The per

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dox. So that the large audience assembled at Steinway Quintet, in B flat, Op. 87..

.Mendelssohn dience. It was a comfort to old chamber music Hall yesterday were in a position to divest their minds Allegro vivace-Andante scherzando-Adngio.

Messrs. B. & F. LISTEMAXX, E. GRAMM,

lovers to hear once more one of the six earliest of all questions of grammatical purity and scholastic

A. BELZ and A. HARTDEGEN. “ form," and criticize the symphony as a complete work Song, "Batti, Batti,” “Don Juan.".

Quartets of Beethoven, no one of which is more

.Mozart As it was placed first on the programme it could be


genial and beautiful, more ever fresh than this No. Bolo for Viola, Reverie.

Vieuxtemps judged as well—or, more correctly speaking, as inade


1, in F. Never before have we heard it so delightquately-as any large work can be judged on first hear

Mephisto Walzer...

.Liszt ing. There seemed to be a good deal of hesitation on

(Arranged by B. Listemann.]

fully interpreted. The pieces for four horns pro. the part of the audience in pronouncing an opinion.


duced a marked sensation. The tones, so rich and The first movement-allegro con brio-presented nothing

Song of Eliza,...

.. Cirillo particularly attractive to the general ear; it is interest


mellow in the softer cantabile passages, with the fine ing throughout, but the interest does not increase with Notturno for Violin, Flute and Horn ..Doppler its progress sufficiently to excite a craving for the sec Messrs. B. LISTEMANN. E. WEINER and A BELZ.

contrast of the more breezy trumpet-like sounds in ond movement, and it was rather coldly received. With

Quartet for Piano and Strings,..

Schumann the strong accents (in the bags parts especially) Fenthe Scherzo-allegro vivace-the attention of the audi

Sontenuto assai- Allegro ma non troppo-Scherzo ence deepened. It is a very tuneful movement, contain

-Andante cantabile-Finale (Vivace).

der their harmony peculiarly attractive. ing some reminders of Beethoven's scherzos, but it is

Madame MADELIXE SCHILLER, not an imitation of Beethoven, its lively measure chang

formers were the famous Russian Quartet” who

Messrs. B. LISTEMANX, GRAMM and HARTDEGEX. ing (pot" episodically") to a gravity not sufficiently in

came to this country a few years ago, the leader, keeping with the scherzo as Beethoven bas made us un The old B-flat Quintet of Mendelssohn, which derstand it. At its conclusion the applause

of the audi-
takes us back to the earliest days of our Quintette Philharmonic Club as the finest solo hornist we have

Mr. Belz, has since distinguished himself in the Jence

was warm enough to show that Mr. Thomas had Inot made a mistake in producing the work. The third Club which still bears his name, was admirably ever heard here; his three old associates, who proved

of phony. It is music, pure and undefled, from beginning played; the three movements were so acceptable themselves on this occasion worthy ones, are in our It does not contain a single phrase that seems out of that it seemed not quite fair to deprive us of the Harvard orchestra this winter. Mr. HARTDEGEY'S place, and though it is rather long, and always exceed. Finale. Nothing of its kind more interesting than violoncello solos, in tone, style and expression, wer! or imposing, there are no modern "effects” in it, and it the Schumann piano Quartet could have been offered

most satisfactorily rendered. — The single move. may not Schumann's or Beethoven's adagios, bút for us, unless it were the matchless Quintet. The latter ments from Quartets by the young Russian

composer what it assumes to be it is beyond criticism. Certainly is a happier inspiration throughout, more clear, the audience liked it very much, and the orchestra

Tschaikowski and the sound old classical inaster seemed to like it greatly. Its enjoyment was, however, more readily appreciable on the first hearing; but Cherubini, were highly interesting; the former the heaters in the hall. The last movement falls short this also is full of fire, of rich imagination and deep

much more French in style than the latter, which of the expectations raised by the beautiful Adagio: feeling. The dudante and the short, brooding Sosthough it cannot be described as faulty. What it lacks probably is the evenness and clearness of purpose which tenulo which precedes the first Allegro, appeal to

was produced in Paris.

The Chopin Notturno proved admirably suited for ing in this number is as excellent as it is throughout the deepest sympathies; the Scherzo, with its rollicking

transcription upon the Violin ; and all its delicate work, every instrument having plenty to do and some staccato movement, fitfully alternating with the considerable difficulties to master, the harmony is thin,

beauties were brought out with consummate mastery and when the climax comes with the return to the origi" more pensive mood of its two Trios, is strikingly by Mr. LISTAMANN ; indeed we have seldom heard a nal theme, the devices of construction which Bachian original; and the fugued Finale, very intricate and marins cultivated in Theodore Thomas's school to have dificult, is full of spirit

, and keeps the interest alive Hungarian Rhapsody impressed us more agreeably

solo on the violin more purely fascinating. Liszt's learned to regard as essential, are too much neglected.

to the end. Seldom, if ever, have we heard Mme. in Mr. Listemann's arrangement for his Club, than Mr. Paine, however, deserves very high praise for his modest, unsensational treatment of his subject. He has SCHILLER to better advantage; her consummate it did in the Thomas orchestral transcription, where written an American symphony that will probably bear the test of the severest criticism by adherents of the old technical precision and force were only means to the grotesque effects seemed more exaggerated. art, simple and unaffected. If it is not strikingly origi- the higher end of fervent and intelligent interprenal, the author is assuredly, no plagiarist; if it does not tation; her soul was in the work; and there was

THEODORE Thomas's fourth Matinée (Saturday, astonish, it will never fail to please. Mr. Paine is a young man, and ag - it takes a clever musician to write inspiration for her in such fine coöperation of the Jan. 29) presented the following programme: upon having written one that gives such good promise strings.

Overture, “ Alceste,"...


Prelude, of a bright future for him in the world of art, and upon having had so able and so conscientious an interpreter beauty, which they had not before suspected, in the

Mr. GRAMM won not a few listeners to the peculiar (horale, Adapted for Orchestra by J.Abert..Bach

Fugue, as Mr. Thomas.

Aria: “Si, t'amo, o cara,'

(From the Nero York Times, 6th.)
sound of the Viola; his tone is singularly rich and

Miss Emma C. Thursby.
Scherzo, Op. 19..

