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dox. So that the large audience assembled at Steinway Hall yesterday were in a position to divest their minds of all questions of grammatical purity and scholastic "form," and criticize the symphony as a complete work As it was placed first on the programme it could be judged as well-or, more correctly speaking, as inadequately-as any large work can be judged on first hearing. There seemed to be a good deal of hesitation on the part of the audience in pronouncing an opinion. The first movement-allegro con brio-presented nothing particularly attractive to the general ear; it is interesting throughout, but the interest does not increase with its progress sufficiently to excite a craving for the second movement, and it was rather coldly received. With the Scherzo-allegro vivace-the attention of the audience deepened. It is a very tuneful movement, containing some reminders of Beethoven's scherzos, but it is not an imitation of Beethoven, its lively measure changing [not "episodically "] to a gravity not sufficiently in keeping with the scherzo as Beethoven has made us understand it. At its conclusion the applause of the audifence was warm enough to show that Mr. Thomas had not made a mistake in producing the work. The third movement-adagio-is undoubtedly the gem of the symphony. It is music, pure and undefiled, from beginning to end-plaintive, sweet, graceful as a pastoral poem. It does not contain a single phrase that seems out of place, and though it is rather long, and always exceedingly sweet, its sweetness does not cloy. It is not grand or imposing, there are no modern "effects" in it, and it may not suit ears accustomed to the accumulating richness of Schumann's or Beethoven's adagios, but for what it assumes to be it is beyond criticism. Certainly the audience liked it very much, and the orchestra seemed to like it greatly. Its enjoyment was, however, somewhat interfered with by an annoying noise from the heaters in the hall. The last movement falls short of the expectations raised by the beautiful Adagio, though it cannot be described as faulty. What it lacks probably is the evenness and clearness of purpose which characterize the other movements. Although the scorwork, every instrument having plenty to do and some considerable difficulties to master, the harmony is thin, and when the climax comes with the return to the original theme, the devices of construction which Bach always employs under similar circumstances, and which ears cultivated in Theodore Thomas's school [ have learned to regard as essential, are too much neglected. Mr. Paine, however, deserves very high praise for his modest, unsensational treatment of his subject. He has written an American symphony that will probably bear the test of the severest criticism by adherents of the old school, a symphony that will live as a beautiful work of art, simple and unaffected. If it is not strikingly original, the author is assuredly no plagiarist; if it does not astonish, it will never fail to please. Mr. Paine is a young man, and as "it takes a clever musician to write even a poor symphony," he may be congratulated both upon having written one that gives such good promise of a bright future for him in the world of art, and upon having had so able and so conscientious an interpreter as Mr. Thomas.

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Mr. EMIL GRAMM.
[Arranged by B. Listemana.]
PHILHARMONIC CLUB.

Song of Eliza,..

.Mozart
.Vieuxtemps
.Liszt

..Cirillo
Miss LAURA SCHIRMER.
Notturno for Violin, Flute and Horn
.Doppler
Messrs. B. LISTEMANN. E. WEINER and A BELZ.
Quartet for Piano and Strings,....
Schumann
Sostenuto assai-Allegro ma non troppo-Scherzo
-Andante cantabile-Finale [Vivace).
Madame MADELINE SCHILLER,
Messrs. B. LISTEMANN, GRAMM and HARTDEGEN.
The old B-flat Quintet of Mendelssohn, which
takes us back to the earliest days of our Quintette
Club which still bears his name, was admirably
played; the three movements were so acceptable
that it seemed not quite fair to deprive us of the
Finale. Nothing of its kind more interesting than
the Schumann piano Quartet could have been offered
us, unless it were the matchless Quintet. The latter
is a happier inspiration throughout, more clear,
more readily appreciable on the first hearing; but
this also is full of fire, of rich imagination and deep
feeling. The Andante and the short, brooding Sos-
tenuto which precedes the first Allegro, appeal to

ing in this number is as excellent as it is throughout the deepest sympathies; the Scherzo, with its rollicking staccato movement, fitfully alternating with the original; and the fugued Finale, very intricate and more pensive mood of its two Trios, is strikingly difficult, is full of spirit, and keeps the interest alive

[From the New York Times, 6th.]

Mr. Theodore Thomas yesterday gave a matinée concert at Steinway Hall. The principal element of the programme was a new symphony by Mr. J. K. Paine, a

Boston composer of considerable local repute. We trust

Mr. Thomas will sooner or later repeat his performance of this work, which belongs to an order of music of which several hearings are necessary bofore anything approaching an accurate opinion can be formed. We cannot, however, admit that we expect great results from Mr. Paine's commendable attempt at symphonic writ ing. The opening movement, which is by far the best, contains some graceful and fluent ideas, which the composer has developed with taste and clearness, but without marked felicity; the remainder of the work does not indicate that Mr. Paine is possessed of particular originality in thought or method; and the impression of the whole effort, yesterday, was that the musician had occupied fifty minutes where half that time would have been sufficient to have had his say.

Dwight's Journal of Music.

BOSTON, FEB. 19, 1876.

