« VorigeDoorgaan »
all the proofs of this fact at present. "Som sentiment, -of the proper adaptation of music the whole, that of Burney [4011.61 iz the most uso. mer is a coming in" would go a good way to words, the one object seemed to be to ful, and, as well as the history by Ilawkins [ 41142.11, alone to prove it. So would some curious clothe the canto fermo with such complicated is valuable for reference. Busby's history [4042.13] pieces of Welsh harp music given in Burney's and artificial ornaments as to re der it nearly is a condensation of these two works. The smaller History. So would the testimony of Giraldus inaudible, nearly unintelligible, and utterly works of Stafford (830.57] and IIogarth (209.9) are Cambrensis. The argument to this effect is unmeaning to the uninitiated hearer.
also derived mainly from these authorities, but carwell worked out in the Discour Préliminaire,'
ried down to 1830. Chappell's history [4044.52),
(To be Continued.) prefixed to the 1833 edition of Fétis's “Biog
of which one volume only has appeared, goes down raphie des Musiciens.". But although it may
to the fall of the Roman Empire. The second will be assunied that the nations of norther Europe
treat of the Middle Ages, and is to be continued ly Some Living Composers.
Rimbault. The history by Ritter (4048.55 and were acquainted with harmony from a very dis
(Concluded from Page 168.)
209.22] is brief and elementary, and Bird's "Gleantant epoch, perhaps as early as the commence
ings” [8049.13 and 209.3] is a compilation of musi. ment of the Christian era, yet it is none the less true that no attempts were made for several Was born January 12th, 1837, at Konigsberg. Na
Hullah's history [8053.11) is deroted to centuries to engraft this secular harmony upon began
his studies very early in life, without a teach- Schlüter's History.” [1048.22] is concise and
ture seemed to destine him for a musician, and he modern music, as are also his • Lectures ” [8053.10). the melodies of the Church. If we turn to the
e:, till Ehlert and Morpurg, taking an interest in brought down to the present day. ancient treatises on music, as reproduced in
his developing talents, provided for his further edu Fétis, one of the most prolific writers of the pres. Gerbertus and De Coussemaker, we shall see cation. After about two years, both his teachers ent time, has died, withont completing his valuable that the first attempts at harmony practised by left Konigsberg, and after much earnest and consci. / “ Histoire Générale de la Musique” [8053.12). of the ecclesiastics, who wrote these mediæval entious study, ho composed a number of works, which three volumes have appeared. treating of the books, were composed mostly of consecutive among them overtures, sonatas, string quartets, and music of the Egyptians, Assyrians, Hebrews, Arabs, fourths, fifths, and octaves, of so crude and several vocal pieces, all worthy of mention. The Indians, Persians, Turks, Greeks, Romans and Etrus
This is the latest general history of so large inharmonious a character, that it is a matter of year 1856 was spent in Russia, giving lessons in the astonishment how any ear could have tolerated effort to get enough money to visit Robt. Schumann, a scope, and is profusely and admirably illustrated.
His object was never accom
A fourth volume is announced. such hideous sounds. It is perhaps hardly plished, as Schumann's death soon followed, and
The histories in German are numerous and most correct to consider these rude attempts as being Jensen was not able to return to Germany till 1857, valuable. That of Ambros [4045.13] is as yet inharmony at all. Imagine a body of voices sing where he wandered restlessly from place to place, complete, and in the first volume treats of the uning a piece of plain song in unisons and octaves, living in Berlin, Leipsic, Weimar, Dresden, &c. civilized and half civilized races and the ancients. whilst a few picked singers sang the same mel. During the same year he was appointed music direc- Vol. 2 includes the early Christian music and that ody a fifth higher or lower. We naturally tor at the opera in Posen, but soon left the position, of the Troubadours. Vol. 3 covers the time from should shrink aghast from such cacophony. and journeyed to Copenhagen, to make the acquain. the Renaissance to Palestrina. His "Bilder aus dem Yet our ancestors thought such music a won tance of the composer Niels Gade, not returning to Musikleben der Gegenwart” [8045.17] is on the derful and beautiful piece of art, and had great Konigsberg for two years. In 1866 he was appoin- present condition of musical culture
. Brendel's respect for the clever people by whom it was ted first professor at the virtuosi school in Berlin, Geschichte der Musik” [4045.10] concerns Italy, developed. I know, indeed, that Dr. Crotch which position he resigned in 1868, and settled in Germany and France, from the early Christian times. and many subsequent writers have imagined Dresden. As a composer he justly ranks yery high, on the music of the present day, see his Musik that the plain song was sung by such a powerand belongs to the extreme new school.”
der Gegenwart” (8045.5). Other general bistories ful body of voice that the comparatively feeble
nie those by Reissmann (8045.28]; Forkel (4041.91;
Lafaye, “ Histoire Générale de la Musique et de la intonation of the fifths and fourths, (called in
JOSEF RHEINBERGER those days the "Organum,") produced an effect Was born March 17th, 1839, at Vaduz. His pre present day may be mentioned the works of Kiese.
Danse” (4037.10). Among those treating of the analagous to that of the mixture stops in an or cocity was such that we find him at the tender age
wetter [4052.19]; Marx (4042.16]; and Stoepel gan, the object of which is to strengthen the of seven years taking the place and performing the
[1052.50) harmonics of the foundation stops. But Iconduties of the organist in the village church, under
On the mosic of the Ancients, see the works of fess this idea seems to me to be utterly unten- many difficulties, one of which was obviated by nailable; for in order to produce such an effect as
ing blocks on to the pedals to raise them. His first Burney [4012.20]; Weitzmann (on the Greeks) is imagined, the various harmonics must be in composition, a mass with organ accompaniment, [4052.15]; Gevaert (4042.58); Engel (Assyrians, troduced in the right place-i.e., at the same
vas performed the same year. The years 1849-50 Egyptians and Hebrews) [4045.56]; Bontempi intervals above the fundamental sound as the
were spent in studying harmony at Feldkirch. In (Greeks) (4041.1); Lloyd's "Age of Pericles.” Vol.
1851-54 he was a pupil of the Royal Music School 2 [2962.17); Nolan (4032.4); Kiesewetter (Christ. natural harmonics of a string or tube invariably at Munich, where he received organ lessons from ian era to the present time) (4052.19]: Clément, occupy. In fact they ought to be placed at the Herzog: piano lessons from Leonhard, and theory of
Histoire Générale de la Musique Religieuse” same distances of pitch as are the principal, music from Dr. J. J. Maier. From 1855-59 he [8045.3); Sacche, "Antica musica dei Greci twelfth, and fifteenth, in an organ. It is per- taught music in Munich, and acted as organist when [4019.40). fectly clear, however, that such was not the opportunity offered. From 1859–65 was teacher at PERIODICALS.-The musical history of the present case in the days we are now considering; for
the Royal Music School. From 1865–67 he was di- century, and of the period immediately preceding, the organum was sometimes a fifth or a fourth rector at the Royal Opera. In 1867 he was ap. 1 is to be found largely in the biographies of the va. above or below the Cantus Firmus, and there
pointed professor of counterpoint and organ playing rious composers of the time, and, especially for the fore utterly unlike the effect produced by the
in the new Royal Music High School at the same later years, in the numerous and daily increasing mutation stops and mixtures of an organ. We
place. His works are numerous, and in every form, periodical works, the full indexes to which, particmay therefore conclude that the earliest at
from opera, down to the most humble pianoforte ularly of the German, French and English periodi.
sketch; but all are marked by profound learning, cals, refer the reader to a very complete outline of tempts at ecclesiastical harmony, or diaphony, deep thought and a poetic spirit. His opera The all the principal events and productions of the muas it was sometimes called, were utter failures, Seven Ravens,” met with immediate and flattering sical history of this period. Especially valuable is and only produced effects which would drive
Rheinberger is regarded by many as the Allgemeine Musikalische Zeitung,” Leipzig any modern musician distracted. Gradually most learned contrapuntist in all Germany, and [1034.1], which, beginning in 1798, completed its these long periods of perpetual consecutives great hopes and expectations entertained fiftieth volume in 1848, and was then continued by were diversified by the cautious admission of regarding him, as well as prophecies of a most bril- the “Neue Zeitschrift für Musik” (4043.1], giving other intervals than mere octaves, fourths, and liant future.