Goldmark Mr. Theodore Thomas yesterday gave a matinée con even, and he is master of the instrument. The Not

Rhapsodie Hongroise, No. 14.

Liszt cert at Steinway Hall. The principal element of the pro. | turne for violin, flute and horn proved a pleasing gramme was a new symphony by Mr. J. K. Paine, a

Overture, in C, op. 115....

.Beethoven Boston composer of considerable local repute. We trust composition, and was exquisitely played. But of

Symphonic Poem, Danse Macabre, (new),

Saint-Säens Mr. Thomas will sooner or later repeat his performance the “Mephisto Waltzes” we can say nothing of the

Song, “ Thou'rt like unto a flower," Rubinstein of this work, which belongs to an order of music of kind; such excruciating cacophony, such an inco Selections from “ The Phantom Ship, Wagner which several hearings are necessary bofore anything herent medley of barsh grating sounds, not relieved Gluck's Overture to Alceste is by no means so inapproaching an accurate opinion can be formed. We but only aggravated by certain melodic fragments teresting an orchestral work as the well known one cannot, however, admit that we expect great results from Mr. Paine's commendable attempt at symphonic writ. for the horn, which seemed tuned to another sphere to Iphigenia in Aulis ; but it forms a dignificd and ing. The opening movement, which is by far the best, where a peculiar concert pitch prevailed, we never serious introduction to the tragedy; it needed, for poser has developed with taste and clearness, but with yet heard in the name of music; it was more like a satisfying impression, to be followed by the openindicate that Mr. Paine is possessed of particular origi- the babel of an orchestra all trying over their own ing chorus sung. Still we are thankful for every nality in thought or method; and the impression of the separate parts in the pauses of a rehearsal; we opportunity (too rare) of hearing one of these things. •whole effort, yesterday, was that the musician had occupied fifty minutes where half that time would have been would as soon be shut up in a vast machine shop, Think of it in contrast with the last number of the sufficient to have had his say.

surrounded by whizzing wheels, screaming saws and first part, the wild, sensational, extravagant and files and ringing hammers.—But i: was the pious stunning Rhapsodie Hongroise by Liszt !— The Abbé Liszt who wrote it; and who more competent pieces grouped together from Bach,-in rather to set the tune for Mephistopheles to dance by! forced companionship, we thought-have certainly

Miss Laura SCHIRMER, with a naturally sweet and enough intrinsic beauty individually to bear hearBOSTON, FEB. 19, 1876. flexible voice, sang her two songs in a graceful maning for a second time. The Prelüde is from the

ner, which showed careful training; but there was Well-tempered Clavichord ; " the Fugue is the well

a certain hardness in the quality of some of her known G.minor Organ Fugue; the Chorale, scored OUR MUSIC PAGES. The Part Song by Schumann, tones, which may have been the effect of too much for the full brass of the orchestra, contrasted boldly printed in this number, is taken by permission from

concert singing at so early a stage of her career; “German Part Songs,” edited by N. H. ALLEN, pub- she is winning, lady-like and modest in appearance. vales. — The Beethoven Overture (" Namensfeier")

in the middle, a craggy height between two quiet lished by Oliver Ditson & Co., Boston.

Wednesday, Feb. 2.

is by no means so broad and grand a work as the Quartet in F, Op. 18, No. 1,


other one in C, op. 124 (“Die Weihe des Hauses ;") Allegro con brio-Adagio-Scherzo-Allegro. Concert Review.

but it has beauties not so readily appreciated and is Horn Quiartet,

far too seldom heard.

a. Pilgrim's Song, from "Tannhäuser,... Wagner Boston PHILHARMONIC CLUB. The last two Mat0. Krystallen denfina, Swedish Song,...... Faltin

The striking novelty of the programme was the inées of this fine group of artists (Jan. 19 and Feb. Messrs. Belz, Lippoldt, Schormann and Schumann,

“Dance of Death" by Saint-Saëns,-a Symphonic Solos for Violoncello,

Poem with a vengeance, to which the key is fur. 2) were in the main so thoroughly enjoyable that a. Melodie,

Huber 6. Allegretto,....

nished by the following cheerful verses from the

. Kiel keen regret was felt that they could not be contin.

Mr. Adolph Hartdegen.

French of Henri Cazalis:

ued at intervals for two or three months longer. But a, Andante Cantabile, from Quartet in D,


Zig, Zig, Zig-grim Death, in cadence, the attendance at Bumstead Hall, though larger than b. Scherzo, from Quartet in E flat, ..... Cherubini


with his heel, a tomb, at first, was too limited to give encouragement. It Horn Quartet,

Death at midnight plays a dance tune, was but the common fate of concert-givers, here and a. "Die Welt ist so schön,"


Zig, Zig, Zig, upon his viol. 0. Suonis.Song,..

.Pacius elsewhere, during these “ hard times." The Club,

The winter wind blows, and the night is all dark, Solo for Violin, Notturno, Op. 27,


Moans are heard in the linden trees; however, have so established themselves in the good

Mr. B, Listemann.

Thro' the gloom the white skeletons pass, opinion of the truest music-lovers that, if they only Rhapsodie Hongroise, in F, No. 14..


Running and leaping in their shrouds. persevere, their day will surely come.-Their fourth

This closing Matinée was the most interesting of

Zig, Zig, Zig, each one is frisking, programme read as follows:

all and had the largest and a really enthusiastic au. The bones of the dancers are heard to crack

Dwight's Journal of Music


Cherubini « Irdisches und Göttliches in

creeping modulations through chromatic intervals, the slowest movement, which is followed by two But hist! of a sudden they quit the round;

is perhaps the chief one. Heavy-moulded mortal quick ones. The Andante Sostenuto is a broad and They push forward, they fly, the cock has crowed.

