WHOLE NO. 910. A Paper of Art and Literature. BOSTON, SATURDAY, MARCH 4, 1876. DWIGHT'S JOURNAL OF MUSIC, Published every other Saturday OLIVER DITSON & CO. 277 Washington St., Boston, Mass. W. FOSTER, Conductor and Vocalist, will resume Easter Hymn, [arr'ged fr. Bendel], R.II. Clouston, Jr. .25 Anthem. J. R. Thomas. .50 Christ the Lord is risen. 66 T. S. Lloyd. .40 46 J. C. Andrews. 50 Christ our Passover. Praise the Lord. Christ being raised. H. Wilson. .75 Mozart. 30 Morning breaks upon the Tomb. Hymn. W. H. Clarke. .50 Seven Easter Carols. No. 1. One of the Boys. 3. C to f. 3. Under the Lilacs. 3. C to e. No. 1. Gracious Spirit. 4. C to g. No. 3. The Song of Elisa. (La Canto de CAROLS. Eight [New] Easter Carols. Easter Carol. Hail the bright and radiant morn. Carr. .10 Jesus lives, O day of days. G. Lessons on and after Oct. 9, 1875, at 690 Washington VOCALIST AND TEACHER OF SINGING. Street, Boston. Call Saturdays from 11 to 12 o'clock. 898-1 y. DECKER BROTHERS GRAND, Square and Upright Pianos ARE MATCHLESS. 33 Union Square, New York. Decker Brothers' Grand, Square, and Upright Pianos are the best made in the country. They take the lead of all first-class instruments, being unrivalled in beauty of tone, and perfection of mechanism in every detail. Send for Illustrated Catalogue. TERMS EASY. Address, care of Oliver Ditson & Co. HOWARD E. PARKHURST, (798 The Pull-Back. Song and Dance. The Old Scissors Man. 3. G to f. 4. Danks. 35 3. Eb to f. Voorthuysen. 30 Sturmeck. 30 I hear the Banjo play. Song and Cho. 3. Our Patriot Flag. 3. E to g. Danks. 30 Lonsdale. 35 Sturmeck. 30 3. Db to f. Buffington. 35 Put my Little Shoes away. Song and Cho. Pratt. 40 3. Ab to f. Garrett. 30 Waltzes. Aronsen. 50 Baumbach. 40 Belles of the Kitchen. Galop Brillant. 3. G. Knight. 35 The Old Oaken Bucket. Retrospective Mazurka. 4. Bb Grobe. 60 Concert Variations on the Austrian Hymn. 7. F. (For Organ). Paine. 1.00 Grand Waltz. Potpourri of Comic figures in the German. 3. J. S Knight. 75 Organist and Director of Music, Little One's Operatic Waltzes. 3. G. Haydn. 30 At First Church, (Dr. Ellis), Boston, TEACHER OF ORGAN, PIANO AND COMPOSITION. CHURCH MUSIC. NOW READY. 8vo.; complete: 40 cts.; or in single numbers. A Morning Communion and Evening Service in F. By ALSO, BY THE SAME AUTHOR, Six Short Anthems for Cathedral or Parish Choirs. This Published by NOVELLO, EWER & CO, London, J. L. PETERS, 843 Broadway, N. Y. GEMS OF ENGLISH SONG. MUSIC BY MAIL.-Music is sent by mail, the expense being two cents for every four ounces, or fraction thereof about one cent for an ordinary piece of music. Persons, at a distance will find the conveyance a saving of time and expense in obtaining supplies. Books can also be sent at double these rates. Comala. —A Dramatic Poem after Ossian. 66 PRICE $1.25. Op. 12. The poetry of Ossian is music in itself, and, when intensified by union with the harmonies of a German composer, nothing is more likely to be effective and spirit stirring. As to the story: Fingal, King of Morven, makes war on Caracul of Lochlin, and with the hero marches his beloved Comala, in the guise of a warrior. He persuades her to rest safely on the edge of the battle, where, distracted by the various cries, and by the whispers of the passing 'spirits of the fathers' she imagines Fingal slain, and expires." War choruses, tender strains and laments, and mysterious spirit music, are skilfully mingled. A Dictionary of Musical Information. BY JOHN W. MOORE. PRICE $1.25. While there is no question of the value of the great Encyclopedia, which is a standard work, there seemed to be needed a smaller, more concise and less expensive work, fitted for more general distribution. The "Dictionary" very completely supplies this want. It contains brief but sufficient notices of at least 2000 noted singers, players and composers, also descriptions of musical instruments, definitions in musical theory, and all sorts of odds and ends of interesting musical information. There is also a table of musical terms, and a very complete list of all the musical works published in the United States, the first date of issue being A.D. 1640. Mr. Moore has done a valuable work for the present, as well as the future of American music. Perhaps we do not realize, as our descendants will, that we are of the "forefathers" in art on this side of the