OUR MUSIC PAGES. The Part Song by Schumann, printed in this number, is taken by permission from "German Part Songs," edited by N. H. ALLEN, pub

lished by Oliver Ditson & Co., Boston.

Concert Review.

BOSTON PHILHARMONIC CLUB. The last two Matinées of this fine group of artists (Jan. 19 and Feb. 2) were in the main so thoroughly enjoyable that keen regret was felt that they could not be continued at intervals for two or three months longer. But the attendance at Bumstead Hall, though larger than at first, was too limited to give encouragement. It was but the common fate of concert-givers, here and elsewhere, during these "hard times." The Club, however, have so established themselves in the good opinion of the truest music-lovers that, if they only persevere, their day will surely come.-Their fourth programme read as follows:

to the end. Seldom, if ever, have we heard Mme.
SCHILLER to better advantage; her consummate
technical precision and force were only means to
the higher end of fervent and intelligent interpre-
tation; her soul was in the work; and there was
inspiration for her in such fine coöperation of the
strings.

Mr. GRAMM won not a few listeners to the peculiar
beauty, which they had not before suspected, in the
sound of the Viola; his tone is singularly rich and
even, and he is master of the instrument. The Not-
turne for violin, flute and horn proved a pleasing
composition, and was exquisitely played. But of
the "Mephisto Waltzes" we can say nothing of the
kind; such excruciating cacophony, such an inco-
herent medley of harsh grating sounds, not relieved
but only aggravated by certain melodic fragments
for the horn, which seemed tuned to another sphere
where a peculiar concert pitch prevailed, we never
yet heard in the name of music; it was more like
the babel of an orchestra all trying over their own
separate parts in the pauses of a rehearsal; we
would as soon be shut up in a vast machine shop,
surrounded by whizzing wheels, screaming saws and
files and ringing hammers.-But it was the pious
Abbé Liszt who wrote it; and who more competent
to set the tune for Mephistopheles to dance by !

Miss LAURA SCHIRMER, with a naturally sweet and flexible voice, sang her two songs in a graceful manner, which showed careful training; but there was a certain hardness in the quality of some of her tones, which may have been the effect of too much she is winning, lady-like and modest in appearance. concert singing at so early a stage of her career; Wednesday, Feb. 2.

Beethoven

Quartet in F, Op. 18, No. 1,
Allegro con brio-Adagio-Scherzo-Allegro.
Horn Quartet,

......

a. Pilgrim's Song, from "Tannhäuser,... Wagner
b. Krystallen denfina, Swedish Song,... Faltin
Messrs. Belz, Lippoldt, Schormann and Schumann,
Solos for Violoncello,
a. Melodie,.

b. Allegretto,..

Huber
.Kiel

Mr. Adolph Hartdegen.
a, Andante Cantabile, from Quartet in D,
Tschaikowski
b. Scherzo, from Quartet in E flat,..... Cherubini
Horn Quartet,

a.

"Die Welt ist so schön,"
b. Suomis-Song,...

Solo for Violin, Notturno, Op. 27,..
Mr. B, Listemann.
Rhapsodie Hongroise, in F, No. 14...

.Fischer
Pacius
.Chopin

........

.Liszt

This closing Matinée was the most interesting of all and had the largest and a really enthusiastic au

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dience. It was a comfort to old chamber music lovers to hear once more one of the six earliest Quartets of Beethoven, no one 'of which is more genial and beautiful, more ever fresh than this No. 1, in F. Never before have we heard it so delightfully interpreted. The pieces for four horns produced a marked sensation. The tones, so rich and mellow in the softer cantabile passages, with the fine contrast of the more breezy trumpet-like sounds in the strong accents (in the bass parts especially) fender their harmony peculiarly attractive. The per formers were the famous "Russian Quartet" who came to this country a few years ago; the leader, Mr. BELZ, has since distinguished himself in the Philharmonic Club as the finest solo hornist we have ever heard here; his three old associates, who proved themselves on this occasion worthy ones, are in our Harvard orchestra this winter. Mr. HARTDEGEN'S violoncello solos, in tone, style and expression, were most satisfactorily rendered. The single moveTschaikowski and the sound old classical master ments from Quartets by the young Russian composer Cherubini, were highly interesting; the former much more French in style than the latter, which was produced in Paris.

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Song, "Thou'rt like unto a flower," Selections from "The Phantom Ship,' teresting an orchestral work as the well known one Gluck's Overture to Alceste is by no means so into Iphigenia in Aulis; but it forms a dignified and serious introduction to the tragedy; it needed, for ing chorus sung. Still we are thankful for every a satisfying impression, to be followed by the openopportunity (too rare) of hearing one of these things. Think of it in contrast with the last number of the first part,-the wild, sensational, extravagant and stunning Rhapsodie Hongroise by Liszt!-The pieces grouped together from Bach,-in rather enough intrinsic beauty individually to bear hearforced companionship, we thought-have certainly ing for a second time. The Prelude is from the known G-minor Organ Fugue; the Chorale, scored Well-tempered Clavichord; " the Fugue is the well for the full brass of the orchestra, contrasted boldly vales.-The Beethoven Overture ("Namensfeier ") in the middle, a craggy height between two quiet is by no means so broad and grand a work as the other one in C, op. 124 ("Die Weihe des Hauses;") but it has beauties not so readily appreciated and is far too seldom heard.