as he was, he had a large vein of 'santimentality, as massive movement, full of fire and strength, the The music is certainly a clever freak of French well as a rare gift of original, fresh melody. But difficult figures of the piano making up one whole fantastical extravaganza, mingling the horrible and he was an artist through and through, a thorough with the rich and noble instrumentation. The the grotesque, till they exert a fascination worthy master of form of the contrapuntal resources, and Scherzo is a sort of hunting strain, full of elasticity of Meyerbeer. The doleful midnight bell, well imi called instrumental coloring nowhere shown to ond theme lends it a witehing charm. This movetated, introduces the piece; Death tuning his viol finer advantage than in this Symphony, which we ment was so fascinating and was played with such in fifths is strongly indicated, and the dance pro confess to finding quite as interesting (perhaps be. airy life and freedom, such unflagging, easy energy, ceeds, wilder and wilder, as the shrouded skeletons

cause more fresh to us), as the “ Weihe der Töne." that all were delighted and the movement was re

At all events the entire work, in all three move-peated. The Presto has a Tarantella rhythm, and frisk in and out among the tombstones ; the crack- ments, is an exquisite unfolding of ideas lovely in whirls itself away in ever widening circles with an ing bones of the dancers are suggested by castanets themselves, offset against well-chosen background, exhaustless impetus. Mr. LANG proved himself fully and the xylophone (an instrument of wood and straw;) and glowing in the shisting atmospheric light of or equal to the unrelenting demands of this most trythe cock crows, ånd away they flutter all !—There chestral effects. A few worils on each of the three ing movement; and indeed his whole performance parts.

was magnificent, surpassing all that he has done be. is a certain imaginative genius in it, of a thoroughly

I. The World of Childhood. A single horn in fore. The task was to his fancy, and he embraced Frenchy kind; and it has this superiority over anal. the first orchestra leads off in a quiet, dreamy melit con amore. ogous works by Raff and others, that Saint-Saëns ody, in sustained tones, pianissimo,-a brief Adagio.

-Then came Beethoven, who seemed to say: All does not attempt to make too much of the conceit, in which you seem to feel the first awakening of that is very well, bat now for something serious ! consciousness. Then the Allegretio sets in with an

and with the first strong tones of Coriolan, fire but drops it at a happy moment. The audience innocent and childlike melody. (2.4), of a buoyant, from the heart and centre of the planet, we were in were transported, and the whole thing had to be re- soaring character ; the wind instruments reinforce another world. peated. — Miss TAURSBY, in the 'Aria from one of it: the melodic figure is inverted in the rounding

Bach is for once in the ascendant here, and in the Handel's Italian Opera, ( Muzio Scevola) confirmed of the period; and the second orchestra repeats with the fine impression which she made in a Harvard emphasis the closing part of it; and thus they light of such a fresh Spring promise one may forget

answer back and forth, until a new theme in strong all strise of rival enterprises. Three of his grent concert a few weeks before. The roulades were ev.

staccato tones is started in the larger orchestra, like vocal works are in preparation : the Cecilia are enly and beautifully executed, and the bright, em a repeated challenge, instantly answered each time studying one of his Cantatas for the last Symphony phatic, as well as the tender and melodious phrasas on a high tone sfarzando by the violins of the solo Concert: the Sharland Choral Society are at work of the happy love confession, were give: with reorchestra, which glide down in triplets as with

on the Magnificat for a Thomas concert; and the markable expression. We noticed in her voice a

frolic laughter. (The effect was somewhat dis. Handel and Haydn Society have resuined rehear: il tremolo which was not there before ; but it was turbed here by the want of perfect tune between of the Passion Music. This is “progress," in the

best sense ! 800n explained by learning that she was singing the violins ; it needed a Joachim or a Spohr for one with a broken arm aster a fall in one of our slippery happy: are variously presented, and the whole re. of them); and so all these motives, cheerful and

Miss THURSBY'S TEACHER. We cheerfully give streets,-n shock from which her nervous system could not have recovered.

peated in the usual way, to be worked up with still place to the following:
more complex, subtle art of what is called thematic MR. EDITOR; In an article on the Fifth Harvard Sym.

trealment in the second part. It is a charming pic-phony Concert, in the" Journal" of Jan. 22, there is an HARVARD MUSICAL AssociaTIOX. The ceventh

ture, and the instrumentation simply exquisite. It admirable critique on Miss Thursby's singing, which Symphony Concert (Thursday afternoon, Feb. 3) was finely played too, the solo wind instruments makes what seems to be a misstatement. however, which was made up of four selections, the two longer ones taking up the melodic threads in turn with delicate I am sure you will be glad to correct. You state that being entirely new to Boston. precision and uice feeling.

Miss Thursby is a pupil of Mme. Rudersdorff. I have Overture to "Faniska,"

had the pleasure of knowing Miss Thursby for some time,

II. The Age of the Passions furnishes the poetic and know that she has been studying with Sig. Achille ** Double Symphony:

theme for the most elaborate and longest movement Menschenlehen" (The Earthly and the Divine in

Errani, of No. 323 E. 14th St., New York, for several years Human Lifel, in C. On. 121...


of the Symphony. The Larghetto, beginning with I. The World of Childhood (Adagio and Alle uneasy. fitlul phrases of the strings in the larger past. To be certain, however, I wrote him, inquiring the

exact facts, and he tells me that from Nov. 1, 1871, until orchestra, hints the coming storm, while presently Oct. 9, 1875, he has, to his certain knowledge, been Miss gretto). II. The Age of the Passions (Larghetto and a melodious duet of the bassoon and clarinet sets in Thursby's only teacher. While since October last Miss

Allegro Moderato).
III. Fin! Victory of the Divine (Presto and

in the solo orchestra ; the key remaining doubtful, Thursby may have studied with Mme. Rudersdorff, it
until the 4-4 measure changes to 12 8, when it set-

seems to me evident that the greater part of the credit tles clearly into A flat, and, on an arpeggio chord ** Piano-Forte Concerto, No. 2, in G minor, Op. 22.

for her training must belong to Sig. Errani, and with so Andante Sostenuto-Allegro Scherzando-Pres.

accompaniment, Italian fashion, the melody proCamille Saint-Saëns ceeds, a tender love dnet; the second orchestra is charming and accomplished a singer, it should be un

derstood who it is who has done so much for her voice B.J. Lang.

silent for awhile, but soon begins to disturb the Overture to “ Coriolanus," ...Beethoven

and style. sweet serenity by ominous mutterings in the bass,

May I beg that some such correction as this be made ? The light and charming Overture to Faniska, which gradually gain possession of the quartet even

An incorrect statement in the “ Journal"

may do Sig.