tocether a complete chronicle of musical history fifths; and even these were exchanged and
during the whole of this century to the present day. varied among themselves. Thus arose the old
See also the “Caecilia”,[4058.1], the “ Berliner Allart of descant. The treatises on music of the The materials for a biography of this talented Marx ; Koch’s “ Journal der Topkunst" [4059.11];
gemeine Musikalische Zeitung" (4053.8), edited by 12th and two next centuries contain a vast num young man, even in brief, are very limited. It is and Eck's “ Tagebuch” 1780–1837 (4058.2). In ber of minute rules for “discanting known that at the opening of the Royal Music School French, see the Revue et Gazette Musicale' plainsong. Sometimes this discanting was ex in Munich, in the year 1867, he applied, and was ad- [8050.5], which covers the last forty-three years and temporized at the moment of performance, and mitted as a pupil, studying composition under Rheinaffords a good synopsis of French musical history would be what the Italians called “contrap- berger and piano playing under Buelow. He inade of the present tine. See also Scudo's “ Année Mu. punto alla mente.” Sometimes it was care
the most rapid and extraordinary progress, and at sicale fully elaborated and written down. And we the present time his ability is rewarded and recog. Musical World" (not in this library) are a most val
[4039.10). The volumes of the “ London must observe with respect to this improved nized by his appointment as professor of pianoforte wable chronicle of English musical history of this harmony, that it does not appear to have been playing in that institution. His already numerous
century. See also the London Musical Times borrowed at all from secular music, but arose
works (mostly for piano) have rapidly gained popu- [8055.10]; and the Quarterly Musical Magazine,
larity in Europe and America, and to-day he occugradually among ecclesiastical musicians as
from 1818 to 1828 (4045.14]; and, for later years, time went on. We must also observe that it pies, while still a young man, a most enviable posi- the “Orchestra” (8050.8)."' of American Periodi
cals, Dwight's “ Journal of Music ” [6170.1] has now was modified, improved, and ultimately per
maintained its existence through a number of years, fected, through the invention of signs to express the various duration of notes-called
Musical Works in the Boston Public
and besides its record of musical history during this - Musica Mensurabilis."
time, offers a great number of carefully selected biTo this we undoubt.
ographical, theoretical and critical articles from foredly owe the origin and rise of counterpoint. (From the Quarterly Bulletin, Jan. 1878.) eign periodicals. Besides this are the · Boston Like all new fashions, this art of adding florid
General HISTORIES.—Nothing in English has yet Musical Times” [52402.6); the “Orpheus" (N. Y.) counterpoint to the ecclesiastical plainsong was
[8040.59]; Boston been written so comprehensive in plan as the works ) (52402.5); “Vox Humana carried to an extravagant extent, and grossly of Burney and of Hawkins, which were published Jusical Magazine” (1839-42) (8046.10) abused. Nothing was thought of propriety of as rivals in 1776. Both are prolix and dry, but, on Special HISTORIES.-Desarbres, “ Deux Siècles à
l'Opéra," 1669–1868 (8049.25]: Fink, "Geschichte umes of Beethoven's “ Letters,” edited by Nohl (in of Seraphael, with Joachim, Jenny Lird and Stern. der Oper” [4056.12]; Edward-, “ llistory of the German) (4895.1, English translation by Lady Wal. dale Bennett, under the names of Aronach, Julia Opera' (8049.19]; Hood), “ Juric in New England' Jace (4047.40); “ Buethoven ein dramatisches Char. Bennett and Starwood Burney. It is one of the [4049.5): Dunlap, “ American Theatre" [4401.17); akterbild " (4876.10); Sargent's Bronze Beei.ho. most fascinating of art novels. See also “Goethe Dalı, "When was the Drama introduced in Ameri. ven" (746a.2). See also the Thematic Catalogues and Mendelssohn” (2849.63), on their personal rela. ca?” (4404.19); Chouquet. "La Musique Dramat. of his works (8044,12; 4046.36). A portrait will be tijns, by Dr. Carl Mendelssohn Bartholdy. ique en France" (4045 5.1: Winterfeld's Evange found in Rimbault's Gallery of Great Composers Moscheles. Lise, by his widow (2849.58; sec also lische Kirchengesang" (4052.5); Hogarth's " Musi. (4040.52). An interesting article on Beethoven (4049.66). cul D, ama" (4047.25); Wasielewskv. “ Die Violine and his biogra hies is in the British Quarterly Re. und ihre Mei-ter" (8045.6): "The New Opera,". a view for January, 1872 (31733.1); another by Haw
Mozart. The leading lives are that by Nissen, description of the new building in Paris, with a his. eis, in the Contemporary Review. Vol. 2. (7321.1). I excellent life (in German) (4046.4): Oulibicheff
who married his widow (4044.3 and 4046.3); Jahn's torical sketch of the opera. containing a list of all | See also the article in the third volume of the Ency thu works performed there since 1669 [2639.12); clopæerlin Britannica, by Haeffer. of the lives,
(4046.6); Schlichtgeroll. (545.19.20 : in French,
1067.18); Bombet (A. 216.3); Holmes (545.21). Nuitter, “ Le nouvel Opéra,' descriptive of the new Schindler's, though very unsatisfactory, is the best
His " Letters" from 1769 to 1791 are of great intereditice (2339.59); Pech, “Synopsis of Piano Liter for popular nse, to the English translation of which, ature (8042.60]; Clément, Les Musiciens Célè. valuable additions were made by Moschelcs (545.3).
est (4046.41). See also Crowest (4048.54); "Ergeb. bres du 16ine Siècle” [8045.4); Berlioz, “Modern Thnver's, based on recent researches, is the most
nisse über die Echtheit des Requiems" (4946.5); Instrumentation" (4042.2); Blaze,“ L'Opéra Ital. reliable authority. An interesting biographical ar.
Chronological Thematic Catalogue” (8053.13); ien," 1548–1856 [8045.13).
Portrait in Rimbault's Gallery (4040.52); Rau's ticle in the Edinburgh Review for October, 1873 ;
· Mozart," an interi-sting art novel (764.20; 2023.3). HISTORIES OF INSTRUMENTS. — Organ. The history also in Living Age, No. 1537. Grillparzer, in the
Wurzbach's “ Mozart Buch " (8048.5) is a good bib. by E. J. Hopkins (204.3 and 8053.4) is the most re
eichth voluine of his works, gives some interesting liography of everything connected with Mozart. cint and the best. See also Heurn - De Orgelmaa. * Erinnerungen” (2909.65). See also “ Beethoven, Schizzi, " Elogio storico di Mozart” (4046.2). ker" (4056.6). Piano forle. Rimbault's elaborate eine Kunststudie,” by Lenz (4046.9).
Palestrina, work [4011.50] is the latest and best book. See Bellini, V. Life, by Pouvin (4059 23); Riehl's
Leben" by Baini ( 1045.5; 8045.11 ; also Paul, “ Geschichte des Claviers" (1868) (4057. “Musikalische Charakterköpfe” (4046.42).
in Italian, 4741.5). 211. Violin,
Sandys, (1864) [4056.26); Hart, Berlioz, H. See Rever's “ Notes de Musique" for Pirrini, N. “ Notice sur la Vie et les Ouvrages (1875) [4042.59), buth elaburate; Otto [8045.50]: n sketch of his life (4048.63).
de Nicolas Piccinni," by Ginguené (4046.18); DesPearce, concise (8049.51]; Regli, - Storia del Vio.