66

The striking novelty of the programme was the "Dance of Death" by Saint-Saëns,-a Symphonic Poem with a vengeance, to which the key is furnished by the following cheerful verses from the French of Henri Cazalis:

Zig, Zig, Zig-grim Death, in cadence,
Striking with his heel, a tomb,

Death at midnight plays a dance tune,
Zig, Zig, Zig, upon his viol.

The winter wind blows, and the night is all dark,
Moans are heard in the linden trees;

Thro' the gloom the white skeletons pass,
Running and leaping in their shrouds.

Zig, Zig, Zig, each one is frisking,

The bones of the dancers are heard to crack

But hist! of a sudden they quit the round; They push forward, they fly, the cock has crowed. The music is certainly a clever freak of French| fantastical extravaganza, mingling the horrible and the grotesque, till they exert a fascination worthy of Meyerbeer. The doleful midnight bell, well imitated, introduces the piece; Death tuning his viol in fifths is strongly indicated, and the dance proceeds, wilder and wilder, as the shrouded skeletons frisk in and out among the tombstones; the cracking bones of the dancers are suggested by castanets and the xylophone (an instrument of wood and straw;) the cock crows, and away they flutter all!-There is a certain imaginative genius in it, of a thoroughly Frenchy kind; and it has this superiority over analorous works by Raff and others, that Saint-Saëns does not attempt to make too much of the conceit, but drops it at a happy moment. The audience were transported, and the whole thing had to be repeated-Miss THURSBY, in the Aria from one of Handel's Italian Operas (Muzio Scevola) confirmed the fine impression which she made in a Harvard

concert a few weeks before. The roulades were evenly and beautifully executed, and the bright, emphatic, as well as the tender and melodious phrasəs of the happy love confession, were given with remarkable expression. We noticed in her voice a tremolo which was not there before; but it was soon explained by learning that she was singing with a broken arm after a fall in one of our slippery streets, a shock from which her nervous system

could not have recovered.

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**Piano-Forte Concerto, No. 2, in G minor, Op. 22. Andante Sostenuto-Allegro Scherzando-Presto....... Camille Saint-Saëns Beethoven

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B. J. Lang. Overture to "Coriolanus," The light and charming Overture to Faniska, with its stately introduction, its teasing playful Allegro subject, and its quaint laughing second theme led in by the bassoon, offset by piquant pizzicatos of the vio'ins, was nicely played. After this the great feature of the programme, the Double Symphony by Spohr, was listened to with zest. It was a bold and beautiful idea, well worthy of the highest powers, to portray in music, in symphonic movements, the successive periods of the struggle between the Earthly and the Divine principle in human life, with the final victory of the Divine. And the peculiar means chosen, that of contrasting and combining two distinct orchestras, the one consisting of eleven solo instruments (quintet of strings, flute, oboe, clarinet, bassoon and two horns), the other fully manned, served to heighten the illustration and increase the interest in proportion to the unu sual draft upon the artistic resources of the musician. It must not be supposed, however, that the two principles in life are impersonated by the two orchestras respectively. That idea is erroneously suggested in the extract from Spohr's Biography printed on the programme. On the contrary, themes started in one orchestra are frequently caught up and worked to fuller development in the other; each in turn illustrates, colors and completes what the other has said. The ideal contrasts run through both alike; nor is the contrast always so forcible as one would expect; the gentleness of Spohr, the sweet subdued tone of his picturesque imagination is felt even here. With Beethoven passion would have asserted itself with more defiant and Titanic force; what Raff or Rubinstein would make of such a theme one shudders to imagine.

The weaknesses of Spohr's music we all know well enough. The cloying sweetness of his harmony, abounding in diminished sevenths and in subtile

creeping modulations through chromatic intervals, is perhaps the chief one. Heavy-moulded mortal as he was. he had a large vein of sentimentality, as well as a rare gift of original, fresh melody. But he was an artist through and through, a thorough master of form, of the contrapuntal resources, and especially of instrumentation-rotably of what is called instrumental coloring-nowhere shown to finer advantage than in this Symphony, which we confess to finding quite as interesting (perhaps because more fresh to us), as the "Weihe der Töne." At all events the entire work, in all three movements, is an exquisite unfolding of ideas lovely in themselves, offset against well-chosen background, and glowing in the shifting atmospheric light of or chestral effects. A few words on each of the three parts.