Errani serious injurv. For confirmation of the above with its stately introduction, its teasing playful Al in the solo orchettra, and growing to a climax burst

forth (Allegro) in the full conflict of the passions facts, may I beg to refer you to Sig. Errani himself, or to legro subject, and its quaint laughing second theme wind instruments on one side replying to the impa the honor of being for some time connected on the Musi

Mr. Hassard, of the N. Y. Tribune, with whom I have had led in by the bassoon, offset by piquant pizzicatos tient violins upon the other. All this is worked up cal Department of the “ Tribune." of the vio'ins, was nicely played. After this the with great fire and energy and with wonderful skill

Very truly yours,

F.H. POTTER. great feature of the programme, the Double Sym- and beanty. The trumpets come in, and the war. Washington, D. C., Jan. 31. phony by Spohr, was listened to with zest. It was like passion now asserts its:lf; the strife becomes: á bold and beautiful idea. well worthy of the highest more complicated, as the field continually widens,

Tue“ WHustling Song.” We have the following powers, to portray in music, in symphonic move.

which only such a master of his art could occupy from an esteemel correspondent in Portland. Me. ments, the successive periods of the struggle between with life and power so present at all points. The

DEAR SIR: The “Sussex Whistling Song" published the Earthly and the Divine principle in human life, strife is relieved too by occasional moments of re.

in the Journal of Jan, 22, was familiar to me in boyliood with the final victory of the Divine. And the pe- pose, wielodic hints that seem to pour oil on the

-being then not unfrequently sung as a humorous song culiar means chosen, that of contrasting and comwaters.

at huskings and similar occasions, among the rural popbining two distinct orchestras, the one consisting of III. Final Victory of the Divine. Passion is at ulation of New Hampshire. The version differed slighteleven solo instruments (quintet of strings, Aute, its height. A storiny Presto (6-4), like a Scherzo, ly, but not materially, from the “Sussex.” oboe, clarinet, bassoon and two horns), the other begins in the second orchestra ; hút sweet, sustained siven as a whistling song, but with what was called a

"chorus," sung by the one vocalist who gave the songfully manned, serred to heighten the illustration tones of clarinet and bassoon, flute and oboe, in the and increase the interest in proportion to the unu first band, gradually appease its fnry and begin to sual draft upon the artistic resources of the musi. gain the upper hand, till even the stormy figure it

6 cian. It must not be supposed, however, that the self, transserred to the softer Alute and reed tones, 8 two principles in life are impersonated by the two acquires a new and gentler expression. At last both orchestras respectively. That idea is erroneously orchestras unite in a rich, solemn, tranquillizing A.

There was an old Far-mer, he lived in the west: suggested in the extract from Spohr’s Biography dayio, in broad rhythm, and the victory is gained. printed on the programme. On the contrary, themes Of course it is impossible to describe all this, but started in one orchestra are frequently caught up the consistent development of the idea, and the nev. and worked to fuller development in the other;

Whack, fal la ral er failing beauty of the work took a deep hold upon

fa ral lal lay ; And he had a each in turn illustrates, colors and completes what the audience, and a repetition would be welcomed the other has said. The ideal contrasts run through if it should occur. both alike; nor is the contrast always so forcible as Of equal interest and more exciting, more entireone would expect; the gentleness of Spohr, the ly fresh and novel, was the Concerto by Saint

wife that was none of the best, With my fa, la. sweet subdued tone of his picturesque imagination is Saëns. We have heard no Concerto by either of felt even hore. With Beethoven passion would have the " composers comparable to it in point of asserted itself with more defiant and Titanic force; individuality or genius. It is very modern, to be fa ral lal la ral lal la, wbat Raff or Rubinstein would make of such a theme sure, and very French; but with all its technical one shudders to imagine.

diflculties, which are immense, and all its sensation. The weaknesses of Spobr's music we all know well al effects, there is a spontaneous energy of life and enough. The cloying sweetness of his harmony, purpose in it which justify its existence. It de. abounding in diminished sevenths and in subtile parts from the usual Concerto form, beginning with

fa rallal la fred 0



It was not

thus :



Special Notices.


If well whistled, the effect might be lietter,

Impromptu bearing the same opus uumber and a "Valse I should perhaps have hardly troubled you with this, Caprice” arranged by Liszt. The programme ended but for the fact that a version of the saine thing is given with Hummel's Grand Septet, op, 74 in which Herr von in Johnson's Museum-Inore at length and with more Buelow had the co-operation of Messrs. Siedler, Gortel.

DESCRIPTIVE LIST OF THE sharp points-entitled:

meler, Gewalt, Matzka, Bergner and Pfeifeuschneider.
At this concert, Miss Lizzie Cronyn sang. La vita felice'.

Kellyhurnbries. Written for this Work by Robert Burns."
This co more prove that New Hampshire was peopled (op. 38] by Beethoven, a Canzonetta from “ Salvator Ro-

Published by Oliver Ditson & Co. from Sussex, than that Scotland was, but shows that sa" by Gomez, and “ Thou'rt like unto a flower" by RuBurns thought there was enough of humor in the legend binsiein, in a very acceptable minner.

Vooal, with Piano Accompaniment. to make it worth preserving.

The programme of the matinée on Saturday, Jan. 8th, In the Museum, it begins : which ended the series was the same as that of the con

In the Maple Grove. Song and Cho. 3. ely cert the Monday evening preceding. The concerts were

Bb to f.

Hodges. 30 ch all well attended and they will never be forgotten by those

“Gloosy, golden ringlets, cheeks of rosy hue, who are interested in music.

Made my heart a captive, in the maple grove." 28

On Friday, Jan. 14th, the New York Philharmonic So Poetry imbued with the beanty of the woodThere liv.ed a carl in Kel lyhurabraes, ciety gave a matinée at the Academy of Music, with a

lands, and a nice, neat song every way. programme substantially the same as that of the concert Love's Answer to · Speak to me speak.” of the week following.

F to f.