Cherubini. Memorials, ly Bellasis (4045.6); Ar.
noireterres, Gluck et Piccinni" (4045.50). lino in Piemonte” [4056.27]. Bells. Gatty, "The ticle by F. Hiller, from Macmillan's Magazine, in
Purcell. Life, by Novello (4040.1). Bell , its Origin, History and Uses” (6238.12); Living Age, No. 1627.
Rossini. Life, by Edwards (1509,2 and 8041.63); Early Bells of Massachusetts" (2355.53). See al. so the “ Description of the Musical Instruments in
Chickering, Jonas. (514.24); (4449.74).
by Wendt, in German (8049.17); Azevedo (8040. the Sonth Kensington Museum,” by Carl Engel Chopin, F.
Life by Liszt (551.2.4); 4148.57); [4044.53].
Atlantic Monthly for April, 1873. See also George Schubert. Life, by Kreissle von Hellborn (8045. THEORETICAL WORKS.-The library of the late M.
Sand's “ Lucrezia Floriani” (2679.73); also an ar 26); by Austin (1528.8). Article in Contemporary de Koudelka, received in 1838 as a part.of the gift ticle in the Contemporary Review, Vol. 2, by Haw Review, Vol. 2, by Haweis (7321.3). of Mr. Bater, with the additions that have been eis (7321.3).
Schumann. Life, by Wasilewski (4047.28); in made to it, offers to the musical student a rare col. Erard, S. Lise, by Brightwell (551.7).
German (8045.19). Collected writings in German lection of the works of the older theorists, and it is Gabrieli. Life, by Winterfeld (4046.14), giving (8045.1). See also “ Wagner and the Music of the to them rather than to the amateur that the musical a history of church music in the sixteenth and sev.
Future" (40-18.59), by Hueffer. collection of this library will be of interest. It con enteenth centuries.
Spontini. Raoul-Rochette, “ Notice sur la Vie et tains many of the most valuable treatises by the most learneil authors of the fifteenth and sixteenth (4046.16); Desnoireterres, “ Gluck et Piccinni Gluck. Life by Schmid (4046.15); Leblond les Quyrages de M. Spontini” (8042.32).
Vogler, G. J. “Biographie,” by Fröhlich (4046. centuries, of which the titles and shelf numbers will I (4045,50): “ Ritter Gluck und seine Werke," in
20). be found in the “ Index," pp. 557–559, which should German by Seigmeier, from the French of Arnauld
Weber, C. M. von. Life, by M. M. Von Weber; be carefully examined by the professional student of |(4046 16). Schinid's, published in 1854, is the most
translated by Simpson (4046.39). music, as well ns the additional titles given on page extensive, and the leading authority.
Wagner. Life (8049a.50); see also Raff (8019.14); 429 of the “ Supplemă-nt.”
Halévy, L. " Vie et Euvres" (8043.41).
Gasparini (8043.38); Hueffer, Wagner and the The later historical and theoretical writers are
Music of the Future" (4048.59); Müller (8015.16); also well represented here. Among thein will be
Handel. The standard lives are those by Schoel.
Art Life and Theories,” translated by Burlingame found the works of Albrechtsberger [4012. 3); Ad cher (545 2; 4046.30). which is in English, and conlung (4059.81: Bach (C. P. E.) (8051.61: Burney tains a Hindel bibliography and Chrysander's discussions on Wayner and his music. In his writ
(4048 62). In all modern periodicals will be found [4012 20): Fix [4040.13]Gerber [4040,22,247 (4047,38), which is the best. For younger readers ingg liis own theories will be found, forcibly and elForkel (4035.20]: Jones (1052.41); İliller [4047. 01.3); and Edgar (548.13 and 549.30). See also give a fair idea of them. Seluré, in lis“ Drame 27]; Hawkins (4042.4); Laborde (4044.9]; J. G. L. Mozart (4046.2]: Martini [4041.8); Rousseau British Quarterly Review. for July, 1862 (3173.1
Musicale” (4045.61), devotes the second volume en. [4036.71; Schiebe (4059.2); Schubart (4035.11]; and 7310.00); Ramsay's “ Genius of Handel
iirely to Wagner, and it is the latest work on the
Handel Tartini (4055.1); Ambros (4045.13]; Bellermann (4046.31); Meyer (4049.17); Gervinus, (4052.23); Brendel (4045.10]: Coussemaker (4057. and Shakespeare” (8045.23); Townsend's - Visit of subject (1875), strongly defending Wagner's views.
There are short biographical sketches in the works 16]; Chrysander (4047.38]: Dehn (4057.4); "Drie Handel to Dublin” (8046.2); Harper's Monthly,
of Rimbault and Tytler, and an article in Scribner's berg (4052.12): Fétis [8050a. 1]; Hauptmann Vol. 15 (5210.12); Haweis. “Music and Morals” [8035.6); Hand (4049.9) Ilelmholtz (4045.57] : (8049.32); also Mainwaring's “ Memoirs of Ilandel" Monthly for November, 1874 (7392.2).
BIOGRAPHICAL DICTIONARIES.—The leading bioKiesewetter [4032 18] ; 'Lobe [4042.9); Marx (1760) (4048.1.2), and Chorler's article in the Edin graphical dictionaries are, in French. Fétis - Biog. (4042.6; 4012.15,23] ; Riebl (4046 42] ; Rochlitz burg Review for July, 1857 (7214.1).
raphic Universelle des Musiciens" (4010.21), com18088.5); Reissmann (8045.28]; Schuinann (8045.
Haydn. Carpani, Life of Haydn,” English | prehensive and reliable ; its articles are both i); Winterfeld (4046.14).
(545.19.20); Italian. “Su la vita e le opere di G. biographical and critical, and give full bibliograph. DICTIONARIES. Among these, may be mentioned Hardn” (4044.2), is full of details furnished by Har; ical information of the titles and dates of the works
of the various composers. the following. In English, the dictionaries of Pilk- on himself; Bomliet (A.216.3); Foa," Boy artists
In German, Gerber, ington (4049.2); Hiles (8049.38); Warner (204.4); 415.99 1); See also Crowest's “Great Tone Foets"
Historischbiographisches Lexicon der Tonkünst. Adams. (4036.4); Hanilton (4036'3) (the last three (4048.54); "Musical Anecdotes”. (8049,21); Nohl's ler" (4040.22.24), a work of the highest authority; of musical terms); Moore's “ Encyclopædia of Mu
· Letters of Distinguished Musicians" (4048.15); | Neumann, “ Componisten der neueren Zeit” (4086. sic" (8043.37). In French, Roussenii's • Diction Catholic World for Nov., 1869 (7472.1).
12); in English, the Dictionaries, by Kelly (4046. naire de Musique" (4036.7); Framéry (4042.28);
Lasso (or de Laltre), 0. Mathieu (4045.2); Del 32); Bingley (8045.22), covering the last three cen. Brossard (4010.20). _In German, Sebilling, “Uni motte (4045.3); Dehn (4045.4).
turies; Moore's “Encyclopædia." an American comversal Lexicon der Tonkunst" (4040.23); Walther, Lind. Jenny. Clayton's “Queens of Song" (591. pilation of recent date, and worth referring to for “Musikalisches Lexicon” (4040.27); Koch (4045. 2); H. T. Tuckerman (547.3); Biograpbical notices
inatters relating to late years, See also the bibli. 15); Gathy (4040.26); Gassmer, Universal Lexi. (4847.6).
ographies (2170.21.30); (4040.21): (6172.1); (6176. con der Tonkunst.” 1849 (4042.26).
