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ling,

Strangled sweet Innocence, deep-dyed the soul-
Try thou the pow'r of wings given thee by Fate,

that some one, among the many who felt the wrong, Past hnman vengeance all seems onward dashing.

My soul, and make through clouds a passage wide. should break the long silence and rebuke it; and But see! The victims sad at last arise,

How? Did I to Olymp in air-craft ride? Decrees of justice they to utter seem

as no other voice was raised, the duty lay on us too What golden lights doth Heav'n 'round me create? Death's cold hands to the libertine extend. What fresh enjoyments ever me await,

palpably to be evaded. Now reckless impudence mid groaning dies; As I float onward with the ether's tide?

Having expressed our feeling frankly, we were of Dissolved, annihilated, Life's gay dream, Joyous abandon me doth upward bear;

course prepared for such a torrent of abuse as apAnd tomb-like silence is the revel's end. Mid dance of Goddesses I madly sweer,

peared in the next day's Gazelle. It was quite evi. By festal song inspired from Muses' choir. 5. FIGARO.

dent that we had hit the mark, and that our relucThe Titans see I in the black depths there; What singer Love like thee so well portray: ? With dismal howls they madly tow'rd me leap;

tant notice of the clanderer had done good; for Where is there one who its entranc'd unfolding, A wink from Zeqs—and master'd is their fire.

instantly the indignant conscience of others Its ev'ry kind, degree and wondrous moulding,

was roused, and articles in support both of Mr. Leon. Like thee derelops in his genial lays ?

hard and of ourselves appeared in the very next From tender bud, which gentle growth displays,

S Uuto the flow'rs luxurlant unfolding;

day's Advertiser. These we here copy with grateFrom passion's storm, which brooketh no curb's holding,

ful acknowledgement; the first one spares us the Unto first love's unselfish, hallowed days.

BOSTON, JAN. 22, 1876.

necessity of copying the provocation. Here pretty, dainty love birds thou dost hail,

MR. LEONHARD AND HIS CRITICS. Hast captur'd them, an overflowing nest, And showest us their ev'ry trick and song.

Howling Wolves, - "Last Ditches," – To the Editors of the Boston Daily Advertiser :Some are scarce fledged, and some are in full sail,

"Enraged Mouth-pieces," etc.

May space be found in your valuable columns for an exWhile yonder one seems ready for his rest:

pression of dissent from the remarks made in one of your

of Beyond compare a restless, motley throng.

There has been a wolf prowling round the fold contemporaries yesterday concerning the editor

for some time, hungry for admittance, and, failing Dwight's Journal of Music? Under the misleading title 6. MAGIC FLUTE.

of “ A Champion of Mediocrities," that gentleman is atthat, vainly attempting by all sorts of taunts to draw

tacked with more temper than wisdom for his recent deLike to the God who from men's follies hero 119 into controversy. Is it the same wolf that

fence of the last but one of the Harvard symphony conWore a world's history with glowing might,

charged the sheep with roiling the water, while he certs against some abuse which, it was held, showed perDidst thou from poem most absurd indite

himself (according to his own profession) stood high-sonal ill-feeling as well as ignorance on the part of the A master work which need no rival fear. On the confines thou stood'st of yon dread sphere er up the stream and drank nearer to the source.

writer. In returning to the charge, this impartial critic

goes so far as to assert that " fortunately for the interests Where life illusions vanish from the sight, Perhaps the very wolf who suggested to the tuners

of musical art, he (the editor of Dwight's Journal) has And crown'd the head with halo pure of light,

(of piano-fortes) their technical term wolf” by ceased to be an authority. He may have been a good wetBefore which brightest Earth tints disappear.

which they figuratively denote the dissonant and nurse in the infancy of music here, but his utility has ceased From thence men's doings seemed but childish sport;

ever since our musical public was weaned." It is not sur. Hatred thou saw'st in Night Eternal hurld,

jarring element in strings not perfectly attuned- prising that this writer draws his images from the nursery, And Love to Wisdom ripen thou didst see. that beating, howling sound you hear before the

in view of the wildness of the statement that an accurate

critic, who is perhaps better known in Europe than he is Thank thee, immortal Master! Near the port

two or three strings which ought to make one note here, and who has done, and is doing, such good service Didat lovingly send back unto this world

for music,“ has ceased to be an authority.” If we ask are drawn quite into unison.—But we do not pre

with whom he has ceased to be an authority, we shall Advance tones of the Spheres' pure Harmony. tend to anything like his skill in mixing metaphors. probably be told with all save that small clique of which

the editor of Dwight's Journal is a superserviceable mem7. FIDELIO.

We have no taste for personalities, ani are not ber-a clique which has worked incalcu able harm to mu. Not in Sevilla's gardens, where perfume blessed with the unscrupulousness in which con.

sical progress here.” Is the clique so small? Small is a

relative term; is it small in comparison with the grandeur Of roses and jasmine the pulse is thrilling, sists the chief advantage of such a master of the

of this musical Aristides? This modest defender of prog

ress in the fine arts tels us,We flatter ourselves that we Thon lead'st where night birds swarm, weird inmates wil- arts of satire and abuse. It has been our principle hnd no small share. in breaking up this ring, and we may and practice to ignore all personal attacks. One

therefore complacently smile at the rage of its mouthIn cold and mouldy prison cells of doom.

piece standing recklessly at bay in the last ditch that is critic, who systematically blackguarded us for years,

left it for a battle-ground." No fairy sounds fill here the dank, dark room,

This is a curious derange

ment of epithets. No wonder he smiles at an enraged of choirs of maidens, like the sweet doves trilling; has gone to his grave unanswered by a word on our mouthpiece standing recklessly at bay in a last ditch. But moans of anguish, clanking chains, are filling part. And now hrre comes another, who for three

Those who accept this writer's statement that his oppo

nent is guperserviceable” must wonder at the way in With hollow echoes this abode of gloom.