Voorthuysen. 30 The second concert of the Brooklyn Philharmonic So

“0, could'st thon lay Thy hand in mine, Hey, and the rue grows bon-ie wi' thyme; And ciety came on Jan. 15th. on w ich occasion Rubinstein's

My heart to-day

Beats but for thine." Dramatic Symphony was played. This work has already Music and words arranged in short, crisp been produced in New York y Theo. Thomas (twice if I

phrases, which are very pretty and effective. remember rightly) and its bold, fanciful conception and Home so blest. 4. Eb to e.

Abt. 30 he had a wife was the plague of his days, And the masterly instrumentation Fave created a profound im

“Oh, home so blest! Oh, sheltered nest! pression which was still farther confirmed by this per

Oh! land so fair!" 上一个

formance in Brooklyn. The orchestra seemed to make Abt gives us here another “ Swallow" song of ti light of the technical difficulty of the work, which is im

sweet and classic character. Words by Montgom

ery. mense. And, if any one in the andience hall the courage thyme it is wither'd, and rue is in prime.

to try to understand the work, he must have received on the Shore I wait and listen. Song and It is in the 4th volume of the Museum, and numbered valuable assistance froin the analysis, by Mr. Dudley

Cho. 3. Ab to g.

Voorthuysen. 36) 379. Buck, printed in the programme.

“ Roll ye waters, murm'ring waters, There is one point in the New Hampshire version, not Besides this symphony, which is of great length, the

Res less waves and rolling foam."

Waiting for the sailor lover, whose boat comes in either of the others, to wit: that Satan had done a orchestra played Beethoven's overture in C, and the

empty to the shore. Fine song and chorus.

day's plowing for the Farmer, and
was to have one of Vorspiel to the

Meistersinger von Numbers, if planner: Katie, the Rose of Kildaro. 3 F to f. Danks. 30

the family as a quid pro quo; that when he came for his

violin playing I pay, he was offered the eldest son, but was gallant wrote not long ago, played Mendelssohns' Concerto in E

"If I were a bird I would soon be a flying, enough to prefer the Lady. “The effect was the same,” | minor, and, for encore, a Gavotte by Bach.

Across the blue ocean to Katie and home."

A neat imitation of an Irish song with a melaccording to all three ditries. The great charm of Senor White's violin playing is in

ody much prettier than the average. I can give you an item of some musical interest. Our the quality of the tono ho draws from the instrument, “ Haydn Association" are studying Handel's Theodora; which is singularly pure and sweet; other traits however Nobody's Darling but mine. 3 C to a. have had three rehearsals. and their progress is exceed are not lacking.

Danks. 30 ingly creditable and promising. Yours truly Miss Thursday sang an air from Handel's Muzio Scevola,

“In your bright eyes softly shine, love,

Visions de ightful to see.”
Feb. 8, 1876.

I. B. and a Recitative and Rondo “ Mia Speranza Adorata"
by Mozart.

Evidently one of the brightest and best of dar

lings. for none else could prompt such a soaring, NEW YORK, JAX. 31, 1876. In my last letter I brought On Saturday evening Jan. 22nd, we had a double allow brilliant, sparkling love song. For a high tenor

or soprano. the concert record up to the New Year, and upon resum ance of music. The N. Y. Philharmonic society gave ing it now, I find first on the list the fourth Von Buclow their third concert of the season at the Academy of Mu- Finette. 3. D (minor or major) to d. concert of the new series, on Monday evening, Jan. 3, sic with the following bill:

Molloy. 35 when Dr von Buelow. assisted by Dr. Damrosch, played Symphony No. 3, in Eh, major.... .Haydn

" So Gerome came one, and Finette came two, the great Kreutzer sonata of Beethoven, and also Schu a. Adagio-Vivace assai.. 6. Adagio cantabile.

Two little steps half way." bert's Introduction and Rondo briliant, op. 70, for piano c. Menuetto, Allegretto. d. Finale, Vivace.

A decidedly merry little minor song, as pretty and violin. The piano soli at this concert were artistiConcerto-For the piano, No. 2, E minor, Op. 120,

as pretty can be."

cally grouped as follows:
Allegro; Andante quasi Allegro; Finale Allegro.

With Orchestral Accompaniment.
Q. Scarlatti-Cat's fugue.

Reveries of the Past. Fine lithograph title.

Miss Lina Luckhardt. b. J. 8. -Bach-Sarabande and passepied.

Scene and Aria—"Ah perfido,"


Romance for Piano. 4. Eb. G. D. IVilson. 75 c. Gluck-Gavotte from the ballet "Don Juan."

Miss Eugenie Pappenheim. d. Mozart-Menuet et Gigue.

"Let fate do her worst, there are relics of joy,

Bright dreams of the past, which we cannot destroy." and following these came a set of Chopin's pieces. Overture-"Coriolanus," Op. 63. Beethoven

Another of Mr. Wilson's fine pieces, which bor. a. Nocturne. Op. 9, No. 3.

Recit. e Aria—" Le Nozze di Figaro," Mozart ders on the magnificent in its beauty. b. Ballade. Op. 23.

Miss Eugenie Pappenheim. c. Three Valses. Op. 34.

Symphony-No.1, F inajor, (first time in America).

Victoire Galop. 4. F.

Bartlett. 35 Miss Lizzie Cronyn sang Beethoven's “Song of Peni

Metzdorff More difcult than most galops; but consider

that the "V ctoire" is the victory of a college itence," op. 48, and a Romanzı from Rossini's “Othello." The Haydn symphony is an attractive work and it was

boat club, and nothing short of the brilliant ecsAt the fifth concert, on Wednesday evening, Jan. 5th, well played. Of the performance of the rest of the bill I tatics of this galop would go with the joys of the Herr von Buelow, with the co-operation of M. Aubert cannot speak with certainty as I did not remain to hear winning crew, (Violoncello) played a brilliant composition by Camille it. The audience was a fair one considering the fact that

Tidal Wave March. 2. G.

Sealey. 30 Saint-Saëns (Grande Snite, op. 19, in D, and also Chopin's Thomas at Steinway Hall on the same night gave a con A simple march, with "full band" effects. “Introduction and Polonaise for Piano and Violoncello," cert such as he only (in New York at least) could plan Ten Pin Galop. 2. D.