I. The World of Childhood. A single horn in the first orchestra leads off in a quiet, dreamy melody, in sustained tones, pianissimo,—a brief Adagio. in which you seem to feel the first awakening of consciousness. Then the Allegretto sets in with an innocent and childlike melody, (2-4), of a buoyant, soaring character; the wind instruments reinforce it: the melodic figure is inverted in the rounding of the period; and the second orchestra repeats with emphasis the closing part of it; and thus they answer back and forth, until a new theme in strong staccato tones is started in the larger orchestra, like a repeated challenge, instantly answered each time on a high tone sfarzando by the violins of the solo orchestra, which glide down in triplets as with frolic laughter. (The effect was somewhat disturbed here by the want of perfect tune between the violins; it needed a Joachim or a Spohr for one happy; are variously presented, and the whole reof them); and so all these motives, cheerful and peated in the usual way, to be worked up with still more complex, subtle art of what is called thematic treatment in the second part. It is a charming picture, and the instrumentation simply exquisite. It was finely played too, the solo wind instruments taking up the melodic threads in turn with delicate precision and nice feeling.

II. The Age of the Passions furnishes the poetic

theme for the most elaborate and longest movement of the Symphony. The Larghetto, beginning with uneasy, fitful phrases of the strings in the larger orchestra, hints the coming storm, while presently a melodious duet of the bassoon and clarinet sets in in the solo orchestra; the key remaining doubtful,

until the 4-4 measure changes to 12 8, when it settles clearly into A flat, and, on an arpeggio chord

the slowest movement, which is followed by two quick ones. The Andante Sostenuto is a broad and massive movement, full of fire and strength, the difficult figures of the piano making up one whole with the rich and noble instrumentation. The Scherzo is a sort of hunting strain, full of elasticity and grace; the slight change of rhythm in the second theme lends it a witehing charm. This movement was so fascinating and was played with such airy life and freedom, such unflagging, easy energy, that all were delighted and the movement was repeated. The Presto has a Tarantella rhythm, and whirls itself away in ever widening circles with an exhaustless impetus. Mr. LANG proved himself fully equal to the unrelenting demands of this most trying movement; and indeed his whole performance was magnificent, surpassing all that he has done before. The task was to his fancy, and he embraced it con amore.

-Then came Beethoven, who seemed to say: All that is very well, bat now for something serious! and with the first strong tones of Coriolan, fire from the heart and centre of the planet, we were in another world.

BACH is for once in the ascendant here, and in the

light of such a fresh Spring promise one may forget all strife of rival enterprises. Three of his great vocal works are in preparation: the Cecilia are studying one of his Cantatas for the last Symphony Concert: the Sharland Choral Society are at work on the Magnificat for a Thomas concert; and the Handel and Haydn Society have resumed rehear This is "progress," in the of the Passion Music. best sense!

MISS THURSBY'S TEACHER,

place to the following:

We cheerfully give

MR. EDITOR; In an article on the Fifth Harvard Svm

phony Concert, in the "Journal" of Jan. 22, there is an admirable critique on Miss Thursby's singing, which makes what seems to be a misstatement. however, which I am sure you will be glad to correct. You state that Miss Thursby is a pupil of Mme. Rudersdorff. I have had the pleasure of knowing Miss Thursby for some time, and know that she has been studying with Sig. Achille Errani, of No. 323 E. 14th St., New York, for several years past. To be certain, however, I wrote him, inquiring the exact facts, and he tells me that from Nov. 1, 1871, until Oct. 9, 1875, he has, to his certain knowledge, been Miss Thursby's only teacher. While since October last Miss Thursby may have studied with Mme. Rudersdorff, it

seems to me evident that the greater part of the credit for her training must belong to Sig. Errani, and with so

accompaniment, Italian fashion, the melody pro charming and accomplished a singer, it should be un

ceeds, a tender love duet; the second orchestra is silent for awhile, but soon begins to disturb the sweet serenity by ominous mutterings in the bass, which gradually gain possession of the quartet even in the solo orchettra, and growing to a climax burst forth (Allegro) in the full conflict of the passions wind instruments on one side replying to the impatient violins upon the other. All this is worked up with great fire and energy and with wonderful skill and beauty. The trumpets come in, and the warlike passion now asserts itself; the strife becomes: more complicated, as the field continually widens, which only such a master of his art could occupy with life and power so present at all points. The strife is relieved too by occasional moments of repose, unelodic hints that seem to pour oil on the

waters.

III. Final Victory of the Divine. Passion is at its height. A stormy Presto (6-4), like a Scherzo, begins in the second orchestra; but sweet, sustained tones of clarinet and bassoon, flute and oboe, in the first band, gradually appease its fnry and begin to gain the upper hand, till even the stormy figure itself, transferred to the softer flute and reed tones, acquires a new and gentler expression. At last both orchestras unite in a rich, solemn, tranquillizing Adugio, in broad rhythm, and the victory is gained.

Of course it is impossible to describe all this, but the consistent development of the idea, and the never failing beauty of the work took a deep hold upon the audience, and a repetition would be welcomed if it should occur.

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Of equal interest and more exciting, more entirely fresh and novel, was the Concerto by SaintSaëns. We have heard no Concerto by either of the " new composers comparable to it in point of individuality of genius. It is very modern, to be sure, and very French; but with all its technical difflculties, which are immense, and all its sensational effects, there is a spontaneous energy of life and purpose in it which justify its existence. It departs from the usual Concerto form, beginning with

derstood who it is who has done so much for her voice and style.