years or more has made it his mission to persistent which he attack: him; such is not the usual way of treatHark, what a heavenly strain the black night breaks! say, is it Love? No; Love it cannot be, ly disparage the well-known conservative and clasing despatched foes. Is it fair to suppose that this ad

vanced thinker has been stung by some of the remarks in So prone to seek the Beautiful, the New, sical taste of Boston, the concerts of the Harvard

the last number of Dwight's Journal? His protestations

that he is not hit, and that he smiles complacently, are 'Tis that which earnest out of trifling makes,

Musical Association, and more especially ourselves very suspicious; and the way in which he avoids reierring Which bringeth roses pale mid thorns to view,

to the contradictions of his rash assertions of the resembwho "superserviceably " preside over it. We have

lance between the andante of the symphony at that con. The patient, saving pow'r-Fidelity. defended the musical conservatism, as it was our

cert and the allegretto of Beethoven's eighth symphony

makes this hypothesis seem very probable. He is hardly 8. BEETHOVEN'S A-MAJOR SYMPHONY.

duty to do, since we believed in it. We have ad fair in saying that he is charged with being grossly igno. Whither dost lead me, O thou wondrous friend ? vocated the Harvard Concerts, as it was our duty ignorant, but that is neither here nor there, unless he

rant in thinking the symphony dull. Of course he may be Thy luring tones my yearning doth awaken; to do, since we had helped to organize them for the learns his opinions by rote; what Dwight's Journal said

was that he lacked "quick perception and appreciation," Must be for truth or wild delusion taken,

same express end for which we had already founded and this statement he has by no means disproved by That tow'rd the long-sought goal my way I wend? this Journal of Music,-Damely to help to keep mu

what he amusingly calls the placid contempt” of his de. Ha! sorcerer, say, didst thou thus intend?

fence. His judgment of the symphony was a superficial sical taste up to the purest and highest classical one at the best, and the Journal asks very p rtinently Would'st have me pine away like one forsaken

why this oracle did not take the trouble to go to the reBecause there aspirations pangs awaken?

standard ; and, as a means to that good end, build bearsals to hear it often enough. Ah! bitt'rer tears,-no, sweeter, nought could send. up en permanence a local institution, a Boston or.

As to the concerto he says, " The interpretation was bad,

and there is an end of the matter, so far as we are conYet from the tear-bath newly vivified,

chestra, which should never let the knowledge and cerned. though wa do not for a moment question that it The spirit, fresh as youth, doth boldly str de,

was just the sort of interpretation to satisfy the fullest dethe love of the master Symphonists die out here, or mands of our cen or's musical taste." Doubtless the last While chorus glad of lightsome jests surrounds.

part of this statement, the part which was meant for a What, lightsome jests? Aye. the whole earth doth thrill, the public taste be drawn away by specious novelties

sneer, is true: and doubtless, too, the artist who perA Bacchanalian host, who shout at will,

and falee and barren fashions and excitements. It formed the concerto will be contented if he fatisfies so From Olymp's iron gates now madly bounds!.

trustworthy a critic as the accomplished editor of Dwight's was our consistent duty to defend these ; ourselves

Journal. Certainly praise from him is more valuable than we have not defended,

either praise or blame from our placidly contemptuous 9. BEETHOVEX's 8th SYMPHONY. Now this critic of a weekly Sunday paper, has

penny-ā-liner, who should now rest on his laurels. having

broken up so powerful a ring as that composed of the ad. What varied throng, what troubled, restless wailingfor three years systematically disparaged the public mirers of Mr. John S. Dwight and Mr. Hugo Leonhard.

X. Now yearnings soft, now queries bold outpouringAre Nations these which for their rights are warring?

performances of an artist, whom it was his wont be. Or are these thoughts, each other thus assailing?

fore that time with equal uniformity to praise. The To the Editors of the Boston Daily Advertiser : Aye, aspirations! Often in life failing!

other day he sought to give the coup-de-grace to the You have often kindly opened your columns to musical See them in whirling dance now upward soaring, object of his venom by a criticism so malignant in

discussions,—and are always ready to help the cause of Falling to Earth anon mid thunder's roaring,

culture and refinement. Without intending to enter into its spirit, so brutal in its style, so wilfully blind to Again like Cherubs high in ether sailing!

a newspaper discussion, I would like briefly to point out But now command thyself, my heart! Awake!

every merit and to every qualifying circumstance, the injustice done not only to honest efforts in musical art, Thou wilt not? Good, then, if thou dost not scorn that every unbiased reader felt the impossibility of but to individuals themselves, by such presumptuous Such sport, I'd not for worlds its pow'r be quelling.

explaining it upon any other ground than that of criticisms as appear in the Saturday Evening Gazette. Yet dost thou truly therein pleasure take?

Those criticisms have all the air of authority, of positive personal malignity. No severity of candid critiThy deepest anguish thou but now did'st mourn

knowledge, and if the writer were an authority and were cism, with all allowance for possible short-comings possessed of positive knowledge, a man whose aims were Can wild caprice thy inmost heart be swelling?

in the subject, could have produced an article like of the highest order, one who is imbued with the spirit of 10. MOZART'S SYMPHONY IN O. that. Its author may possess the critical faculty in

truth, they would not lack the respect due to one's Infe

riors and certainly due to one's superiors,-the Want of Up, to life's pinnacle now boldig stride! an eminent degree; but that is not the way a critic, which is so manifest in these "alrý" writings. We are

told of" a nice bit of sound painting," of want of breadth Wherefore in grovellings low thus hesitate?

purely as such, ever writes. We thought it time of a performance, of an "interpretation which was bad,

