, it should not be, if only on account of the effect which is lent, by its intervention, to the final entry of the chorus. No. 56. CHORUS-Worthy is the Lamb that was slain, and hath redeemed us to God by His blood. to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing, and honor, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. The final number of the "Messiah" is this elaborate and largely laid out chorus, comprehensive and grand, rather than sensational or climacteric; the special effects have been displayed, the points all made, and the work now marches majestically to its Bass solo and chorus, to the words, "Therefore with Angels" etc. Both pieces are fresh, easy and musical. O, when shall I be free. 3. F to c. Clara Scott. 30 "My Saviour. I cry unto thee." A simple sacred song, with a chorus. Grant. 80 "My heart is like the ocean, With storm and ebb and flow." The fingers, as well as the voice have to sing. as the harmony of the accompaniment is closely connected with the air. Words by Heine. 2. G to e. Boott. 30 glory and power, be unto Him, be unto Him, that My gentle Fisher-Maiden. 4. A to e. "If I told you? If I told you? It comes. Who shall describe that lead of the basses? that nervous, syncopated, upclimbing vari ation on the diatonic scale of the key, which is so grand in its simplicity, so manly, so rugged, so hearty, rising in capricious rhythm gradually from D to D? The tenors follow, in the dominant, the basses underplacing phrases of a more solid and ejaculatory type; the altos, and after them the trebles, in turn, lead out the subject; and presently the make of these great numbers repeats itself-there is a half cadence. Then all the voices and instruments are withdrawn, except the violins; and these have their last opportunity of sweeping through the cleared orchestral atmosphere, with a complete statement, in their own register, of the subject already first propounded by the bass voices, and quoted above. How the first violins will revel in this nervous but simple sentence! They will grip its every note, every player of them; and the second violins will throw no less of vigorous firmness into the repetition which, after five bars, is assigned to them; after ten bars, the entire choir and band enters en masse to the treble strings; the bass voices again repeating the theme, pure and simple, with accompaniments from the other voice parts. Elaboration follows which need not be described, but is all conducive to the adequate extension of holding A for some bars-occurs, for the first time the number; a" dominant pedal point "—the basses in the work, and has the precadential effect which the old theorists assigned to it; in a few more bars the whole tide of voices and orchestra is suddenly arrested, on a dissonant chord which is the recognized antepenultimate expression of modern harmo ny; a bar of imposing silence intervenes; and in one final "Amen." to the simple expression called the "perfect cadence," the "Messiah" concludes. 3. Bishop. 30 "In morning's glorious, dewy time." Very neat words, with appropriate music. Newest Songs of J. R. Thomas. ea. 40 A few of the latest productions of this gifted composer are here brought together. Mr. Thomas's portrait adorns the title page. No. 2. Golden Hours. 3. G to e. "Hopes that bloomed with loving sweetness, In Good Humor. Galop. (En bonne humeur). Faust. 30 A decidedly brilliant march, showing th:t the D minor. Very queer and pretty. Who would think of composing music for a doll's funeral! Will be in high favor with little learners, and is pleasing for any player. Six Easy Pieces. 4 hands. Loeschhorn. 4. Dance Hongroise, 3. G. 5. Ballade. 3. D. Sylvan Set. Easy Marches, Waltzes, etc. 1. Sylvan Nook Mazurka. 2. C. 2. Newsboy's March. 3. Lola Schottische. 2. G. 2. Bb 2. G. 2. Bb 2. F. HOME MUSICAL LIBRARY, Each book of this splendid collection is separate and independent of all others, is generally bought by itself, and used by itself. Still, as the volumes are all uniform in binding, size and style, price and general plan, it is quite proper that they should be brought under one general designation. Indeed, what more perfect musical library can be imagined! Each book contains the best music of the kind indicated by the title, and in some cases nearly all of it. For instance, "Operatic Pearls" contains nearly all the pieces from standard operas; at least nearly all that are sung in concerts. "Gems of Strauss" contains nearly all the favorite compositions of the brilliant composer; and so of other books. The whole library, (of 17 books,) will cost from $40 to $64, the latter being the aggregate price of the fine gilt edition, which would be just the thing to present to a musical couple who are beginning housekeeping. The plainer bound books are equally good as to their contents, and are invaluable for teachers and pupils, being well classified, and filled with the most entertaining and useful music, both vocal and instrumental. THE PAGES ARE FULL SHEET MUSIC SIZE. A descriptive catalogue, containing concise descriptions of 1000 music books, sent post-free on application. Ditson & Co's books are for sale by all the principal dealers. Any book mailed, post free, for the retail price. CHOICE SELECTION OF SACRED MUSIC, FOR QUARTET AND CHORUS CHOIRS. Angels ever bright and fair. S. and T. Duet and Quartet. ...Otto Lob. 40 As the Hart Pants. A. Solo and Quartet. Ab. 4.. Southard. 