May I beg that some such correction as this be made? An incorrect statement in the "Journal" may do Sig. Errani serious injury. For confirmation of the above facts, may I beg to refer you to Sig. Errani himself, or to the honor of being for some time connected on the MusiMr. Hassard, of the N. Y. Tribune, with whom I have had cal Department of the "Tribune."

Very truly yours, Washington, D. C.. Jan. 31.

F. H. POTTER.

from an esteemed correspondent in Portland. Me. THE "WHISTLING SONG." We have the following DEAR SIR: The "Sussex Whistling Song" published in the Journal of Jan. 22, was familiar to me in boyhood --being then not unfrequently sung as a humorous song at huskings and similar occasions, among the rural population of New Hampshire. The version differed slight ly, but not materially, from the "Sussex." It was not given as a whistling song, but with what was called a "chorus," sung by the one vocalist who gave the song

thus:

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If well whistled, the effect might be better,

I should perhaps have hardly troubled you with this, but for the fact that a version of the same thing is given in Johnson's Museum-more at length and with more sharp points-entitled:

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'Kellyburnbraes. Written for this Work by Robert Burns.” This no more proves that New Hampshire was peopled from Sussex, than that Scotland was, but shows that Burns thought there was enough of humor in the legend to make it worth preserving.

In the Museum, it begins:

ely

There lived a carl in Kel lyburnbraes,

Hey, and the rue grows bon-ie wi' thyme; And

Impromptu bearing the same opus uumber and a "Valse
Caprice arranged by Liszt. The programme ended
with Hummel's Grand Septet, op, 74 in which Herr von
Buelow had the co-operation of Messrs. Siedler, Gortel.
meler, Gewalt, Matzka, Bergner and Pfeifeuschneider.

At this concert, Miss Lizzie Cronyn sang La vita felice',
[op. 38] by Beethoven, a Canzonetta from "Salvator Ro-
sa" by Gomez, and "Thou'rt like unto a flower" by Ru-
binstein, in a very acceptable minner.

The programme of the matinée on Saturday, Jan. 8th, which ended the series was the same as that of the concert the Monday evening preceding. The concerts were all well attended and they will never be forgotten by those who are interested in music.

On Friday, Jan. 14th, the New York Philharmonic Society gave a matinée at the Academy of Music, with a programme substantially the same as that of the concert of the week following.

The second concert of the Brooklyn Philharmonic Society came on Jan. 15th. on w ich occasion Rubinstein's Dramatic Symphony was played. This work has already been produced in New York 1 y Theo. Thomas [twice if I remember rightly] and its bold, fanciful conception and he had a wife was the plague of his days, And the masterly instrumentation Fave created a profound im

thyme it is wither'd, and rue is in prime. It is in the 4th volume of the Museum, and numbered 379.

There is one point in the New Hampshire version, not in either of the others, to wit: that Satan had done a day's plowing for the Farmer, and was to have one of the family as a quid pro quo; that when he came for his pay, he was offered the eldest son, but was gallant enough to prefer the Lady. "The effect was the same," according to all three ditties.

I can give you an item of some musical interest. Our "Haydn Association" are studying Handel's Theodora; have had three rehearsals. and their progress is exceedingly creditable and promising. Yours truly. Feb. 8, 1876.

I. B.

NEW YORK, JAN. 31, 1876. In my last letter I brought the concert record up to the New Year, and upon resuming it now, I find first on the list the fourth Von Buelow concert of the new series, on Monday evening, Jan. 3, when Dr von Buelow, assisted by Dr. Damrosch, played the great Kreutzer sonata of Beethoven, and also Schubert's Introduction and Rondo briliant, op. 70, for piano and violin. The piano soli at this concert were artistically grouped as follows:

a. Scarlatti-Cat's fugue.

b. J. S. Bach-Sarabande and passepied.

c. Gluck-Gavotte from the ballet "Don Juan."

d. Mozart-Menuet et Gigue.

and following these came a set of Chopin's pieces.

a. Nocturne. Op. 9, No. 3.

b. Ballade. Op. 23.

c. Three Valses. Op. 34.

Miss Lizzie Cronyn sang Beethoven's "Song of Peniitence," op. 48, and a Romanza from Rossini's "Othello."

At the fifth concert, on Wednesday evening, Jan. 5th, Herr von Buelow, with the co-operation of M. Aubert (Violoncello) played a brilliant composition by Camille Saint-Saëns (Grande Suite, op. 19, in D, and also Chopin's "Introduction and Polonaise for Piano and Violoncello," op. 3. The general effect of both pieces was niarred by the bad playing of the violoncellist, whose most apparent faults were weak bowing, uncertainty in stopping, and defective tone.

The vocalist of the evening was Miss Rosa McGeachy, who sang two flashy operatic airs which were completely at variance with the general character of the programme, though not more so than was the singing of the young lady in question. Far from finding fault with her selections I esteem it fortunate, and remember feeling thankful at the time, that she attempted nothing serious.

The only unexceptionable part of the evening's performance was the playing of Herr von Buelow, whose selections were: from Mendelssohn the "Variations serieuses' op. 54, and six songs without words, and from Liszt cantique d'amour," "LeLac," "Au bord d'une source and a Valse Impromptu.