MUSICAL CRITICISM,

and that in the end of it as for as we are concerned." We they (and Mr. Thomas, as it seems to us) from this -We have carried these remarks to a much great. are told that the writer flatters himself he has done a great deal to break up a “rink," as he calls it, whose only ob their fancied higher stand-point look back and down er length than we intended or desired; but it jcct it was to givo to the public the best concerts they could afford to give with the means at hand--a labor of

approvingly upon the master-works of Mozart, seemed to us proper, once for all, to define our posilove in the cause of musical education performed by a Beethoven, etc., as worthy efforts of an outgrown tion in this matter, abstaining from the answer we body of gentlemen who only asked for sufficient support to make" both ends meet. A worthy task, indeed, to past; whereas we look from the opposite stand-might make to many other taunts in the Gazelte, break up such an undertaking, and that from a musical critic who wants us to believe that he has the cause at point; we feel that the highest point yet reached and here leave it, simply adding, by way of illustra. heart

, and speaks only from convictions, not out of spite! in Art is that still occupied by Bach and IIandel, tion of the nature of the man we have to deal with, On the strength of these convictions-and, we presume, of his intimate knowledge of piano-forte playing-he deals

Haydn, Mozart and Beethoven; that they are stan. a plain relation of a single experience. most unmerciful blows-they are only wholesale blows;

dard, and only from their height can we with any In the spring of 1872 we chanced on several occathey are not criticisms-at an artist who has for years always exerted in his art the very best influence among safety judge of the intrinsic merit of any one of sions, at the rooms of Mr. Leonhard, during rehearus, and who, according to our imperfect knowledge of

these piano-forte playing, after many years of study of the in

great claimants.” Is our musical public as sals for the concerts of himself and Mr. Eichberg,

to meet Mr. Woolf, the musical critic of the Gazette. mind a sensitive, delicate, yes, beautiful touch-a clean yet half enough at home with the great masters, execution, an earnest conception of the work he had in to warrant it in hailing and accepting every last During that period he wrote only in praise of Mr. hand; and our critic used to think so too. Our critic finds in 1873 that Mr. Leonhard's playing is “always" charac- extravaganza as a sign of "progress ?”

Leonhard's performances. We had noticed also in terized by thoughtfulness and good laste. But in 1874, -But we hear the howl of the wolf again! This his articles, as well as conversation, a general agreewhen Mr. Leonhard gives his motinées with another gentleman, there is a complete change. The critic tells us time it is a deliberate challenge. He would shift the ment with our own ideas, impressions and opinions that in one concert Mr. Leonhard plays a Beethoven sonata with coldness; "in a second he plays parts of another

issue and the arena of discussion :-a favorite dodge about musical matters; had seen that he was an Beethoven sonata with “an excess of sentiment that al with enemies of this sort; they are not the men to able writer possessing far more musical knowledge most borders on affectation and lack of feeling.” Parts of an allegro by Mendelssohn, to which he accorded the look you in the face. He would transfer the quest- and culture than it was then common to find in those year before “careful and effective treatment," the follow

tion of taste, of artistic poetry and beauty, of the who wrote in newspapers; and we flattered onr. ing year were “greitly confused, not to say bungled." if this critic speaks truly, then the Harvard orchestra, the effect of an art-work, of which all arc entitled to form selves that we had found a strong ally in the advo. Harvard programmes, and Mr. Leonhard's playing and rendering must have sadly deteriorated in the course of some opinion; however uninutructed technically, cacy of pure and noble music. And indeed we still one short year. Other solo performers, according to the into a question of musical grammar and profession- find bis opinions, both of compositions and perform. views of the same critic, do not seem to have been affected in the same way.

al routine; he challenges us as it were to a musical | ance, in their general drift agreeing with our own. Fortunately the reputation of the Harvard concerts and of Mr. Leonhard cannot be undermined by such attacks,

whenever he can write unbiased. But how were we spelling-match ; offers to prove his "superiority” to us but as I do not desire to be counted in among those who | (heaven forbid that we should question it !) in a

deceived! A short time later, when the second directions for censuring with unsparing severity." etc., competitive examination, upon such problems as the Gilmore Jubilee was coming on, we met our gentle. if they can be called criticisms at all. I ask your kind in- reading of scores, the analyzing of harmonies, the man one evening in the Globe Theatre. He accost. sertion of this letter, to which I ailis my signature. scoring of works for orchestra, the composition of ed us and began to speak in terms of derision and

Very respectfully yours,

SEBASTIAN B. SCHLESINGER. fugues, the playing at sight on various instruments, disgust of the Jubilee; said all that we could say The next day brought a third communication etc., etc. All which we (can we say respectfully ?) about its vain-glorious announcements, its claptrap blowing hot an cold, as follows:decline, and for these reasons :

programmes, and the vulgar charlatanry of the

1. We never have pretended to technical musi. whole affair, for which the press, almost without To the Editors of the Boston Daily Advertiser :

cianship at all; and yet, after a life-long loving exception, seemed to be engaged in manufacturing a Will you permit me to say that there is a class of not intercourse with music of the noblest masters, feel. popular enthusiasm. He knew that he was pouring wholly uncultivated lovers of music who take exception to ing perfectly at home with it, although we could all this into willing ears; and we expressed our the recent onslaught on Mr. Dwight for very different rea

not analyze it or construct it for ourselves any more pleasure at finding someboily in that profession who sons from those given by two correspondents whose letters you printed yesterday? They think the injudicious and than we could the friend we love, the beauty of the felt about the thing as we did. Here again hope of intemperate language used by the author of that attack sunset or the ocean we admire, it would seem to be a trusty ally in the good cause was strengthened. will prejudice what is not wholly a bad cause. There are impossible that we should not have learned some But it was all a snare and a delusion! For, as we the last twenty or more years, who will deny the great thing. Our whole aim has been to interest our parted, he said (if not precisely in these words, yet service rendered by Mr. Dwight to the cause of soll music: neighbors and our people in that which has been so words to this effect): “But-I am mortified to say cannot always depend upon his judgment, any more than inspiring, strengthening and comforting to us; to -I hold my position as musical critic in the Ga. one example of what seems to not a few of the really enl- make the masters and their works appreciated. zetle on the express condition that I will say nothing in tivate:1 miisic-lovers of the city a liability to crr once in a