Malibran. Life, by the Countess Merlin (615.10). Critical, by Riehl (4046.42): Keddle (4048.60); Tyt
5), and the books, in part biographical and partly BIOGRAPHIES.-Bach, C. P. E. Nohl (4048.15); Meyerbeer. Life, by Mendel (4252.29); "Galerie ler (4048.58) and Rimbault (4040.52). The lastBitter (8045.21). des Contemporains Illustres" (6249a.1,3).
named work gives brief biographies of the great Bach, J. S. Spitta's life (4045.58); Hilgenfeldt (4042.24). See also Crowest (4048.54) and Rim
Mendelssohn. The life by Lampadius (4049.10) is composers from Bach to Wagner, with admirably
engraved portraits of each. See also Crowest's bault (4040.82) for sketch and portrait; and Forkel's the best, and one of the most charming musical 'bi.
Great Tone Poets” (4048.54; short memoirs of Life (4046.13), which has been translated into Eng. Ographies ; to the English transalation, by Gage lish. See also an excellent biographical article in (8040.20), are added, supplementary, sketches by the greater musical composers, from the time of Bach the Galaxy for March, 1874 (7365.2,17).
others. Benedict's life (545.4) is brief and popular. to Schumann.
See also the “Reminiscences” by Elise Polko WORKs of FictioN.—The best are George Sand's Bulfe, M. W. Life by Kenney (4042.54).
(1587.2; in German, 4847.14); “Recollections” by "Consuelo" (473.15 ; 476.6; 6676.16), and the seBeelhoven.—The latest life is by A. W. Thayer Devrient (in English. 8045.20; in German, 8048.4); quel to it, “The Countess of Rudolstadt” (473.15. (4047.39), of which two voluines only are as yet Ferdinand Hiller's “ Letters and Recollections 21), illustrating musical life in Italy and Germany published, in German. Others are those by Lenz (4048.23); also a sketch by La Mara (8048.3). His in the time of Haydn. Hans Andersen's “Improv. (4086.21: also, 4046.9); Schindler, German (543.3; life is, however, best read in his own delightful isatore” (766.9 ; 1502.10; 2909.51; in German, 4046.8): Moscheles (8041.24); Oulibicheft (4044.54); "Letters from 1833-47" (669.20; 4046.43; in Ger. 4379a.8) treats also of Italian life. Miss Sheppard's Marx (4044 55); Nohl (8045.25); Audley (4047.41) man, 1032.11 and 4048.13; in French, 8049.34); “Charles Anchester" (802.39) is a German story in (in French). See also Wagner's essay, translated and in the " Letters from Italy and Switzerland" | the time of Mendelssohn, who is supposed to be de. by Parsons (4047.50); Crowest's “Great Tone Po. (669.19) Miss Sheppard's "Charles Auchester” scribed as the hero of the book. See also, by the ets" (4048.54); and especially the interesting vol.1802.39) introduces bini as its hero under the name same author, “Counterparts” (502.7; 502.17) and
" Rumour” (492 29). “ Lucrezia Floriani,” by unpublished, of the following composers : Anerio, important modifications; the transition of the first George Sand (2679.73), and Miss Brewster's “Saint Brixi, Cherubini, Colonna, Clari, Caldara, Leo, Duo E-flat, entering in bright C-major; the same born effects, Martin's Summer " (8110.49) are both of Italian life. rante, Legrenzi, Marcello, Lotti, Festa, Palestrina, before in E-major. now in B-major, after an enharmon. “ Mozart ” 1764.20 and 2023.3), by Heribert Rau, is Gesualdo, Marenzio, Monteverde, Perti, Stefani, ic change, etc. Finally comes the coda, preceded by a an interesting art novel, as is also " Alcestis" Scarlatti, Alessandro Stradella, Carapella, Morales,
series of fine descending diminished chords. The part
of the coda preceding the first theme, with its rushing (1769.5). in which Gluck and Faustina Hässe are Orlando di Lasso, Gabrieli, Giovanelli, Hammer. bass and continuity of thematic development, its vigoamong the characters. “ St. Olave's," by Eliza Tn. schmidt, Schütz, Bruhns, Hasse, Stobæus, Eccardus, orous and clear modulation, unmistakably reminds one bor (492,20), is a well written tale of the musical Simonelli, Rosenınüller, Pistocchi, Porta, Vittoria, guished by its bold vigor and manly strength, by its
The entire first movement is distinlife of an English cathedral town.
Dés Buissons, Prenner, Pitoni, Predieri, Porpora, clearness of treatment and breadth of form. MISCELLANEOUS. —Chorley, H. F., “ Music and Bertali, Stölzel, Salieri, Doblhoff
, Jomelli, Haydn, The scherzo follows in C-major. It is jocose and huManners in France and Germany" (4043.17]; Zelenka, Bortniansky, Rovetta, Bach, Handel, Gas morous. Its playfulness is painted in a sprightly, lively
vein, beginning with the strings in softest staccato, col. “ Modern German Music" (209.5) : Haweis, Mu- parini, Heredia, Fioroni, Sarti, Bertoni, Casali,
ored' by melodic touches of the wind instruments, the sic and Morals" (8449.32); Elise Polko's “ Musical Zachau, Conti, Cafaro, Gassmann, Martini, Mattei, strings carrying out the figure. The movement is Sketches” 1865.11], fancitul stories on which little Valotti, Fux, Kirnberger, Allegri, Mozart, Pergo- worked out with brilliancy. One passage is exceeding
ly effective. It is the modulatory part previous to the dependence can be placed, as to facts; Clayton's lese and Josquin.
reentrance of the leading theme, where a climax is Queens of Song" (591.2); Hogarth, “Memoirs of There are masses, motettes, madrigals, psalms, reached through upward progressions, the wooden wind the Opera in France” (909.19) ; Hogarth, “Musical canzoni, songs, both sacred and secular, generally instruments in responding imitation of the strings-the History" (209.9); Keddle's Musical Composers for four voices, with instrumental accompaniment,
basses here unusually fine and telling-then with a leap
into the rollicking, jolly scherzo theme again. Another [4048.60); Tytler.“ Musical Composers " 4043.581; giving good specimens of the vocal works of the
effective portion is where, at the end of the first part, Deldevez, Curiositiées Musicales (4045.54]; masters named as well as of the music of the period the horn holds over into the second part, and the clariLord Mount Edgcumbe's “ Musical Reminiscences in which they flourished.
net follows with an exquisite melody in F. This is
worked out by the whole orchestra, the melody being (1048.61] : containing an account of the Italian Op
afterward taken up by the cellos and oboes, then, reera in England from 1773; Reyer's “ Notes de Mu Mr. Paine's Symphony.-A Technical
turning to the clarinet, is chased around among the va,
rious instruments in interesting fragments. At the end sique." sketches of the music of the present day
of the closing cadence of the clarinet solo, the horn, in (4048.63). The autobiography of H. F. Chorley
softest tone, again holds over to the first theme. (2449.69) and his other works before mentioned, are
The introduction here is beautiful, its crescendo very “One of our resident musicians," who has had ac
telling. The coda is strangely effective in its alternate full of interesting matter concerning the musical history and men of our own time, written by the cess to the score (Mr. Geo. L. Osgood, a friend and use of wind and brass, and the close is brilliant and
morlern. foremnost of recent English writers on music; “Mu- neighbor of the young composer), contributes the The adagio in A-flat is sweet and full of pathos, begin. sical Recollectiuns of the Last Half Century" (4045. following analysis of the new Symphony to the
ning with a cello solo on the A string. There is a strange
attractiveness in the third and fourth notes of the cello 51]; “The Music of the Future” (4048.59); Engel, Transcript.
solo, the interval from D to B-flat over a diminished " Blusical Instruments” (4043.67], an illustrated
chord. The modulations of the adagio are quiet but hand-book to the collections of the South Kensing.
The symphony starts with an allegro con brio in a uni rich and beautiful. The transition to the second theme
in F-minor begins with a long F from the horn, beautiton Museum; Frank Moore, “ Songs and Ballads of son attack of C, excepting trombones, by the full orches
fied by the tender response of the strings. The horn the American Revolution” [314.20); “Rebel Rhymes tra. and at the second measure plunges into a bold, vig. pursues the melody and the ear is gratified by the open and Rhapsodies" (309.20]; “Songs of the Soldiers, orous and dramatic motive in ('-minor, which at once tones peculiar to the horn in F.