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Each of these pieces was given with the greatest delicacy of finish and the very perfection of detail, while the genuine poetry of the Mendelssohn Lieder brought into strong relief the artificial character of Liszt's ingenious fancies.

At the sixth concert, on Friday evening Jan. 7th, Rubinstein's sonata, op. 18, for Piano and Violoncello was played by Herr von Buelow and M. Aubert, and the great pianist gave a magnificent performance of Beethoven's Sonata in E flat, op. 31. He played also a group of soli by Schubert, comprising the Elegie, op. 90, No. 3, the

pression which was still farther confirmed by this per-
formance in Brooklyn. The orchestra seemed to make
light of the technical difficulty of the work, which is im-
mense. And, if any one in the audience had the courage
to try to understand the work, he must have received
valuable assistance from the analysis, by Mr. Dudley
Buck, printed in the programme.

Besides this symphony, which is of great length, the
orchestra played Beethoven's overture in C, and the
Vorspiel to the Meistersinger von Nurnberg, of Wagner.
Senor Joseph White of whose admirable violin playing I
wrote not long ago, played Mendelssohns' Concerto in E-
minor, and, for encore, a Gavotte by Bach.

The great charm of Senor White's violin playing is in the quality of the tone he draws from the instrument, which is singularly pure and sweet; other traits however are not lacking.

Miss Thursby sang an air from Handel's Muzio Scevola, and a Recitative and Rondo "Mia Speranza Adorata" by Mozart.

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Voorthuysen. 30

Thy hand in mine,
Beats but for thine."

Music and words arranged in short, crisp phrases. which are very pretty and effective. Home so blest. 4. Eb to e. Abt. 30 "Oh, home so blest! Oh, sheltered nest! Oh! land so fair!"

Abt gives us here another "Swallow" song of sweet and classic character. Words by Montgomery.

On the Shore I wait and listen. Song and
Cho.
3. Ab to g.

Voorthuysen. 3')
"Roll ye waters, murm'ring waters,
Restless waves and rolling foam."
Waiting for the sailor lover, whose boat comes
empty to the shore. Fine song and chorus.

Katie, the Rose of Kildare. 3 F to f. Danks. 30

"If I were a bird I would soon be a flying, Across the blue ocean to Katie and home." A neat imitation of an Irish song with a melody much prettier than the average. Nobody's Darling but mine. 3 C to a.

Danks. 30

"In your bright eyes softly shine, love, Visions de ightful to see."

Evidently one of the brightest and best of darlings. for noné else could prompt such a soaring, brilhant, sparkling love song. For a high tenor or soprano.

On Saturday evening Jan. 22nd, we had a double allow-
ance of music. The N. Y. Philharmonic society gave
their third concert of the season at the Academy of Mu- Finette.
sic with the following bill:

Symphony No. 3, in Eb, major....

.Haydn

a. Adagio-Vivace assai.. b. Adagio cantabile.
c. Menuetto, Allegretto. d. Finale, Vivace.
Concerto-For the piano, No. 2, E minor, Op. 120,
Reinecke
Allegro; Andante quasi Allegro; Finale Allegro.
With Orchestral Accompaniment.
Miss Lina Luckhardt.
Scene and Aria-"Ah perfido,".
Miss Eugenie Pappenheim.

Beethoven

..Beethoven
.....Mozart

Overture-" Coriolanus," Op. 63..
Recit. e Aria-Le Nozze di Figaro,'
Miss Eugenie Pappenheim.
Symphony-No. 1, F major, [first time in America].
Metzdorff

The Haydn symphony is an attractive work and it was
well played. Of the performance of the rest of the bill I
cannot speak with certainty as I did not remain to hear
it. The audience was a fair one considering the fact that
Thomas at Steinway Hall on the same night gave a con-
cert such as he only [in New York at least] could plan
and carry to success. Here the house was filled and ev-
en the small hall back of the main auditorium was
crowded with attentive listeners. The programme was
like an apotheosis of Beethoven. I copy it in full.
Symphony, No. 1, in C, On. 21,
Concerto for Violin and Orchestra, Op. 61.

Allegro ma non troppo-Larghetto-Rondo.
Mr. S. E. Jacobsohn and Orchestra.

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

With final Chorus to Schiller's Ode
6. Hymn to Joy."

Recitative, Solos, Quartet and Chorus.

3. D (minor or major) to d.

Molloy. 35 "So Gerome came one, and Finette came two, Two little steps half way."

A decidedly merry little minor song, as pretty as pretty can be."

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Come back to Erin. Fantasie. 4. Bb. Grobe. 75 A well known beautiful air, varied in Grobe's well known interesting style.

Mrs. H. M. Smith, Miss Antonia Henne, Mr. Wm. J., Tramway Galop. Four Hands. 3. C.

Winch, Mr. Franz Remmertz.

and

The Oratorio Society of New York.