2. To judge rightly of a work of art it is not its columns against the Jubilee." (!) He may have while. The treatment of Mr. Thomas and his orchestra by Mr. Dwight has neither been courteous nor, as it seems necessary to be an artist. Artists-composers, read an involuntary comment in our face, which thomas har been called a charlatan and'an Tgnoramur: painters, sculptors-are oftentimes the worst of probably did not increase bis self-respect. — And and yet, if he is both he has taught the concert goers of critics. Many have learned the trade of Art, who this man who could believe one thing and bind himtra well handled, which they did not know before. We yet remain quite unappreciative; and many miss self for hire to write (should he write at all) the op. do not like unfair attarks upon Mr. Dwight, nor by him. There may be one ring of musicians, and one set of per

the vital point, the æsthetic effect, the quickening posite; this man, after making this humiliating con. formers whom it is the fashion to praise, and another set poetry, the genius of a composition, so busy are they fession, arrogates to himself the character of an im. nothing. But I protest agninst its being conceded that in prying into its technical structure; as many miss partial critic, without fear or favor, and dares tó Mr. Dwight may have immunity in criticism which is not the beauty of a composition in performance, by taunt us with writing in the interest of a clique, -. allowed to others. If he is not prejudiced, he shou'd, neperthelesa, be rebuked for intemperate language in regard watching after false notes, instea: of surrendering dares to brag of his musician ship and “ challenge to Mr. Thomas, for precisely the same reasons that the writer of the article in the Gazette should be reproved for themselves to its spirit.

us to a competitive examination ;-as if, at this stage his offensive way of stating his caxe. XYZ.

of our career, we would descend into his arena to Far be it from us to deny that we may sometimes competition, ,—we who never invited it by any pre present vouchers for our competency, —even if those err in judgment. We should shrink from the claim

sumption of the sort. Let him challenge a profeg. which he demands were necessary or relevant, which of infallibility as we should shrink from the pos sional musician; let him challenge Mr. Leonhard, we by no means admit. Even if he be able enough session, preferring to remain human. We cannot whom he has had the “impudent presumption " (so to solve all the conundrums of his own proposing, feel that our treatment of Mr. Thomas has been un

we said, and we still say it) to treat as an inferior and to perform all the wonderful things of which he courteous, and we distinctly and positively deny

beneath his govereign contempt. Let him challenge boasts, of what worth are the critical dicta, of what that we have ever written one word about him

Mr. Lang. Mr. Parker, Mr. Zerrahn, Prof. Paine, force the rebuke of an oracle which has confessed either charging or implying that he was a charla. even his Jubilee friend Gilmore, if he can presume itself so venal ? tan” or an “ignoramus." For his orchestra and its

so far. Then we should find out how much of a But hear the sequel of the story. A few days performances we have had only words of admiration fugue writer, how much of a score reader, he really later a number of our own Journal came out, whereand of praise; we have often complimented his con is. But is it brave, or cowardly, to discredit one's in we, free to write always as we think, (and this ductorship; but we have as often criticized the taste perception and taste in colors, by asking in a con too may have stirred his envy) expressed our feelshown in his programmes, as well as in the tempos temptuous, bullying tone: “Pshaw! what do you ing with all frankness of the Jubilee; and judge of at which he is fond of taking certain movements in know aborit Chemistry ?”

our astonishment at finding in the next Gazette a the classical symphonies. Thus far our offence 4. To be quite consistent with the spirit of bis guarding us therefor,—and the same strain contin:

third part of a column ridiculing and even blackgoes, but no farther.

We certainly have as good a challenge, this critic ought to go upon the platform ued in one or more succeeding papers! Was this right to our impressions and opinions' (pretending at the Music Hall and play the Beethoven Concerto | betrayal of confidence ? Or will he say that he was to no final judgment) of the "new music,” as they himself, and play it better, before he can have a

not the writer ? He, anyhow, had led us into the have who find it all so admirable and hail it as an evi- right to criticize the playing of another.

snare; he knew it, and he knew that he had also dence of progress. Its admirers no doubt honestly Finally, we should decline to meet, on this or any ity;- after that, it was but human nature that he

put himself in our power by his confession of venal. believe that the new composers have reached a other field, one who has shown so little of the in. / should not feel much love for us, however much he height in Art that was not reached before ; and I stincts and the manners of a gentleman.

could presume upon our patient silence.

or| 8. What right has he to challenge us to such a

Here then is a motive. A little further, and we bert; but the themes come back always with new The Sharland Choral Society-nearly 300 voices, come upon the companion motive, or the counter. charm of treatment, and the instrumentation is ex

well balanced, and of good quality-sang very fine.

ly the new theme, out of which this whole symphony of spite ceedingly rich. This too was finely played.

Spring Hymn,” op. 23, by Goldmark.

As for the composition, the chief charm for us lay was gradually developed. The story is too long to The third Piano Concerto of Beethoven, in C mi. in the orchestral prelude and accompaniments, tell here. Suffice it to say, that shortly after came nor, was played by Mr. J. C. D. Parker with unusu which abounded in suggestive phrases, and rich and the Kreissmaan benefit, resulting in a rupture al spirit and refined execution. His own Cadenza dainty coloring.. The chorus portion opened in an between Mr. Leonhard and his whilom associate in in the first movement was true to the spirit of the

interesting and impressive manner, describing how

“With small beginnings, from mountain sources, chamber concerts; and then this critic, espousing work, skilfully constructed, and not without a cer- gush forth all the streams and waters,"—the same the quarrel of the latter, began thenceforth to dis- tain originality, giving general pleasure. The mid. poetic image with that of Goethe's “ Mahomet's parage the pianist whom he had always praised; dle movement (Largo) was given with fine feeling. Song:” But the work seemed to us to grow vaque