The adagio then wanders off into remote and strange 1864" !309.24] : Doran, " Their Majesties' Servants” promises a movement of vital strength. From the out
harmonies leading to the second theme, which enters, (352.2); Burgh, “Anecdotes of Music” [209.81 : set we are borne along on the sweeping polyphonic bass, with a rushing bass, in the form of a climax, to return Gardiner, “ Music and Friends" (204.7); “ Music that inevitable sign of technical power, and the forward to the dreamy sweetness of the first theme. At the close
are beautiful effects between the wooden wind instruof Nature” (204.6; 8045.2). The abridgments of rush of the whole string band, who have, at first, the specifications of patents relating to music and mu
ments and horns, followed by the strings, ending in a working out of the principal theme, to meet the rapidly varying scintillations of tone-color, thrown out at every
prolonged pianissimo. sical instruments in Great Britain 1694–1866 will be point by the wind band. We are instantly conscious of
The adagio is strikingly original and the better acfound in the Patent room. being in the presence of a genuine musical nature. At
quainted we become with it, through careful study of the eighteenth bar or thereabouts, the strings, in pur
the score, and an additional hearing at the rehearsal, Music.—The Library is still almost entirely defi- suing their first theme, strike into a bright measure of
so much the more warmly does it glow with the sacré cient in the works of the English madrigalists; the tenuto in B natural, the rhythm being maintained by u of genius. We can say from personal knowledge German sacred music of the 16th-18th centuries; repeated; then follows a sudden lull to pianissimo, then the wind instruments. This effect is, a moment after,
that the adagio, both in composition and scoring. was a
feat of astonishing rapidity and in inspiration uninterthe operas of the Neapolitan, French, German and a quick and extremely effective crescendo on the domi.
rupted in its flow from beginning to end. English masters of the 17th and 18th centuries. It nant 6-4 of C-minor, succeeded by a diminished modu.
The final movement, the allegro vivace, opens with a has no scores whatever, with very few exceptions, where, over the tremolando of the violins, and an alter:
bold theme by the brass, wind and strings, which conlation to the dominant, dying away to a pianissimo,
tinues vigorously to the transition to the second theme. mostly such as are contained in collections, such as native pizzicato and arco of the violas and bassos, still
We notice here, as in many other places of the symphothe publications of the “ Bach-Gesellschaft” [8050a. working out their original theme, appears a charming
ny, a fondness for pizzicato effect of the strings against
light touches of the wind instruments. A reminiscence
The oboe 2). Nor does it possess, in any form, the complete bit of solo for the cellos and solo bassoon. shortly joins them, and later the flutes and clarinets,
of the adagio falls upon the ear, though belonging to works of any of the great masters, and can offer to which answer and reanswer among each other; all this
the vigorous working out of the second theme. A love
ly passage is that where the tremolo of the violins over its readers only a meagre collection of the ordinary above the still onward rushing of the first theme by the editions of the best-known instrumental nnd vocal string band. This feature develops itself gracefully,
the celli in softest arpeggio leads to the fugal imitations and ends in a short flute phrase, which forms the final
on the leading motive of the movement. Another strikcompositions, symphonies, concerts, operas, oratori. cadence of the first theme and the introductory to the
ing passage is a long episode where the wind instruos, cantatas, songs, etc., which it is not worth wbile second.
ments have cantabile phrases which die away and leave
the strings and drums pianissimo. This is a moment of to enumerate here, but which can be easily found The character of the second theme is in marked con
repose before the grand climax leading into the repetiin the Card Catalogue under the names of the comtrast to that of the first. It is in the relative E-flat ma.
tion of the first theme. Throughout this, much excite. jor and of bright and happy nature. Its entrance is posers.
ment and expectancy are aroused. Then follows the characterized by an organ effect from the wind band modified repetition of the first part, and the coda, the A brief enumeration of a few of the best instrucand the tenuto chords of the clarinets and bassoons.
whole ending on a magnificent plagal cadence of twention books may, however, be of service to some Shortly after the appearance of the second theme we
ty measures. encounter a lovely bit of orchestration-a marked mo
The symphony as a whole holds the attention from the readers, who are referred to the following :
tive in reiterated notes for horns and bassoons against | beginning to the end. It is fresh, vigorous and selfPianoforte.—Lebert (8050.35); Knorr (8050.211; and strings in unison, and culminating in a powerful a pizzicato of the strings, closely followed by the wind
consistent, and full of healthful life. Of the four move
ments, the adagio is the most attractive. It is perfect Petersilea (8050.19); Cramer (8050.58); Berger climax, from which there is a modulation to the same in its form, and beautifully scored. There is a certain (8050.59): Czerny (8050.62); Bertini (8050.1 ; theme and rhythm in another key. This motive, intro pose about it that satisfies. Its architectural design
and detail harmonize. It is a love poem running over 8051,12,13); Hünten (8051.15); Richardson (8051. duced by the horns, is used with varied thematic treat
with happiness, tender, sweet and of exquisite refine23]; Plaidy (8051.30).
repeat, the modulatory part opens in a long pianissimo ment. The instrumentation of the whole work is masOrgan.-Schneider (8052.18); Zundel (4055,50; chord, upon which a melodic phrase is introduced by terly, and one is impressed with the wonderful com
the wooden wind instruments, being a reminiscence of mand of the infinite details of composition which Mr. 8052.19); Batiste (8052.10); Gebhardi (8052.15); the reiterated notes which play so important a role in Paine possesses. Rinck (8050.57); Clarke (reed organ) (8052.17); the close of the first part. Here we have a charming Then, too, there is an easy, uninterrupted flow of mel. Buxtehude (8052.501 ; Nicholson (8057.5). syncopated morceau by the flutes, clarinets and bas
ody throughout, and there is a unity in it all that is soons, accompanied by the strings. The wooden wind
soothing to the lover of legitimate musical effect in conMelodeon.-Gurney (8052.25); Clarke (8052.17] ; instruments supply the rhythin, while the strings have tradistinction to the physical and feverish excitement Green (8052.301; White (8052.31,32].
the figure, wind and strings answering each other. The which much of our modern music produces.
whole ends on a hold in pianissimo by the strings, over Violin.-Campagnoli 8051.67; Mazas 8051.70; which the wind instruments, in their turn, continue the Spohr 8051.71; Fessenden 8051.77; May 8051.73; ffgure in answering cadences; then, after lovely har· Violin Made Easy” 8051.82; Woodbury 8031.86.
monic sequences of the strings over a hold in the bass
and through the dominant seventh and ninth chords, Violoncello.-Romberg 8051.88.
the second theme returns in F. A few measures later
there is a fine effect between violas and wind in octave, Harmony.—Catel 204.1; Johnson 204.30; Parker the clarinets giving an harmonic note over the running BOSTON, FEB. 5, 1876. 204 31; Geyer 8055.1 ; Weber 8055.4; Hauptmann of the cellos and basses. Then follows another choice 8055,5; Ouseley 4041.58; 8041.37.
bit of melody worked up by the whole orchestra,-pre-
OUR Music PAGES. The Part Song by Schumann, Singing.--Osgood 201.1; Gaertner 8051.28; Sil. chords, skilful reminiscences of the leading theme in cher 8052.4; Fétis 8052.3; Concone 8040.58; 8048.
the double basses, like a recitative, and equally skilful printed in this number, is taken by permission from
reminiscences of the second theme among the wind in “ German Part Songs," edited by N. H. ALLEN, pub50. struments. This same treatment is repeated on an up
lished by Oliver Ditson & Co., Boston. Many others will be found in the Card Catalogue, ward harmonic sequence, and in the part introductory
to the leading theme we have one of the most striking under the name of the instrument, and of the
and impressive portions of the whole movement. The author. scoring is simply that of a master. The figure is kept
Concert Review. up by the violins, violas and 'cellos, while the strength MANUSCRIPT MUSIC.-A curious and valuable col. of the rhythm is given to the wooden wind instruments.