40 As Pants the Hart. T. Solo A. and T. Duo and Quartet. Ab. 3..... ...J. R. Thomas. 40 As Pants the Hart. $. Solo and Quartet. Eb. 3. Morrison.. 35 Ave Maria. (Latin and Eng.) T. Solo. A. and T. Duo and Trio. Bb. 4... Ave Maria. (Latin and Eng.) F. 4.... Benedic Anima. (Praise the Lord). Quintet. D. 5... Benedic Anima. (Praise the Lord.) Benedic Anima. (Praise the Lord.) D. 3.... Bonum Est. (It is a good thing.) Eb. 4.... Bonum Est. (It is a good thing.) Quartet. D. 3.. Bonum Est. (It is a good thing). Duet and Quartet. D. 4.. Bonum Est. (It is a good thing.) 66 B. ...Campiglio. 50 60 S. and A. Duet and .J. R. Thomas. 40 Solo. A. and T. Marsh. 40 B. Solo. T. and B. and S. and T. Duets and Quartet. G. 5... .Lloyd Bow down thine ear. B. Solo and Trio. C. 4....... Lob. 35 S. A. T. and B. Solos and Quartet. Ab. 3... .Behrens. 40 Cantate Domine. (O sing unto the Lord.) S. Solo. S. and A. T. and B. Duets and Quartet. Bb. 4. J. R. Thomas. 75 Cherubim Prayer. Russian Chorus. Quartet. D. 4. Slaviansky. 35 Come said Jesus Sacred Voice. S. Solo and Quartet. A. · min. 3... Smith. 30 Come Thou Fount. S. and T. Solo & Quartet. G. 3. Thomas. 40 66 S. and T. and S. and B. Duets and Ab. 3. .Smith. 35 .Smith. 35 66 Quartet. Come to Me. S. Solo and Quartet. F. 3.. S. Solo and Quartet. Eb. 4..... Lloyd. 50 Jubilate Deo. (0, be joyful.) S. and B. Duet and Quartet. Bb. 3.... ....J. R. Thomas. 50 Lord is in his Holy Temple. Quartet. Eb. 3....Otto Lob. 40 Lord, Thy Glory. S. and A. Solos and A. and T. Duo and Trio. G. 4... ....Otto Lob. 85 Lord, with glowing heart. S. Solo and Q'tet. D. 4. Southard. 35 Lord's Prayer. S. and B. Solos A. and T. Duos and Quartet. Eb. 3.... ....Clouston. 40 My heart doth find. T. Solo and Quartet. Bb. 4. Southard. 40 O God, the Protector. T. Solo A. and T. Duo. S. A. and T. Trio and Quartet. Bb. 5.. . Buck. 1.00 O God, Thou art my God. S. and T. and S. and A. Duos. and Quartet. Ab. 3... Petri. 80 O, for wings of a Dove. S. Solo S. and A. Duo and Southard. 35 Softly now the Light of Day. S. and A. Duet and Quartet. Ab. 3.. ...Otto Lob. 40 Tantum ergo. (Lord of Heaven.) S. and B. and T. and B. Duet and Quartet. F. 4... . Rossi. 40 Tantum ergo. (Heavenly Father Hear us.) S. and A. Solos. A. T. and B. Trio and Quartet. F. 5.... Spohr. 50 Tarry with me, O, my Saviour. S. A. and B. Solos and Quartet. G. 3.. .L. O. Emerson. 30 S. A. T. and B. Te Deum. (We praise Thee, O God.) S. A. T. & B. Solos S. and T. Duo and Quartet Bb. 4.. .. Stearns. 1.00 Te Deum. (We praise Thee, O God.) S. and B. Solos. and Quartet. F. 4.... Swartwout. 75 Te Deum. (We praise Thee, O God.) S. T. and B. Solos and Quartet. F. 4..... .. Thomas. 1.00 Thou art, O God. S. & A. Solos & Quartet. Ab. 4. Clouston. 50 Thou shalt love the Lord. (3 Sopranos.) Trio. A. 4. Costa. 35 Thy Throne, O God. S. T. and B. Solos and Quartet. C. 5.... Verdi. 35 40 40 Thy will be done. S. Solo and Quartet. E. 4... Otto Lob. 40 EXCELLENT BOOKS FOR QUARTET CHOIRS. Buck's Motet Collection, $2.50. Buck's Second Motet Collection, $2.50. Dank's Anthem Services, $2.50. PUBLISHED BY OLIVER DITSON & CO., BOSTON. LYON & HEALY, CHICAGO. C. H. DITSON & CO., NEW YORK. New England Conservatory of Music. $15. 901-1y. pays for 95 hours instruction with the ablest E. TOURJEE, HOWARD E. PARKHURST, VOL. XXXV. No. 21. New Music for Jau. VOCAL. Organist and Director of Music, Almost. (Sequel to "It was a dream." Cowen. At First Church, (Dr. Ellis), Boston, TEACHER OF 4. Ab to e. Why close thy lattice, fairest Maid? Music Hall, Boston. So long ago. 3. F to e. Young Lochinvar. 3. Bb to f. Barker. 30 Atwood. 40 Pease. 60 35 4. F. Glover. 35 For Alto Osgood. 35 Benedict. 40 Burden. 35 Burden. 30 Brown eyes has that little Maiden. Kiss me to sleep, Mother. 3. Eb to e, Two Sacred Pieces. 1. Deus Miseratus. 3. G to g. O, when shall I be free. 3. F to c. Clara Scott. 30 D to e. Newest Songs of J. R. Thomas. INSTRUMENTAL. Reminiscences of Cuba. 3 D. Grant. 30 3. Bishop. 30 ea. 40 Mrs. Duer. 40 Musical Offering, by F. H. H. Thompson, each, 25 1. Lightning Bug Galop. 2. Thistle Down. 3. Tunkhannock Waltz. 3 D. 6. Pop Gun Galop. 7. Silvery Sand " 8. Minnaola Waltz. 9. Grasshopper Galop. 10. Golden Grain. Galop. (Ice Sport). Life in the Courts. (Aus dem Strauss. 35 Rechtsleben.) Burletta. 4 hands. 3 Eb. 3 F minor. La Balancelle. No. 1, Op. 126. 5 Db. Bach's Fantasia in C minor. 6. Strauss. 40 4 hands. 35 60 In Good Humor. Galop. (En bonne humeur). 2. Gb Aronsen. 35 Sharpshooter's (Schutzen) March. 2. C. Faust. 30 |