and tame toward the middle, and, with the exception and it was not long before the same animus was There was only the lack of somewhat greater of some declamatory moralizing sentences for an shown towards other artists and musical friends strength, a more distinct vitality of touch, in the Alto solo, sung in a full voice with good style and with whoin this victim had most identified himself, Rondo, which is apt to sound thin and commonplace expression by Mrs. F. P. Whitner, and a somewhat -towards the Association of gentlemen of which he (except in the later themes) unless each note is stirring choral climax, the impressior left upon the had been made a member and to whose concerts he brought out with all its point in the exhaustive Wagner's Meistersinger brought the concert to a

whole was rather disappointing.–The Vorspiel to from the first had been an ornament,-towards the manner of Von Buelow; it is a case where much close. Harvard Symphony Concerts, their conductor, their intensity and much reserved force seem required for The Saturday Matinée. which followed, began orchestra, and the whole "ring " as he would call it. a comparatively slight thing.

with a most beautiful and finished rendering of the - Hinc illæ lachrymæ (i.e, ululatus !)

The sensation of the concert was the singing of certone of Mozart,-in fact another Symphony, in

first Symphony of Beethoven, followed by a Cun. For this, then, must a life-long love and advocacy Miss EMMA C. THURSBY, from New York, a pupil of too nearly the same vein, with four solo instruments, of what is most pure and noble in our Art be scoffed Mme. Rudersdorff, whose influence was apparent in chiefly two violins and oboe, the 'cello entering as at and arraigned as worse than worthless, as an evil her whole rendering of the fine concert Aria (given dante and in the Minuet, which formed the Finale.

solo only in a few phrases near the end of the An. and a crime against the real cause of culture and of for the first time) by Mozart: “Mia speranza ador. The work is long and full of beauties, and doubtless progress! For this must musical criticism and ap. ata,” particularly in the recitative and some dramat at another time and in another connection we should preciation be reduced henceforth to technical anal. ic and pathetic passages of the Cantabile. There have enjoyed it very much, but not directly alter an. ysis and grammar, as in the old times when it was are florid passages both in the Andante and the

otber Symphony, the inost Mozartish one of Beet.

horen. Bargiel's very dramatic, sombre Overture only that and only pedants read it! For this the Rondo, which run up to a great height after the to Medea, a clever orchestral arrangement of some Harvard concerts are to be discouraged and de. manner of the Queen of Night in the Zanberflöte. four-band Ilungarian dances by Brahms, and selecstroyed, till Boston, in its opportunities of instru- These, as written, go up to F above the staff; the tions from the Meistersinger, including the “prizo mental music, sink to the condition of Portland, or phrases had been modified by her teacher so as to

song.” finely sung by Mr. Bischoff, (who also sang

the love song from the Walkuere), made the balance ang small provincial town, dependent on chance tax only her E Aat and D. Miss Thursby has a

of the programme. visits of a travelling orchestra and the sovereign lovely, pure, fresh, sweet, and Alexible Soprano. pleasure and convenience of concert speculators ! evenly developed through its wide compass, and Male PART-SixGryg. The Apollo, under Mr. For this our Boston must be “ weaned from such she sang with style, with pure expression, in tones Lang's direction, sang more admirably than ever in tabes' milk as Beethoven and Mozart, to be suckled now richly colored with warm feeling, now bright their last concert, Jan. 3. . Mendelssohn's setting of

Schiller's “ To the Artists" opened, and the “ Bac. henceforth in the wilderness of “progress” by the and birdlike, as the changing moods of the Aria re

chus" chorus froin Antigone closed the concert. Both hungry dry purse (on harsher milk) of Romulus and quire. It was a very marked success, and we may were given with great fulness, dignity and spirit. Remus,-founders of a race far more distinguished truly say that we have never heard one of these Part-songs, sentimental or playful, filled the inter. for literal stern prose and the capacity for fight, than concert arias of Mozart to such advantage here be- vening, space, all sung with that, exquisite finish, for ideal qualities ! And for this must we be dragged fore.- In the second part she sang twn songs by which becomes cloying after a certain time. One into controversy, which from our heart of hearts we Taubert: Der Vöglein Abschied(The Birdies' critic described the effect with more truth than he hate !

Good Bye,) and Ich muss nun einmal singen" (I intended when he called the exccution “ dead per.

most sing, but don't know why): -both of them fect.” It is not that anything can be sung too well: For such a quarrel we have no time nor taste; quaint and charming and most charmingly rendered, the secret of the fatigue lies, we think, in our feelmatters more vital and more interesting claim our particularly the forid bird cadenza at the close of ing of the disproportion between the comparatively thought. Here, therefore, once for all, and whether the latter, in wbich the bright voice warbled and little consequence of the music in itself and the disported itself with a freedom and a splendor and a

great amount of time and pains which it must cost he return to the attack or not, the matter ends on certainty of each effect in a wav that actually re

to render it so perfectly. The singing of Miss C. our part. Can he suppose that we will waste in called Jenny Lind to us. Here is indeed a fascinat.

V. Lasar, of Brooklyn, made an agreeable variety.

Her very clear, sweet, well-disciplined Soprano quarrel with the like of him another hour which ing new singer.

voice lent the chief charm to Hiller's “Easter could be spent in hearing or remembering Beetho

Morning" for Solo and Chorus; and she sang very

The third Symphony Concert of Theodore Thom charmingly the “Slumber Song” by Franz and ven?

As was chiefly remarkable for an exceedingly long “ The Noblest” by Schumann, to Mr. Lang's fine Concerts

(a wholo honr) and an exceedingly fantastical, ex. accompaniment. An unusually large accumulation of concerts wait travagant

, spasmodic

, incoherent and chaotic sym. listening to the Boylston CLUB, who have made.re. their turn of notice, while our space is unusually phony, (so at least we found it on a single hearing), markable progress under Mr. Osgood. They have

called · Dramatic,” by Rubinstein.