The past month has been remarkably rich in lection is that in manuscript, made by the late Pro. The horns and bassoons come in on half-beats of the matter for musical instruction and enjoyment. It fessor Dehn, of Leipzig, “Practische Musik-Werke ing a general accent to the whole. The trombones fol. is no easy task to arrange in the memory and say bervorragender Componisten des XVI-xvm Jahr: low at the beginning of every measure and produce a
a fitting word of each of the many concerts in hunderts, Berlin, 1858." MSS. 28 volumes, 4* delightful choral effect; the scoring is individual in all 4051.14. These volumes contain rare and valuable This is the end of the modulatory portion. Then, in due
its parts, even to the kettle drums aiding the basses. so brief a space as we have at command. First we selections from the compositions, to a great extent I form, comes the main repetition of the first part, with must go back to
Dwight's Journal of Music.
range of this
Dr. Hans vox BUELOW.
Thursday Evening, Jan. 13.
P. Tschaikowsky. Six concerts in one week! And with the aid of ness of one pleased to show how pure a pearl he had
Quartet for Strings, in D major, Op. 11. the Boston Philharmonic Club and charming sing. | found.
Moderato e simplice-Andante cantabile-ScherTuesday Evening, Jan. 11.
Messrs. B. & F. Listemann, E. Gramm, A. Theso concerts were full of interest, the proQuartet for Piano and Strings, G minor, No. 1,
W. A. Mozart Meyerbeer-Lieti Signori, from “ The Huguenots." grammes being made up of choicest treasures from
Miss Laura Schirmer. Wiener Faschingsschwank....... Robert Schumann J.B. Bach. the well known masters, besides a great variety of
Five Fancy Pieces, opus 26.
[a] Fantaisie Chromatique and Pugue. new things which piqued curiosity, to say the least, Allegro-Romanza-Scherzino-Intermezzo-Finale.
b) Gavotte in D minor. Dr. Hans von Buelow.
G. Handel-Grand Suite in D minor. and showed how wide and catholic the Adagio con Variazioni, opus 34......L. v. Beethoven Preludio e fuga- Allemande-Courante-Aria con
Variazioni-Presto. most masterly interpreter.
Grand Quintet, Piano and Strings, A minor, Op. 107,
lo - Mapacitetcet the Spinning Wheel.” complete success of these rare concerts. In the first
Miss Laura Schirmer.
Camille Saint-Saens. place they came too near together,-every evening Interspersed among these were some choice song Quintet for Piano and Strings, in A major. Op. 14. in the week; few could attend them all ; the most selections by Miss Cronyn:— Voi che sapete, exqui
Allegro moderato e maestoso - Andante sostenuto
Presto-Allegro assai ma tranquillo. fanatico of musical Athen ians cannot be listening to sitely rendered (only young Cherubino could not be The Quartet by Tschaikowsky is in some respects music all the time; and they who heard the six so innocent !); a hymn to the Virgin by Gordigi- original, decidedly unconventional, bold, wild, way. must have a somewhat mixed and vague impression ani; and two quite fresh contributions from the ward even; not much after the classical quartet left of some of them,—such at least is our experi- Beethoven volume, and very tuneful ones : La Par- type eith r in form or spirit. Yet there is delicate
In the next place they were given in far too tenza, and L'Amante impaziente (from op. 82), the beauty in the Andante. The Russian looks out in large a place :-Chamber music in the vast Music latter showing our Master in the new character of the last two movements. We liked the piano QuinHall! Could we have heard some of those fine
an Italian buffo writer; its quaint humor caused its tet of the Frenchman better; it is more clear, has things in a proper Chamber concert hall, we should have been much more penetrated with their spirit. repetition. The young singer only gained in favor.
more refinement, more unity of form and spirit, -of the programmes, the first, Monday, Jan. 10, and the last, Saturday matinée, a repetition of it in
The Philharmonic party again distinguished them- shows more of the classical culture, although it too the main features, were decidedly the best. The selves by a clear and fine performance of one of the is fantastical. Saint-Saëns keeps within the bounds of first was as follows:
best of Mozart's quartets, refreshing in these times beauty. Both works were marvellously well played, 1. Quartet for Strings, in G major, op. 64, No. 1, to hear. In Schumann's “ Viennese Carnival so far as we could judge in that vast hall. - The
J. Haydn Allegro con brio-Allegretto-Menuetto-Finale.
Pranks,” Dr. von Buelow had some of the hardest whole space between these two specimens of the Messrs. B. & F. Listemann, E. Gramm,
nuts to crack,-or rather, some of the most tangled extreme modern tendency was occupied (besides A. Hartdegen. 2. “La Rosa," Romanza..
.... Spohr wild briar hedges to get through; some of the most songs) with a long stretch of Bach and Handel, Miss Lizzie Cronyn. 3. Concerto in the Italian Style.. .J.S. Bach
grotesque, bizarre, bewildering and difficult things which seemed to place them in the boldest possible Dr. Hans von Buelow.
that Schumann has given us; yet interesting and relief,—-long and admirable compositions for the pi. 4. Sonata Appassionata, F minor, op.57. Beethoven Dr. Hans von Buelow.
poetic. But he had penetrated, and he played them ano alone, especially those of Bach,—and played
Mercadante sa. La Primavera.. 5. Songs,
from the inside, losing himself in them, and making with all significance of accent and of phrasing, as 10. “Thour't like unto a flower,”.
Rubinstein them as clear as probably they could be made. In was to be expected from the conscientious master Miss Lizzie Cronyn. 6. Quintet for Piano and Strings, in E flat, op. 44,
beginning the Beethoven Adagio, he preluded, as interpreter. We should have enjoyed these pieces R. Schumann
he is fond of doing, with a snatch from something Allegro brillante-In Modo d'una Marcia-Scherzo
better in some different connection. Allegro ma non troppo.
else,—this time from the better known Fantasia in The fifth was a “Mozart Night," all the instruThe Haydn Quartet—at least for those who sat the same key, F. To say that he played the slow, mental pieces being from that wonderful and ever near enough - was an exquisite gem of genial, grace contrasted forms, including a Minuet and a March, young composer, while the songs, charmingly sung ful, happy and spontaneous invention, treated with in such a way as to bring out all their points and by Miss Cronyn, were with a nice sense of fitness consummate art; and the interpretation was as fine beauties unmistakeably, is only to say that he was chosen from Beethoven (" Song of Penitence" and and true as one could reasonably wish. Far too Von Buelow; but you thought of Beethoven.. Of La vita felice). The Mozart selections were of the seldom do we hear such things of late !—In the the Quintet by Raff we have not any very distinct
impressions at this moment; it had all the peculiar very best, including the once well known and most great Schumann Quintet, ,-one of the masterworks Raff features, more marked for the time being than genial string Quartet in E-fat; the graceful Piano of genius that will certainly endure—the Listemann apt to haunt one afterwards. We do remember Sonata in F (Allegro, Andante, Rondo ;) a delicious party also played admirably, while the pianoforte wondering what there was that could be called Trio for Piano, violin and 'cello, in E major, which part of course was brought out to perfection ; noth- pleasure here, as it is always where Von Below
we think had not been heard here before ; for other ing of force, fire, delicacy, clear outline being want. | takes part in a concerted piece, to see how little he piano solos, the Fantasia, No. 3, in C minor, and a ing. Von Buelow's two solos were well contrasted. seeks to interpose himself between the other artists Minuet and Gigue; and finally the Quartet for Pi. The Italian Concerto of Bach, if not one of his and the audience; he is one factor in the complete
ano and strings, in G minor, No. 1, also not familgreatest or most genial works, is characteristic of whole, one tone in the chord, one voice in the poly- iar. These things, exquisitely rendered as they a period; and it is by no means dry in the hands of
Wednesday Evening, Jan. 12.
were, would have been nectar and ambrosia in a this interpreter. How finely siguificant his phras
small room and a less plethoric musical condition. ing of the slow movement, and what vitality of ac Grand Quintet for Piano and Strings. In D minor, The Saturday Matinée, the most inspiring con.
opus 130. cent lit up the seemingly level stretches of the finale
cert of them all, was in its three main features (for with meaning!
beginning, middle and end) identical with the first: Schumann-Songs. His rendering of the Beethoven Sonata was to
the Haydn Quartet, the Sonata Appassionata, and (a) “A Poet's Love."  “ The Hat of Green." [c)." Evening Song."
the Schumann Quintet. our mind the most memorable among all his achieve
Von Buelow also gave Mrs. H. M. Smith.
masterly readings from Chopin; Nocturne, op. ments of that week. We have heard nothing like
Beethoven, Sonata for Piano, Op. 31, No.3, in E flat.