Atlantic. Now Mr. Moore has, in his large Cyclopedia, ($6.) industriously noted down everything melodious that has happened from the time of Tubal Cain to A.D. 1854, and in the present Appendix brings together musical information that has accumulated since the publication of the larger book. A very convenient book for reference. An exquisite combination, adding to the capacity of the organ much of that of the pianoforte and harp. With a double-reed organ, complete and perfect in every respect, is combined a new instrument, the PIANO-HARP, the tones of which are produced by steel tongues or bars, rigidly set in steel plates affixed to a sounding box, and struck by hammers, as in the pianoforte. The tones are of a pure, silvery, bell-like quality, very beautiful in combination or alternation with the organ tones. The organ may be used alone, and is in every respect as complete and perfect an organ as without the PIANOHARP, or may be used with the PIANO-HARP; the latter may be used separately or in combination with any or all the stops of the organ, to which it adds greatly in vivacity, life and variety; adapting it to a much wider range of music. Upon its invention and introduction, about a year since, this new instrument was received with so much favor, that the demand greatly exceeded the manufacturers' utmost ability to supply; so that they have had no occasion to advertise it extensively. Having now perfected facilities for a large supply, they offer it with confidence to the public. The MASON & HAMLIN ORGANS are now sold for cash, or for monthly or quarterly payments. or are rented until rent pays for them. Circulars, with drawings and full descriptions, free. MASON & HAMLIN ORGAN CO. 154 Tremont street, Boston; 25 Union square, NEW YORK; 80 and 82 Adams street, CHICAGO. A Welcome Visitor! SHINING RIVER. BY H. S. AND W. O. PERKINS. Full of bright, sweet, pure, shining songs, of which there can never be too many. Don't get a new book before examining this. THE HIGH SCHOOL CHOIR. FOR High Schools Academies, &c., By L. O. EMERSON and W. S. TILDEN. Price $1.00. $9.00 Per dozen. This new book is on the same general plan as THE HOUR OF SINGING. Those who have used that very useful and popular book, will need no urging to adopt a new work by the same authors. OLIVER DITSON & CO., CHAS. H. DITSON & CO., Boston. 711 B'way, N. Y. PUBLISHERS. Gems of English Song. Price in Boards, $2.50. In Cloth, $3.00. Cloth, Fine Gilt for Presents, $4.00. The latest book of Ditson & Co's HOME MUSICAL LIBRARY, and does not suffer in comparison with any other. A large number of extra good songs have, during the last year or two, come into popular notice and approval. The best of these, with a half dozen of classics, (omitted in other books), form this first-class collection. There are about 75 songs. Pages full sheet music size. WHOLE NO. 910. BOSTON, SATURDAY, MAR. 4, 1876. Bach's Magnificat, described by Robert [For the benefit of those who listened to the first per formance of this great work in Boston, in the Thomas Concert of this week, we reproduce the principal portions of the appreciative analysis by Robert Franz, which we translated in this Journal in the summer of 1867.] VOL. XXXV. No. 24. intervene to guide, to guard against wanton, parts lies in the close and intimate relation of arbitrary digressions. After a modulation into the Dominant, the prelude, concentrating its esssential matter closely, returns to the Tonic, in which it makes now a full close. The chorus voices, 1st and 2nd Soprani, Alti, Tenors and Basses, two by two and without instrumental accompaniment, 1. The first number, a chorus in D major, now sieze upon a portion of the main motive, 3-4 measure, treats the words: "Magnificat anwhich is presently resumed again in full form ima mea Dominum" (My soul doth magnify the by the orchestia, repeating note for note the Lord). In an extended prelude the master ex- first half of the prelude. We have already pounds the materials (themes or motives) on spoken of the remarkably independent and which the piece is founded, and which are af- polyphonic conduct of the instrumental introterwards brought into more full and conscious duction; and yet it has been possible for Bach presence by the vocal setting. The orchestra, to go still further and to write into this comrich and brilliant for that