There was small. Hearing too much music in a short period

not so many ripe, smooth, well matched high tenors leaves a dim memory of most of it, however charm- beauty and continuity of melody in the first half of as the older club, but the ensemble is really exceling and exciting at the time. A few notes only the Adagio, but the rest seemed like the improvisa. lent, and they sing with great precision, pure into.

nation, fine enunciation and expression. Their tion of a mnd orchestra in Bedlam; brilliant and programme contained some things indicating a highThe fifth HARVARD SYMPHONY Concert, Jan. 6, dazzling effects in detail, wonderful difficulties splen er aspiration than part-songs." Chief of these was

“ Adoramus te, Christe” by Palestrina, a noble gave more than usual satisfaction. The orchestra didly executed, but tending nowhere, leaving noth.

piece of gave forther signs of the new life and ambition that ing in the mind; and yet we doubt not it is all

gram. trained to a beautiful sostenuto, one of the rarest arts

matically written and in the highest degree in singers now-a-days. The chorus: “God is great” has been kindled in them. Earnest and careful rehearsal bears its good fruit. The Ruy Blas Over. ingenious, but to what end? Why it should be by Jadassohn, one of the young composers of the

called drainatic we could not see. Traverses the day, with accompaniment of horns and trombones, ture of Mendelsschn was played with such precision, whole range of human passions and emotions? | is written in a pure religious style and was very spirit, light and shade, as would have done credit Heaven save us from some of these passions, these effective. There was much beauty, too, in Mr. Os. to a Thomas orchestrn. So too was that model of a emotions, if there can be any like them !—But the good's Angelus, with triple tenor solo. All these perfect Symphony, the G minor of Mozart, beanti. Syınphony had been industriously written up befully played ; even that close contrapuntal knot of all foreband, there was an analysis with musical notes piles of part songs the Club seem to have been para

on some of the programmes (we could not get hold ticularly happy in bringing to light interesting nov. the parts, which Mozart is so fond of making, in the of one); and at the end there was a mysterious out elties. Mrs. H. M. Smith sang Mendelssohn's finale, was distinct and vigorous, albeit a little rough. burst of applause, loud and persistent, from the Spring Song" (in B flat), “ Mother. O sing me to The Grand Heroic March in A minor (op. 66) of outskirts of the hall and the high galleries, while rest" by Franz, and “ Bird of Love" by Lemmens.

all around us in the front and centre of the floor Two of the more humorous part-songs: “At all Schubert, arranged for orchestra (from the original nearly all sat unmoved and puzzled about the times of day," by Veit, and the Austrian “ Waltz for four hands) by Otto Bach, was heard here for hole thing. Of course it was "received with great Song" by J. Strauss, are very clever and effective. the first time, and proved a wonderfully rich and enthusiasm" in the next morning's papers and the interesting work. It has two Trios, of the rarest despatches to other cities.

Here an end for now! There remain Mr. Pera. beauty, which are again touched upon in the very Beethoven's Coriolanus orerture, though too in. broad dramatic Coda. The only fault that could be tense a thing to follow that, was really refreshing po's concerts, and a whole week full of Vox BUELOW found with the Mareh is its great length, by reason after it, because so clearly full of meaning and of with the Philharmonic Club, too rich and full of of frequent repetitions,-the common fault of Schu. / real passion.

matier to be dispatched here in a corner.

now.

an

were new.

Special Notices.

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ADOLF HENSELT

which are mentioned on the title.

JOACHIM RAFF

Some Living Composers.

friendship of Mendelssohn and Schumann, which

had a great influence on his studies and artistic aims. We take the following notices from the very care.

In 1814 he made another concert tour through North fully prepared and instructive pamphlet programme Germany, and in 1846 a journey to Copenhagen to

DESCRIPTIVE LIST OF THE (64 pages) of “Carl Retter's Six Performances of show his patron, King Christian VIII., what good Pianoforte Music in strictly Chronological Order,"

use he had made of the talent bestowed upon him. L A T E S T M U S I C, In 1851 he made a trip to Paris in company with

Pablished by Oliver Ditson & Co. recently given in Pittsburgh, Pa.—Pittsburgh must

the violinist, Konigslow, where he made the acquainbe a remarkably musical place, if it will pay, not

tance of Hiller, who engared him as teacher of the only for such concerts, but for a programme so ex

piano and counterpoint for the Conservatory at Co. pensive.

Vocal, with Piano Accompaniment. logne. In 1854 was music director at Barmen. In

1859, university music director at Breslau, and in New Songs of Miss Jennie Hughes. (With Was born May 12th, 1814, at Schwalbach, and is 1861' was appointed director of the world renowned portrait).

each 40 one of the leading pianists of our time, and quite as Gewandhaus Concerts," at Leipsic. Since that

No. 1. One of the Boys. 3. C to f. remarkable as a composer, in that he excels in qual. date he has been a professor at the Leipsic Conserv.

2. Tommy, make room for your ity more than in quantity. His father was a cloth atory, anil since the death of Moscheles, a director

Auntie. 3. A to e. manufacturer, and removed to Munich in 1817, also. His concert tour to England, in 1867–69, was 3. Under the Lilacs. 3. C to e. When Adolf was but six years old he began violin a series of brilliant successes. As a composer he lessons, but soon evinced a more decided talent for commands great respect, and has written in every Not before Pa. 3. Eh to e.

Comic songs suited to the taste of “the boys." the piano. He received his instruction in piano style. His opera," King Manfred," has been pro

Linsdale. 30 playing and composition from the Baroness von duced, and was well received wherever given.

One of a set called “Scenes by Gaslight." and

including more than a hundre'l comic songs, all of Flad, who took a deep interest in the young artist. Through the efforts of this lady he was patronized

ANTON RUBINSTEIN by the King of Bavaria, who defrayed the expenses

Four Hymns in Anthem form, by Eugene L. Was born November 30th, 1829, at Wechwotynetz, of a visit to Weimar, and lessons from Hummel.