Space would fail me should I attempt to give an account of this performance in detail, and I will only say that the enormous difficulties presented by the great choral symphony were surmounted with success and apparent ease by the orchestra; and that the singing of the impossible vocal parts was very well done by those to whom they were entrusted, while the chorus was creditable both to the singers and to Dr. Damrosch who directed the singing.

The violin concerto, which is seldom given entire, excited much interest; and the playing of Mr. Jacobssohn displayed all the qualities necessary to the best interpre

tation of the work.

A. A. C.

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

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"O come thou down to me."
"O komm herab zu mir."

A charming German peasant ballad, in the form
of a serenade.
Pleasures of Love.

F to f.

(Plaisir d'Amour). 3.
Martini. 30

"Je t'aimerai, me repetait Silvie."
"I love thee, I love, said Silvie."
Uncommonly sweet melody. Throughout neat
and beautiful.

If I only knew her Name. 2. D to f.

"My heart was like a lark,
The sky was bright and gay."

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There is an extraordinary evenness in the beauty
of Mr. Lange's pieces. There does not seem to be
a "feeble" or discordant measure in them. The
above are no exceptions to the rule.
March of the 600,000. 3. Eb G. F. Root. 30
A powerful march enclosing a melodious left hand
passage of considerable length. Excellent practice.
Battalion March. 3. A.
Milliken. 30

In 6-8 time, and will do either as a march or
quickstep. Quite brilliant.

Brockway. 40 | Aria and Polacca. From Ernani..
and Flute. 4. Bb

By the author of "Twilight in the Park," and
quite as good as that. Begin early to sing or whistle
it. Fine picture title.
Little Tin Soldier.

3. Bb.to d.

"She was a little fairy dancer,
Bright as bright eould be."

Molloy. 30

Hans Andersen's little story set to music. Those
who sing it will be sure of great applause from the
little ones, as it is very pretty.

Fox. 30

Broken Rhythm.

4.

Crandall. 40

Includes good solos, duet, etc., and is a very
smooth and beautiful hymn anthem.

Grand Magnificat. For 4 voices. 4. C to a.

Du Mouchel. 75

"Magnificat anima mea."
"Praise the Lord, O my soul!"

A rich quartet or chorus. Latin words only.
Dream that I love thee still. 3. F to f. Price. 30

"Dream that my spirit floats

Ever to thee."

Song in the drama "The Grand Admiral."
Dona Serafina sings it. Short, but very sweet.

Sweethearts. 3. Ab to f.

Sullivan. 40

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3. Eb to e.

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Boott. 30

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2. D.
3. Little Sober-Sides. 3. A minor.

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La Sylphide. Morceau de Salon. Op. 55.
4. C.
Lange. 40
An exquisite "morsel," truly, and graceful as
Lange's must be.
From a distant Shore. (Von fernem Strand).
Polka Mazurka. 3. D.
Faust. 30

Carl Faust lives in such "a distant" land that
only his best pieces are likely to be known here,
and this may be considered as one.
En Route.

Marche Brillante. 4. Eb.

S. Smith. 75
"Brilliant," in Sidney Smith's hands, becomes
double brilliant, and this powerful affair is almost
ablaze with brightness.

Marche des Amazones.

3. D. Maylath. 40
Full of staccato octaves and accents, and while it
is good music, it is also a good practice piece.
The Flower of Andalusia. Fandango. (La
Fleur d'Andalusia). 4. Eb. Maylath. 40

A spirited Spanish Air.
Pride of our Home. Nocturne. 3. Eb.

Wilson. 60
Very sweet piece, but hardly as sweet as the
child's face that looks out from the title.

Irish Diamonds.
By Willie Pape, ea. 75
No. 3. Has sorrow thy young days; and
Young May Morn.

Similar to others of the set in beauty, difficulty,
and adaptability to public taste.
Bouquet de Bal. (Mazurka elegante). 4. F.
Ketterer. 50

Very bright, anyway, but may be made still
brighter by the addition (at will) of the arpeggios

in small notes.

Glover. 30 You and I. (With liberal Variations). 4. Ab
Grobe. 60

To the land where all thy loved ones dwell.”
A rich melody to words that sing of "home."
Cowen. 40

Aubade. Serenade. 4. F to g.

"The stars are sleeping, and, dim with weeping,
The moon is keeping her watch on high."
Sung by Blue Reeves, and is a capital concert
song.

CHARLES H. DITSON & CO.,

NEW YORK.

Nobody has been more liberal in really good vari-
ations than Mr. Grobe, and the newest are as good
as the best.
Premiere Saltarella. For 4 hands. 4. C.
Leybach.
One of the set called "Les Inseparables," and is
brilliant duet.

PUBLISHED BY

Oliver Ditson & Co.,

BOSTON.

The pieces are all fingered, and are very clever
arrangements for little learners, combining pleasure
with study.

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

Easy pianoforte trio.

365

Bandit's Pranks. Overture. 4. C. Suppé. 75
This unpretending title names an overture which
should be as well known to players as those of
standard operas. It is very pleasing, and is new
and bright.

Scrap Book. Valse de Salon. 3. F. Briggs. 40
Very pleasing and easy waltz.
Pleyel's Hvmn. Variations.