Wallis. 35 op. 3. The general effect of both pieces was narred by and carry to success. Here the house was filled and ev

As an additional effect, at one place a drum is the bad playing of the violoncellist, whose most apparent en the small hall back of the main auditorium was

introduced, giving the rolls of the ball, followed faults were weak bowing, uncertainty in stopping, and crowded with attentive listeners. The programme was by a glissando, indicating that “ all are down." defective tone. like an apotheosis of Beethoven. I copy it in fuil.

Forest Echoes. Mazourka. 3. C. Roserig. 30 The vocalist of the evening was Miss Rosa McGeachy, Symphony, No. 1, in C, 09. 21,

It has no echo in it, but a most graceful melody, who sang two flashy operatic airs which were completely Concerto for Violin and Orchestra, Op. 61.

wbich may well be employed in invoking the at variance with the general character of the programme,

Allegro ma non troppo-Larghetto - Rondo.


Mr. S. E Jacobsohn anı Orchestra. though not more so than was the singing of the young

Symphony, No. 9, D minor, Op. 125,

Come back to Erin. Fantasie. 4. Bb. Grobe. 75 lady in question. Far from finding fault with her selec

With final Chorus to Schiller's Ode tions I esteem it fortunate, and remember feeling thank

"Hymn to Joy."

A well known beautiful air, varied in Grobe's

well known interesting style. ful at the time, that she attempted nothiug serious.

Recitative, Solos, Quartet and Chorus.

Mrs. H. M. Smith, Miss Antonia Henne, Mr. Wm. J. , Tramway Galop. Four Hands. 3. C.
The only unexceptionable part of the evening's perform-
Winch, Mr. Franz Remmertz.

Gobbaerts. 75 ance was the playing of Herr von Buelow, whose selec

and tions were: from Mendelssohn the “Variations serieuses'

The Oratorio Society of New York.

A galop played with 4 hands will be a brilliant

afiair. op. 54, and six songs without words, and from Liszt

Space would fail me should I attempt to give an ac

Six Easy Pieces for Four Hands. By "cantique d'amour," "LeLac," "Au bord d'une source ” count of this pci formance in detail, and I will only say

Carl Reinecke. and a Valse Impromptu. that the enormous difficulties presented by the great cho.

No. 1. Vorspiel.

23 Each of these pieces was given with the greatest deli- ral symphony were surmounted with success and appar " 2. Liedchen. cacy of finish and the very perfection of detail, while the ent ease by the orchestra; and that the singing of the im

3. Zur Guitarre. genuine poetry of the Mendelssohn Lieder brought into possible vocal parts was very well done by those to whom " 4. Landliche Tanz. strong relief the artificial character of Liszt's ingenious they were entrusted, while the chorus was creditable < 5. Echo Song fancies.

both to the singers and to Dr. Damrosch who directed " 6. Gavotte. At the sixth concert, on Friday evening Jan. 7th. Ru- the singing.

Easy Instructive pieces of 20 or 3d grade. binstein's sonata, op. 18, for Piano and Violoncello was The violin concerto, which is seldom given entire, explayed by Herr von Buelow and M. Aubert, and the great cited much interest; and the playing of Mr. Jacobssohn ABBREVIATIONS.-Degrees of difficulty are marked pianist gave a magnificent performance of Beethoven's displayed all the qualities necessary to the best interpre

1 to 7. The key is market with a capital letter: as C, B flat, &c.

A small Roman letter marks the highest note, Sonata in E flat, op. 31. He played also a group of soll tation of the work.

if on the staff, an italic letter the highest note, if above

A. A.C. by Schubert, comprising the Elegie, op. 90, No. 3, the

the stall.

Marked with the Key, tho Pitch, and the degree of difficulty, and concisely described for teachers and players.

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Vocal, with Piano Accompaniment.

Poor Old Nance. S'g and Cho. 2. Ab to f. Cagliostro in Vienna. Operetta by J. Strauss.
Minnie Patterson. 30 No. 1. Waltz. 3.

755 The Wolf. Bass Song. 3. El to f. Shield. 40

"' And on the time stained page they read

2. Galop.
3. A.

" Your keys, jewels, cash and plate!
“My dear boy Jamie's hair.

It is a new thing for Strauss to write anything but
Silence, or you meet your fate.'
Quite touching narrative song.

dance music. But this operetta seems to be made For Bass or Baritone voice. A sensational pleco

principally of that kind, and all is therefore
describing the midnight visit of robbers.
My Darling under the Vine's cool shade.

Btrauss-y and super-brilliant.
My Good Father. (Il mio Babbo). 4. C to a.

(Herzliebchen mein unter Rebendach). 3. The Holy Virgin. Meditation. Op. 225.
Ricci. 30
Ab to d.

Conradi. 30
4. C.

Lange. 50 “In a trice, my little daughter."

“) come thou down to me."
Heather Rose. Op. 78. 3. F.

35 Presto, presto Giovanni."

* 0 komm herab zu mir."

There is an extraordinary evenness in the beauty
A pretty little eomic Italian ballad. One of about
A charming German peasant ballad, in the form of Mr. Lange's

pieces. There does not seem to bo of a serenade.

a "feeble' or discordant measure in them. The
30 songs, ably selected and translated by Mr. T. T.
Barker. The set is called " Wayside Flowers."

above are no exceptions to the rule.
Pleasures of Love. (Plaisir d'Amour). 3.
Softly, sweetly Whisper. S'g and Cho. 3.

F to f.

Martini. 30

March of the 600,000. 3. Eb G. F. Root. 30
Bb to e.

Danks. 35
"Je t'aimerai, me repetait Silvie."

A powerful march enclosing a melodious left hand “ Softly whisper that you love me,

“I love thee, I love, said Silvie."

passage of considerable lengih. Excellent practice. Put your dimpled hand in mine." Uncommonly sweet melody. Throughout neat Battalion March. 3. A.

Milliken. 30 One of Mr. D's beautiful melodies, joined to a and beautiful.

In 6-8 time, and will do either as a march or pretty poem in popular style. If I only knew her Name. 2. D to f.

quickstep. Quito brilliant. Won't you kiss me, little darling? S'g and

Brockway, 40 Aria and Polacca. From Ernani.. For Piano
Chọ. 3. Eo to f.