Buffington. ea. 35 Russia. His first instruction in music he received He returned to Munich and proceeded to Vienna in from his mother, and was afterwards a pupil of

No. 1. Gracious Spirit. 4. C to g. 1832, where he studied composition for two years: Villoing, at Moscow. As early as 1839 he under

A sweet Soprano solo, and elegant chorus or besides practicing ten hours daily at his piano. As took a concert tcur, in company with his teacher,

quartet. a natural consequence, his health broke down and

to Paris, where he made the acquaintance of Liszt, Souvenir de Swampscot Album. By Vincenzo he was compelled to take a vacation, which he under whose direction he stullied most earnestly.

Cirillo, ea. 50 merged in a concert tour, visiting Berlin first and then Dresden and Weimar, in all of these places tended tour, going to England, Holland, Germany

After a year spent in this way, he made a more ex No. 2. A Mother's Madness. (La madre creating a furor by his original and brilliant style and Swelen. In 1845 he studied composition under

folle) 4. C to f. of playing; lastly to Breslau, where he married, Prof. Dehn in Berlin. The year: 1846-48 he spent

For Mezzo-Soprano. Perhaps more properly

"a Mother's sadness." and in 1838 he went to St. Petersburg. Here he gave concerts very successfully, and the E:npress 1848 he returned to St. Petersburg, and was ap

in Vienna and Presburg as a teacher of music. In No. 3. The Song of Elisa. (La Canto de appointed him as her chamber:pianist. Since that pointed Chamber-pianist to the Grand Duchess

Elisa.) 5. E to g. time Henselt appears no more in public, but plays Helene. After eight years of earnest study he ap.

For Soprano. frequently in private circles. His pianoforte com

No. 4. Return. (Ritorna). 5. F to g. positions are full of deep feeling and imagination. peared. in 1856. in Hamburg, with his manuscripts,

For Soprano and Tenor. Among his best are his etudes, one piano trio, and and traveled through Germany, playing his own

All the 4 numbers hare Italian and English words, compositions and creating a suror in every city. one concerto, Piano literature has nothing more From this time his reputation as a pianist and com

and are worthy of careful examination. beautiful to offer of the same genre than his few

poser spread with great rapidity all over Europe Sallie by my side. 3. F to f. works.

Veazie. 30 and America. In 1858 he returned to Russia, and

" Thro' the laughing summer, gave a brilliant series of concerts in St. Petersburg

How the moments giide.” Was born May 27th, 1822, in Lachen, on Lake Z11. and Moscow, and finally settled in the former place.

Neat and sweet love song. rich, and his earlier years were passed in Wiesen. He was soon appointed Imperial concert director, When I survey the wondrous Cross. 4. stetten, (Wurtemburg). He was educated for the with a large salary, for life, as well as receiving a

Eb to g.

Danks. 35 profession of teaching, and was a school principal | title of nobility, all as marks of the esteem in which

Ananthem or quartet with rich and rather florid for four years. As a youth, he showed a fondness he was held by his Imperial master. In 1862 he melodies, and a Soprano (or Todor) solo. for music, and learned to play the piano and violin founded a Conservatory of Music, which still exists Sweet Dreams of Childhood. (Illustr. Title). at a very early age. In 1842 his love for music was and flourishes under his fostering care. In the 80 aroused that he decided to make it his profession winter of 1867–68 he made another triumphal con

Song and Chorus. 3. Ab to e. White. 40 for life, and he began the most earnest study of cert tour, embracing the greater part of Europe.

Very sweet reminiscence of home scenes and

childish joys. composition, 28 well as piano and violin, and soon winning still greater laurels as a virtuoso and com. after began composing. In 1843 he sent some man poser. As a pianist he has few rivals aside from

Instrumental. uscripts to Mendelssohn for review, and the latter, Liszt and von Buelow. His best works are those seeing their value, recommended them to Breitkopf in the form of chamber compositions, although his Auf Wiedersehen. (Au revoir). Waltzes. & Haertel for publication, who gave the young, en

3.

Aronsen. 50 “Ocean” symphony has made its way throughout thusiastic and ambitious composer great encourage the musical world. His piano concertos, when

A fine set of new waltzes, with just enough of

the good bye" sentiment in them to make them ment. He continued his studies untiringly, mean played by himself, are grand and effective, but, gracefully brilliant. while giving lessons to earn his livelihood. In 1845 strange to say, they are scarcely ever played by he met Liszt, by whom he was well received, and others. In 1873 he made a concert tour through Pompon Galop. 2. G. Aronsen. 40 who invited the young man to accompany him on a the United States, which is still fresh in the minds

Two or three lively airs from one of Lecocq's tour through Germany. Later, as Liszt proceeded of many who had the rare pleasure of hearing him.

operas, making a very light and attractive galop. to Paris, they separated, and Raff went to Cologne,

The Life of Youth. 12 easy pieces. Lichner. 30 where he became personally acquainted with his

No. 9. Polonaise. 3. F. former benefactor, Mendelssohn. In 1846 to 1848, | Was born March 7th, 1833, at Altona. He received 12. Nocturne. 2. D. on the Rhine, where he founded his reputation as a his first instruction in piano playing and composi. musical critic and writer. In 1850 he accepted an

Instructive pieces, pleasing and musical. tion from Edward Marxsen. In 1853 he made bis invitation from Liszt to go to Weimar, and there first concert tour, and by a happy coincidence met Glissando Mazurka. 3. C. Baumbach. 40 found che desired repose and rest necessary to enable at Dusseldorf the celebrated Schumann, who inter The glissando belps amazing!y to play a seemhim to compose larger and inore pretentious works viewed the young artist at length, and was so pleased

ingly difficult piece with facility. This is a fine than he had before attempted. In 1855 he married,