9, No. 3, to which he preluded with a snatch fro:n
Allegro-Allegretto-Minuetto-Presto. it. It was indeed appassionata ; and was as full
Hans von Buelow.
another Nocturne; the Ballade, op. 23; and three
Johannes Brahms. of beauty as of fire; it carried you away with it,
Waltzes, op. 34. Miss Cronyn sang Spohr's Rn. XXV Variations and Fugue on an air of
mance; La Rosa ; " a Canzonetta from “ Salvator and made you feel that life is worth the while when
Handel's Opus 44.
Rosa," by Gomez; and a tasteful and expressive
Hans von Buelow. you can sometimes live it so far within this magic, Mendelssohn. Song, "A Spring Morning."
setting of “ Du bist wie eine Blume," by Mes. C. F.
Mrs. H. M. Smith. yet most real element of tones.
Dr. von Buelow had reson to be satisfied with In Miss Cronen a fresh and beautiful surprise Quartet for Piano and Strings, Opus 38, in E flat. awaited us.
the conscientious and artistic co-operation of the All were charmed by the modest, un
Allegro non troppo-Adagio--Minuetto. sophisticated, youthful, musically absorbed face and The Quintet by Spohr pleased by its even and Philharmonic Club, and we are told that he has so manner - he virginal, pure, sweet, sensitive quali melodious flow, its graceful elegance and finish; it expressed himself quite warmly. ty of voice, so evenly developed, and so justly was treated in the same careful, conscientious spirit
Tue Sixth HARVARD SYMPHONY CONCERT, owing trained that art concealed itself, and by the fer- by Von Buelow, although the piano part seemed vent and yet chaste expression with which she sang thin and somewhat tame compared, say, with the chiefly to the attraction of the Cecilia, under Mr. songe, not of great pretention, but artistic, and well Quintet by Schumann. From the Quartet by LANG, had the largest audience of the season. The suited to her. But in her way of singing them Rheinberger we had expected much, but did not first part consisted of Beethoven's fourth Overture there was the charm both of fresh bloom and of find it very edifying. The Variations by Brahms ripeness, and it implied the faculty to do much were ingenious, skilful, tedious and uninteresting; and Gade's "Comala,” a Cantata, composed to a text
to “Fidelio,"in E, which was satisfactorily rendered, Then, with all that simplicity and purity, Beethoven, to be sure, wrote thirty-three upon one the tones assumed the warmer tints of feeling where theme, but then he was Beethoven. The purest from Ossian. The music is Ossian-like, almost unithe song required. In Rubinstein's setting of the satisfaction of the concert was found in the Beetho forml in a low and sombre tone, suggestive of a favorite toxt: "Du bist wie eine Blume," this qual. ven Sonata, which was admirably interpreted. Mrs. misty Northern sea-shore atmosphere, and of the ity woke so much sympathy, that she had to repeat Smith's songe were well chosen, and well sung, al. shadowy forms of an old heroic, superstitious age. it. Von Buelow himself played her accompani. I beit rather coldly.
The performance was unequal; the male chorus
Chant Polonais -- No. 5..
of bards and worriors commencing rather timidly, struck vs as a mark of progress since his Oratorio Miss Amy Fay gave a Piano Recital at Lyceum partly because the time was taken too slow, and
“St. Peter," was the much greater freedom with Hall, in Cambridge, on Wednesday evening, Jan. partly because they were too weak in number and ventional Oratorio text and subject cramped him which it is composed : it would seem as if the con
19, before a cultured and appreciative audience. too widely set apart upon the platform. The weak- then ; but the Symphony is the sphere of pure mu
Great interest was felt to hear the young lady who ness was felt more than once. But the soprano and sic, and in this sphere his inventive and his shaping was known to possess unusual talent before she went alto portion of the chorus was altogether beautiful faculty had freer play. In this, his first effort in this to Germany to study for six years
, with the first kind, Mr. Paine has employed all the arts of count: masters, who had seed and heart Liszt so much, and and telling; the chorus of virgins :
erpoint and thematic treatment with a master hand; your song of triumph now,” was a most sweet and yet he is never dry. The work is free from modern who had written from Weimar those brilliant and touching lament. And we are sure, the two grand extravaganza and mere straining for effect, and yet enthusiastic letters about bim that were printed in choruses for mixed voices : that of Spirits guiding question always better left to time. The themes are
Whether it be a work of genins, is a
the Atlantic Monthly. She played entirely alone, the souls of fallen heroes from the battle field, and pregnant, often beautiful; they develop with a sub- and all from memory, the following formidable and the final chorus of bards and virgins: “From their tile skill which keeps the interest alive; the modu- varied programme: clond-home above,” were felt to be full of imagina- lation is full of fine surprises, never violent; and Gigue....
Composer of Bach's time.] tive power and grandeur. The solos were in good finds play according to its genius ; seductive images the instrumentation also masterly ; each instrument
Sonata Quasi Fantasia, op. 27, No. 1......
Beethoven hands. Those in the character of Comala (soprano) of clarinet, or horn, or oboe color are continually
Andante, Allegro ed Allegro molto vivace-Adagio
-Finale. were given with all the taste, the fine musical un emerging into sunshine ont of the mellow forest Bong without Words-Duetto.. Mendelssohn
..Chopin derstanding, the artistic truth and certainty, the gloom and losing themselves in it again, so that you
Arranged for Piano by Franz Liszt. are tempted to explore its dim polyphonic aisles and Maerchen (Fairy Story). admirable method and expression of Miss CLARA rich recesses. The several movements seemed well
Gnomen-Reigen [Elfin Dance). Doria, who was in excellent voice. Her last song: related : the first Allegro strong, impassioned, with "Oh, would I were sitting by Carun's waters !” the contrast of a charming lighter theme; the Scher. Andante Spianato and Polonaise, op 22.. Chopin
..Jensen with the invocation to the “Shade of Fingal,” was zo (Illegro vivace) a delicate and tripping measure,
Schumann sung with that exquisite truth of feeling and artis. altogether fresli, and leading into a slightly slower
Trio, (through the magic gate as it were of mellow Valse Caprice, on Strauss's “ Nachtfalter," (Night. tic beauty that haunts the memory long afterwards. horn tones holding over) which begins with a lovely
. Tausig Miss Ita Welsu (as Dersagrena) was not at her bit of melody for the clarinet, soon taken up by
It was a trying ordeal to sit there all alone before best, but she sang the Ballad : “ From Lochlin came horns and other wood instruments ; the return is an audience for nearly two hours and recite all that to battle Suaran, the haughty knight,” very expres- through the same golden gate. The Adagio is grave, exacting music from so many authors; but she sively and charmingly. That piece, with the cho deep, full of feeling and of beauty; and the Finale passed through it triumphantly. Her technique is rus of virgins coming in between the stanzas, was is worthy of the whole.—Not having seen the score, brilliant, her touch is full of vitality and nervous the most taking number of the work. The rich clear, clarinet voice of Miss Estier Morse (Contral and having had no opportunity to study the work energy, her readings are intelligent, she
has remark. we should attempt no full description of it here, able strength, and plays with verve and freedom, as to) was heard to great advantage ia the short part even if we had the room ; we shall return to it, and well as with artistic accuracy.