Persley. 30
“My heart was like a lark,

and Flute. 4. Bb

Layard. 75 " Press your ruby lips to mine."

The sky was bright and gay."

A large number of airs which become popular on Nice music.

By the author of “Twilight in the Park," and

the Piano, are also arranged for the Fluie.' The aWhat's the use of fretting? S'g and Cho.

quite as good as that. Begin early to sing or whistle bove piece belongs to a set called “Choice Arrangeit.

ments,” embracing about 75 pieces.
2. G to e.

Fine picture title,
Beg. 30

Little Tin Soldier. 3. Bb. to d.
“They only wait a decent chance

2. G. Molloy. 30 Crystal Mazurka.

Mason. 30 To make their troubles known.”

Quite an easy and pretty piece In Mazurka form.

" She was a little fairy dancer, A bright little bit of sunshiny poetry, in praise

Bright as bright eould be.”

The Children's Musical. Pieces for little of good huinor, and against worrying. Hans Andersen's little story set to music. Those


Crandall, ea. 30 Pretty Bird, come tell me why. 2. Eb to f.

who sing it will be sure of great applauso from the

No. 1. Little Frolic.
Fox. 30 little ones, as it is very pretty.

2. Ab
" The day has gone, and still I hear,

2. Little Sunshine. (Waltz). 2. D. Broken Rhythm. 3. Eb to e.

Boott. 30
Thy silvery notes so pure and clear."

3. Little Sober-Sides. 3. A minor. A very sweet and simple ballad.

“My oars keep time to half a rhyme,

4. Little Fly-away. 3. C. That slips and slides away from me."

The pieces are all fingered, and are very clever Fade, fade each Earthly Joy. Quartet. 4.

Words by Eliz, Stuart Phelps, and are quite wor.

arrangements for little learners, combining pleasure Crandall. 40 thy of Mr. B's pure, classical, musical set'ing.

with study.
" Jesus alone can bless."

Bird of Love. 5. A to a.
Includes good solos, duet, etc., and is a very

Streabbog's March. 6 hands. 2. C.
Lemmens. 30

35 snooth and beautiful hymn anthem.

" It warbles softly at the dawn,

Easy pianoforte trio.
And sings the whole day long."

Bandit's Pranks. Overture. 4. C.
Grand Magnificat. For 4 voices. 4. C to a.

Suppé, 75
Du Mouchel. 75 A bird song of the sweetest character. Requires

This unpretending title names an overture which “Magnificat anima mea." a moderately good execution in the "warblings' but

should be as well known to players as those of “Praise the Lord, O my soul!"

otherwise, not difficult, except, perbaps, in the standard operas. It is very pleasing, and is new rhythm.

and bright. A rich quartet or chorus. Latin words only.

Scrap Book.

Valse de Salon. 3. F. Briggs. 40 Dream that I love thee still. 3. F to f. Price. 30


Very pleasing and easy waltz,
" Dream that my spirit floats

Pleyel's Hymn. Variations. 4.
Ever to thee."
La Sylphide. Morceau de Salon. Op. 55.

Briggs. 40

The sweet old tune takes kindly to variations, Song in the drama “The Grand Admiral."

4. C.

Lange. 40
Dona Serafina sirgs It. Short, but very sweet.

which will almost do for Sunday interludes.

An exquisite "morsel," truly, and graceful as
Sweethearts. 3. Ab to f.
Sullivan. 40

Honor the Ladies, Waltzes.
Lange's must be.

3. Bela. 75
« Oh, love.- for a week,-a year:-
From a distant Shore. (Von fernem Strand).

Kelor Béla should well hcaps of these, since he But alas for the love that loves alway."

has selected so fino a title. Very attractivo waltzes. Polka Mazurka. 3. D.

Faust. 30
Among the best of its class,

Carl Faurt lives in such "a distant" land that
I will go to the Altar. Trio for Sopr., Tenor
only his best pieces are likely to be known here,

and Bass. 4. G to g. Southard. 35 and this may be considered as one.
Such a sacred trio as one would expect Mr.

HIGH SCHOOL CHOIR. For High Schools, Acad-
En Route. Marche Brillante. 4. Eb.
Southard to write:-graceful, musical and highly

emies and Seminaries. By L. O. EMER

S. Smith. 75
Anished. Try it.

80N and W. S. TILDEN.
Year after Year. 3. D to a.
T. D. L. 30 “ Brilliant," in Sidney Smith's hands, becomes

Two part, three part and four part songs, pré-
double brilliant, and this powerful affair is almost
“Year after year the cowslips fill the meadow."

ablaze with brightness.

pared with the same manifest skill which caused A beautiful fragment of poetry by Miss Mulock,

Marche des Amazones. 6. D. with music nicely adapted to the thoughts.

the success of the popular “Hour of SINGING.”

Maylath. 40
Full of staccato octaves aud accente, and while it

Price $1.00, or $9.00 per dozen.
To Horse! Cavalry Song. 4. C to g. Elson. 30

is good music, it is also a good practice picce.
" To horse! The trumpet calls,

THE SHINING RIVER. A Sabbath School Song
On ready ears the signal falls."
The Flower of Andalusia. Fandango. (La

Book. By H. S. and W.O. PERKINS.
A very spirited war song, dedicatcd to the“ Lan-

Fleur d'Andalusia). 4. El. Maylath. 40

Among the best of the kind, and is filled with A spirited Spanish Air.

wide awake and new songs for young singers. County Guy. 3. E minor and major to e. Pride of our Home, Nocturne. 3. El.

Price 3.3 cts. or $30.00 per hundred, Sulliran, 40

Wilson. 00 "Ah! County Guy, the hour is nigh,

New Method for Violam With 25 Studies by The sun bas left the lea."

Very sweet piece, but hardly as sweet as tho child's face that looks out from the title.

B. Bruni. $2.00 It requires a skilled hand to put new music to an

Comprises a few pages of exercjees, with sugger. old and favorite ballad, and to do the work well.