4. Briggs. 40

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HIGH SCHOOL CHOIR. For High Schools, Acad-
emies and Seminaries. By L. O. EMER-
SON and W. S. TILDEN.
Two part, three part and four part songs, pre-
pared with the same manifest skill which caused
the success of the popular "HoUR of SINGING."
Price $1.00, or $9.00 per dozen.
THE SHINING RIVER. A Sabbath School Song
Book. By H. S. and W. O. PERKINS.
Among the best of the kind, and is filled with
wide awake and new songs for young singers.
Price 35 cts. or $30.00 per hundred.
New Method for Viola. With 25 Studies by
B. Bruni. $2.00
Comprises a few pages of exercises, with sugges-
tious for the management of the instrument, and 25
studies in various keys.

Analysis and Practice of the Scales. By
Isaac L Rice. $1.50
Contains well written descriptions of the various
peculiarities of the Major and Minor Scales, with
exercises for practice. Well worth the examina.
tion of teachers.

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ABBREVIATIONS.-Degrees of difficulty are marked
751 to 7. The key is marked with a capital lette: as C, B
fat, &c. A small Ronan letter marks the highest note,
if on the staff, an italic letter the highest note, if above
the staff.

LYON & HEALY,

CHICAGO,

RICHARDSON'S

NEW

METHOD FOR
THE PIANOFORTE, is briefly mentioned in our list of Instruction
Books. It may, in addition, be said, that the_publishers take a natu-
ral pride in it, as their most successful book. The sale of about 250,000
copies has been unequalled by that of any similar work. The magnitude
of the undertaking to print à quarter of a million copies may be better
appreciated by the following statement. The leaves of "Richardson,"
taken out and laid down in the New York Central Park, would carpet
the whole expanse with at least a double thickness of paper. The
same sheets, laid down another way, would form a musical pathway,
3 feet wide and 3,000 miles long, from New York to San Francisco.
The book has been revised and re-revised, until it is, probably, quite
free from errors, and improvements and useful additions have, from
time to time, been made. It contains 260 pages, Sheet Music size.
PRICE $3.75.

GETZE'S SCHOOL FOR PARLOR ORGAN,
has recently come into the possession of DITSON & Co., having been
on the Catalogue of LEE & WALKER. It has had a first-rate success, as
30,000 copies have been sold. Its neat appearance, fine arrangement,
and its multitude of pleasing pieces, songs and easy voluntaries, com-
mend it at once to the eye, as one of the best of Reed Organ books.
PRICE $2.50.

BELLAK'S ANALYTICAL METHOD FOR
PIANOFORTE, has special claims to be used as the very first instruc-
tion book. Teachers understand that the driest, least interesting, and
therefore the most trying time for instructors and pupils, occurs in the
second or third month of study. Bellak shrewdly provides a large
quantity of pretty, progressive, useful little airs and rondos. to bridge
over this place of difficulty. After a few weeks in "Bellak" the pupil
is well prepared for a longer and more solid book. Price in Paper, 75 cts.

DITSON & Co's HOME MUSICAL LIBRARY
has a value which should be fully understood. Book publishers are
accustomed, from time to time, to bring out handsome sets of
"Dickens," of "Shakespeare," of "Scott," of "the Poets," &c., &c.
Now suppose some bookseller should bring out a set of books which
included all the best works of Scott, Bulwer, Dickens, Thackeray, and
of all the others. This, for literary people, would approach, but not
equal the value to music lovers, of our Home Musical Library.

The Library at present, (1876) contains 18 volumes, each entirely
independent of the other, and resembling a bound volume of sheet
music. To form these books, nearly the entire mass of song and
piano music in existence has been looked over, and the creme de la
creme (cream of the cream) of it reserved.

(We furnish a catalogue, containing the names of every piece and
song in the 18 books, to all who desire it.)

THE HOME MUSICAL LIBRARY contains nearly 4,000 pages, of
FULL SHEET MUSIC SIZE.

The books are uniform in size and style. For a full description,
please refer to the Catalogue above mentioned. The titles are given
below.

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Musical Treasure. Vocal and Instr. 200 pages.
Gems of German Song. Vocal.
Gems of Scottish Song. Vocal.
Moore's Irish Melodies. Vocal.
Operatic Pearls. Vocal.
Gems of Sacred Song. Vocal.
Shower of Pearls. Vocal Duets.
Organ at Home. Reed Organ Music, 180
Silver Wreath. Vocal.

FATHER KEMP'S OLD FOLK'S CONCERT Gems of Strauss. Instrumental.

TUNES, has abundant materials for these quaint entertainments, which
bid fair to be popular for another 100 years or so. Price 40 cts.

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RECREATIONS FOR CABINET ORGAN, PIANO, is one of a series of books of easy music, admirably fitted for

is a classical collection of Reed Organ music, all in correct Organ style
and good taste. Price $1.50.

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A descriptive Catalogue, containing concise descriptions of 1200 books published by Ditson & Co., will be sent to any
address on application.
Any book mailed, post free, for Retail Prices, and money in Registered letters, or in Postal Money Orders, may be sent
at the risk of the publishers.

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