We like her renof Melicoma. Dr BULLARD sang the par: of Fingal meanwhile we copy on another page a technical dering of the Beethoven Sonata (in E flat) least of with judgment and refinement, lacking only great analysis by a musician.
all; that lacked light and shade and toning down; er weight of voice for such a hall, and against such
The Symphony seemed short, although it was although the Adagio was beautifully played. But an orchestra, which, it must be confessed, was not very long. It was followed by a new Rubinstein to everything else she was fully equal; and her suficiently subdued in many portions of the work.
Pianoforte Concerto, of almost equal length and execution was particularly fine and brilliant in the Part Il. opened with a fine rendering of the vig. frightful difficulty, wonderfully well surmounted by bright fairy things of Raff and Liszt, while in the orons and captivating Chaconne from Gluck's Or- Mme. Schiller, and which was full of strange bi Valse Caprice by Tausig, she overcame tremendous pheus," which was so much enjoyed last year. Then
zarre effects and what seemed empty noise nnd difficulties with graceful ease and certainty.-She came a fresh and most agreeable surprise; four straining after baffling illusions; we have seen no
makes New York her home at present, but we trust short Italian Canons, for three female voices, by one who enjoyed it. Then came a very long Duet she may be heard in Boston before long. Hauptmann, gems in their way and happily con from Wagner's “ Flring Dutchman," much of which
We have not get succeeded in clearing off the slate, trasted, “Ta sei gelosa," “cari boschi,”
might have been Italian Opera, sung by Miss Tours where there are still scored: another Harvard Concert, cantiamo," "Ah, tu sai,” were sung delightfully. By and Mr. Reumertz: and by this time the Con. a Thomas matinée, the last two Philharmonic matinées, without accompaniment, Miss Doria leading off cert had already exceeded two hours ! with musician-like certainty and clear melodic out- Beethoven Symphony was yet to come: it was the line, and the other two whom she had carefully cheerful, bunyant, clear, uplifting No. 2, in D, which
THOSE who are interested in the description of drilled to the novel task, Mrs. F. P. Whitney and
WIECK's method of pianoforte instruction, given in his
book “ Piano and Song" (a translation of which was Miss Ita Welsh, taking up the theme in turn and all opens with a grandeur from which you expect even
more; to those who could remain it was a great recarrying it throngh with satisfactory aplomh. The freshment, for it was indeed most beautifully played. Glad to learn that a large collection of the Etudes used
published last year by Lockwood, Brooks & Co.] will be effect was electrifying, and the last Canon had to be
Had the Concerto been omitted, and had there been repeated. Schubert's Psalm : “ The Lord is my
a short Overture before Paine's Symphony to allow by Wieck in his instruction have lately been issued in Shepherd,"; repeated by request, confirmed the people to get well
settled in their seats, and music Germany by his daughter. They are not yet repub
lished in this country, but a few copies of the German must stand as so far the most successful effort of the ally altuner! it would have been a perfect pro
edition can be obtained of Oliver Ditson & Co. gramme.—Of the Matinée of Saturday next time. Cecilia. The delicate piano accompaniment was
Friedrich Wieck was the early instructor of Dr. Hans nicely played by Mr. Arthur W. Foote.—A very OF MR. PERABO's fourth and fifth Matin.es, Jan. 1 spirited performance of the Fifth Symphony of and 14, we were only able to attend the first, which Beethoven brought the concert to a grand conclui- had a purely Rubinstein programme. We confess to
MALE PART-Sorge. In the letter which follows on the sion; seldom has the glorious old favorite been en. much greater enjoyment of these smaller piano
next page, we recognize an old friend. We think he is joyed more heartily.
works of Rubinstein, than of such Titanic strivings too sensitive and that he mistakes the point of the few As the “Dramatic Symphony” and the Concerto of hasty remarks we made about the last “ Apollo" con
We did not find fault with the Club for not singThe Thomas Symphony Concert of Jan. 26, was
which we have just spoken. Mr. Perabo began with
his own arrangement for two hands of the Overture ing better and fresher things. In the very excuse he attended with eager interest on account of the first to “Dimitri Donskoe," from which we got the im. gives for the apparent monotony and poverty, and to performance of the new Symphony by the Harvard pression that it must be a good Overture. He also some extent triviality of such programmes, viz., that the Musical Professor, Joun K. Paine. The Sympha- played in the same way the first movement of the repertoire of noble pieces for male voices is necessarily ny was a decided, a remarkable s'iccess.
soon exhausted, lies the whole point of our criticism, Though
Ocean" Simphony,—the best thing that we know it came the first thing on the programme, all lisas vet among the orchestral works of Rubinstein. which was to show how barren after a little while this
narrow field is certain to become. That we cannot, any tened carefully so as not to lose a note of the first Both were admirably interpreted. Three Morceaux
more than the Apollo Committee, draw up a list of no. theme of the Allegro con brio. It was too significant de Salon for Piano and Viola, Mr. Mullaly, op. 11, an event to be treated with the fulness it deserves No.3, were fuil of charm and finely plaved. A full ble pieces to be added to the Antigone choruses, etc., in the short space left is now. We have room only Sonata for the saine instruinents, the first-Op. 13, which they have already sung, only proves our point. to record its enthusiastic reception by the entire in G inajor, was given for the first time and proved And it is always with some regret, mingling with the vast audience ; each several movement being fold highly interesting.–The second programe was as pleasure we take in their admirable singing, that we lowed by applause lasting several minutes, and most foliows:
think of such rare and splendid vocal material spending spontaneous and sincere, culminating at the end of Prélude and Fugue in E minor. Mendelssohn itself almost exclusively on these things, when they
Album “Notre Temps," No. 7. the work in a storm of bravos and a general call for
might lend such vigor and success to choruses of mixed
Sonata for Piano and Cello (Mr. HARTDEGEX), in E"Paine," who was led upon the stage by Mr. Thom.
voices occupied with more important tasks. The partminor, op 38....
..Joh, Brahins as, and modestly, with evident gratification, bowed
[ ] Allegro non troppo
song for men's voices is perfectly legitimate and frehis thanks to the still applauding multitude of
01 Allegretto quasi menuetto.
quently delightful in its own place; and our friend
c) Finale Allegro. friends.
First time in this country.
seems to agree with us as to where its own place is,
namely the social club room or small hall. Of the Symphony itself we cannot say what we
1. Biblical Sketch, op. 96, No. 2. “The walk to Em
.. Carl Loewe
comes to a crowded concert in the Music Hall, one feels would until we know it better; and we are glad to
the disproportion of such large theatre and means to
We certainly intended no invidious comparison learn that we shall soon have the opportunity, as it 2. Intermezzo. Allegretto, Tempo di menuetto, will be repeated in one of the Thomas matinées.
from Sonata for Piano and Cello, op. 52. Kiel
with the Boylston Club; it only seemed to us that the Suffice
Arranged by Ernst Perabo.
programme of the younger body contained rather more to say now that we listened to the whole Sonata for Piano and Cello in A minor, op. 52...Kiel
things which we had not heard repeatedly, and some of work with pleasure and surprise. It is beautiful, it
(a) Allegro moderato, ma con spirito.
them of quite a taking, piquant character, albeit airy
trifles. (We are not speaking of the Sacred music, and is earnest; it is learned and yet not manufactured,
(c) Adagio con espressione.
we let the parallel of the Palestrina chorus with a combut flows naturally as from a full deep source, and it
Id] Rindo. Poco Allegretto e semplice.
mon Psalm tune go for what it is worth.) We did not affects you as one live consistent whole. What most
First time in this country.
translate the Waltz by Strauss.
A whole etc., etc.