Mazurka, easily learned. with him and his enthusiasm, that the next number and in 1856 removed to Weisbaden, where he now

of the “Neue Zeitschrift für Musik,” (Schumann's Belles of the Kitchen. Galop Brillant. 3. G. resides. He has written with eminent success in all paper,) contained a long and highly eulogistic arti

Knight. 35 branches of vocal and instrumental music. His cle on the merits of young Brahms, pronouncing

A bright reminiscence of the “Vokes Family" “De Profundis,” dedicated to Liszt, is particularly him a "rare genius, of whom great things are to be

and their laughter-provoking play. worthy of mention as a deeply thoughtful and noble expected.” The sequel shows the estimate was not Daisy Chains. Caprice. 5. F. Dorn. 75 work. His symphony, “An das Vaterland," re placed too high, and Schumann's expectations would A peculiar but very pretty form, in which most ceived the first prize among thirty-two competitors

no doubt have been fully met, could he be alive to. of the () measures commence with a sextet of at Vienna, in 1863. His later works, " Lenore” day to see the great strides made since 1853 by his

16ths. Fairy like music. and “ Im Walde” symphonies, are masterpieces, promising protege. In addition to his renown as a The Old Oaken Bucket. Retrospective Mazur. and performed by all the leading orchestras of the composer, he also ranks among the most classic ka. 4. Bb

Grobe. 60 old and new world. He has bad seven orders con

pianoforte players of the age, having an immense As this is opus 1990, Mr. Grobe's retrospection ferred on him by different sovereigns of Europe, and technic, and a most noble and impassioned style.

must extend a great way. This is an excellent in 1872 was elected an honorary member of the The 1858-63 he passed in Hamburg, and then went

transcription of a fine old tune. Philharmonic Society of New York.

to Vienna as director of the “Sing Akademie." In Concert Variations on the Austrian Hymn. 1866 he returned to Hamburg. His fame has grown 7. F.

(For Organ). Paine. 1.00 Was born June 23d, 1824, at Altona, and received rapidly within the last few years, and his time is As these variations require a masterly use of the his first musical instruction from his father. The now spent between composing and traveling through pedals, they are very difficult, but will be sure to

win applause. boy made rapid progress and played in public when Europe, giving piano concerts and also leading his but eleven years of age. He studied the violin, as great orchestral and choral works. His most cele. well as piano. When eighteen years old he made a brated work is the" Triumphlied,” a German nation. ABBREVIATIONS.-Degrees of difficulty are marked concert tour to Denmark and Sweden, with the al requiem, having for its subject the state of mind 1 to 7. The key is marker with a capital lette: as C, B most flattering success. In 1843, in Leipsic, he of the German nation during and after the Franco- if on the staff, an ilalic letter the highest notë, if above

flat, &c. A small Roman letter inarks the highest note, jursued higher musical studies, and enjoyed the German war.

JOHANNES BRAHMS

CARL REINECKE.

the stair.

#OME MUSICAL LIBRARY.

CON

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. 6 Gems of Strauss tains nearly all the favorite compositions of the brilliant composer ; and so of other books. Price of each book in boards,

$2.50. Price of each book in cloth,

3.00. Price of each book in fine gilt,

4.00. 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 tbeir contents, and are invaluable for teachers and pupils, being well classified, and filled with the most entertaining and useful inusic, both vocal and instrumental.

THE PAGES ARE FULL SHEET MUSIC SIZE.

A Collection of Easy and Pleasing Music.
The Organ at Home. Instrumental. 180 pp.

For REED ORGANS. About 200 pieces, skilfully chosen and arranged.

GENERAL COLLECTIONS OF POPULAR VOCAL MUSIC.
Gems of English Song. Vocal. 232 pages.

Published in 1875, and is filled with pieces that have, quite re-
cently, become established favorites.
Wreath of Gems. Vocal.
Silver Chord. Vocal.

200 Musical Treasure. Vocal.

200 The last named book contains instrumental as well as vocal music, but the other three have vocal exclusively. The four books have within their covers the cream of all the English Songs that are published.

200 pages.

THE MOST BRILLIANT MUSIC EXTANT. Cems of Strauss. Instrumental. 250 pages.

Nothing can be brighter than Strauss' music. And these are his best pieces. The choicest Waltzes, Polkas, Galoks, Quadrilles, &c., including those played under the lead of the master, during his visit to America.

THE BEST SONGS OF THREE NATIONS.

A most Useful Book for Teachers and Scholars. Gems of German Song.

200 pages. Home Circle. Vol. 1. Instrumental. 216 pages. Gems of Scottish Song.

200

A large collection of easy pieces, and well fitted for the Moore's Irish Melodies.

recreation” of learners.

200 All full, to repletion, with beautiful music, but each book entirely

The Sccond Volume is as good as the First. different in character from the o:her.

Home Circle. Vol. II. Instrumental. 250 pages.

The pieces in this book are a shade more difficult than those THE BEST SONGS OF ALL OPERAS.

Vol. I., and to them are added a few excellent Four-Hand pieces.

Operatic Pearls.

200 pages.

Songs extracted from about 50 operas that stand highest in popu

A rery Complete Collection of 4.Hand Music. lar favor. Foreign and English words.

Piano at Home. Instrumental. 250 pages.

Filled with the best and most entertaining (easy) music for 2 THE SWEETEST AND BEST OF SACRED SONCS.

performers. Gems of Sacred Song Vocal. 200 pages.

and

Two Comprehensivo These are not psalm tunes, but sheet music songs. with accompani

large Collection, POPULAR ments that may be played either on the Piano or Reed Organ.

PIAXO PIECES, .

Pianists Album. Instrumental.
THE VERY BEST VOCAL DUETS.
Shower of Pearls. Vocal Duets. 240 pages.

216
Pianoforte Gems. Instrumental.

Each of the two Books includes the most successful music of the Duets by Mendelssohn, Glover, Bishop and others, including nearly all that are of acknowledged beauty.

period of publication; or, in other words, the best. piano pieces

issued during about two years. 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.

220 pages.

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