Irish Diamonds,

By Willie Pape, en. Wij
But Mr. Sullivan has succeeded in doing il.

tions for the management of the instrument, and 25 No. 3. Has sorrow thy young days; and

studies in various key8. Let me Dream Again. 4. C to e. Sullivan, 40

Young May Morn.

Analysis and Practice of the Scales. By
* Is this a dream ?
Then waking would be pain."
Similar to others of the set in beauty, difficulty,

Isaac L Rice. $1.50
and adaptability to public taste.
A most charming reminiscence.

Containg well written descriptions of thr various

peculiarities of the Major and Minor Scaler, with Bouquet de Bal. (Vazurka elegante). 4. F. One little sweet Kiss. Song and Cho. 3.

*xercises for practice. Weil worth the examina.,

Ketterer. 50
Maylatk. 30

tion of tcachers.
"She was fair as the blush of the morning,

Very bright, anyway, but may lie made still

15 Selections from the Works of Mr. G. FischAnd her smile was a treasure to me."

brigaier by the addition (at will) of the arpeggion
in small notes.

er for the Organ. Arr. for the use of Very pleasing ballad in popular style.

Students, by

N. II. Allen. $2.50
Return. . 3. Bo to f.
Glover. 30 You and I. (With liberal Variations). 4. Ab

This is a fino collection for organists of sumo

Grobe. 00 A spirit whispers, ah! return

ability in pedal playing: Fischer was trained by To the land where all thy loved ones o well." Nobody has been more liberalin really good vari

one of Bach'- pupils, and his compositions are clas.. ations than Mr. Grobe, and the newest are as good

dical and sulid.
A rich melody to words that sing of "home.”

as the best.
Aubade. Serenade. 4. F to g. Cowen. 40
Premiere Saltarella. For 4 hands. 4. C.

ABBREVIATIOX8.–Degrees of difficulty are marked "The stars are sleeping, and. dim with weeping,

Leybach. 75 A to 7: The key is marked with a capital lette: 18 C, B The moon is keeping her watch on high."

nat, &c. A small Roinan letter marks the highest note,

One of the set called “Les Inseparab!cs," and is
Sung by Biuo Reeves, and is a capital concert

if on the staff, an Italic letter tho highest note, if abovo brilliant duet.

Itho stai. song



Eh to I:


Oliver Ditson & Co.,





RICHARDSON'S NEW METHOD FOR DITSON & Co's HOME MUSICAL LIBRARY THE PIANOFORTE, is briefly mentioned in our list of Instruction

has a value which should be fully understood. Book publishers are Books. It may, in addition, be said, that the publishers take a natu accustomed, from time to time, to bring out handsome sets of ral pride in it, as their most successful book. The sale of about 250,000 “Dickens,” of “Shakespeare,” of “Scott,” of “the Poets,” &c., &c. copies has been unequalled by that of any similar work. The magnitude

Now suppose some bookseller should bring out a set of books which of the undertaking to print å quarter of a million copies may be better

included all the best works of Scott, Bulwer, Dickens, Thackeray, and appreciated by the following statement. The leaves of “Richardson,” of all the others. This, for literary people, would approach, but not taken out and laid down in the New York Central Park, would carpet

equal the value to music lovers, of our Home Musical Library. the whole expanse with at least a double thickness of paper. The same sheets, laid down another way, would form a musical pathway, The Library at present, (1876) contains 18 volumes, each entirely 3 feet wide and 3,000 miles long, from New York to San Francisco. independent of the other, and resembling a bound volume of sheet

music. The book has been revised and re-revised, until it is, probably, quite piano music in existence has been looked over, and the creme de la

To form these books, nearly the entire mass of song and free from errors, and improvements and useful additions have, from

creme (cream of the cream) of it reserved. time to time, been made. It contains 260 pages, Sheet Music size.

(We furnish a catalogue, containing the names of every piece and PRICE $3.75.

song in the 18 books, to all wbo desire it. )


FULL SHEET MUSIC SIZE. has recently come into the possession of DITSON & Co., having been The books are uniform in size and style. For a full description, on the Catalogue of LEE & WALKER. It has had a first-rate success, as please refer to the Catalogue above mentioned. The titles are given 30,000 copies have been sold. Its neat appearance, fine arrangement, below. and its multitude of pleasing pieces, songs and easy voluntaries, com

In In Full mend it at once to the eye, as one of the best of Reed Organ books.

Boards. Cloth. Gilt.
PRICE $2.50.

Gems of English Song, Vocal. 232 pages. $2.50 $3.00 84.00
Wreath of Gems. Vocal.


2.50 3.00 4.CO Silver Chord, Vocal.

2.50 3.00 4.00 BELLAK'S ANALYTICAL METHOD FOR Musical Treasure. Vocal and Instr. 200 pages. 2.50 3.00 4.CO

200 PIANOFORTE, has special claims to bo used as the very first instruc- Gems of German Song. Vocal.

2.50 3.00 4.00 tion book. Teachers understand that the driest, least interesting, and Gems of Scottish Song. Vocal.


2.50 3.00 4.00 therefore the most trying time for instructors and pupils, occurs in tho Moore's Irish Melodies. Vocal. 200


3.00 4.00 second or third month of study. Bellak shrewdiy provides a large

200 Operatic Pearls. Vocal.

2.50 3.00 4.00 quantity of pretty, progressive, useful little airs and rondos, to bridge

Gems of Sacred Song. Vocal. 200

2.50 3.00 over this place of difficulty. After a few weeks in “Bellak” the pupil

4.00 is well prepared for a longer and more solid book. Price in Paper, 75 cts. Shower of Pearls. Vocal Duets. 240

2.50 3.00

4.00 Organ at Home, Reed Organ Music, 180 2.50 3.00 4.00 Silver Wreath. Vocal.



Gems of Strauss. Instrumental.


2.50 3.00 4.00 TUNES, has abundant materials for these quaint entertainments, which

Home Circle. Vol. I. Instrumental. 210

2.50 3.00 4.00 bid fair tu bo popular for another 100 years or so. Price 40 cts.

2.50 3.00 Home Circle. Vol. II. Instrumental. 250


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3.00 4.00 BATISTE'S ORGAN VOLUNTARIES Pianists Album. Instrumental.


2.50 3.00 4.00 are in general easy, and all of them are graceful compositions, by one

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