day, embraces the plex score an almost wholly new vocal setting stringed quartet, two flutes, two oboes, three of five parts! If the great master, with his intrumpets, tympani, and, as in most of Bach's exhaustible wealth, were not at the same time church works, the Organ. Each and every an equally unapproachable model of the noblest part is kept extremely individual and inde- simplicity, such audacity could hardly have pendent in its movement, and they group themcome off unpunished. But now how is it posselves in three distinct choirs: the string quar-sible to our ear, to catch such a multiplicity of tet, the wind instruments of wood, the brass instruments with drums. The Organ, from which it is well known that Bach used to conduct the church music, must certainly have served very distinct purposes: here supporting, there predominant, here softening and blending, there mediating, it was in the hand of the master the instrument par excellence through which he understood how to make his personal influence avail. It cannot be enough lamented, that Bach in the scores of his church music has left us no organ part fully written out; with that we should not only have the works in their completeness, but it would reveal to us new forms of expression, of whose depth and significance we can scarcely form a weak conception. No one certainly, who knows with what unheard of mastery Bach treated this instrument, will find this assertion extravagant, parts, to comprehend and feel as a unity all We do not deem it indispensable, with Bach, to follow the web of parts in all the details. As in a Gothic cathedral the numberless particulars and minute embellishments only serve to give life and motion to the great whole, but not to draw the attention of the beholder away from that, precisely so it should be with the polyphony of Bach. Bach's harmonies unfold themselves, for the most part, in great, broad proportions-the fundamental basses show this clearly enough;-these great groups he evidently resolves by a melodiously flowing carriage of the parts into smaller groups, giving rise to a multitude of secondary harmonies, busily thronging this way and that way. Now whoever seeks to follow this fleeting, transito ry essence, will soon be wrecked, because beBy the three instrumental groups just men- fore one form has completed its whole outline, tioned, and in the most unconstrained manner, another is already pressing to the foreground, are now developed just so many motives, which to give way as quickly to a third, so that all dispute the course of the opening number be- that is single and particular seems to elude the tween them. The soaring and elastic leading ear. The true significance of the detail, as motive enters first in the oboes; with it is coup-well as of the whole, is lost by 80 listening to led without more delay an accompanying mo- Bach. One must, much rather, seize upon tive, brought in by the three trumpets; out of those great proportions, seek to image them inthis again there is at last developed a short wardly in his own mind, and from this firm side motive, which plays an extremely active basis learn to look with a sure insight into that part in the subsequent working up. Bach is in seemingly confused, but really most richly arthe habit of so inventing his themes, that they tistic, organically developed complication of shall admit of the most various transpositions single parts. Then will those particulars in and inversions; hence they are written accord- which the centre of gravity in every passage ing to the rules of double, triple, quadruple lies, those which have the decisive word to say, and quintuple Counterpoint. Especially does those which are the principal supporters of there reside in them a certain rhythmic, melod- the artistic design, stand forth of themselves ic and harmonic spring-power, which uplifts without difficulty; while that which is only inyou at the outset with the exciting feeling that tended to be subsidiary, and to round off the here all will work itself out. of itself, through musical form in point of style, will cease to exthe intrinsic vitality of the ideas, the themes, ercise any disturbing and bewildering effect. and that the ordering master hand will only The secret of Bach's manner of leading on the cach single part to the whole;-accordingly the understanding must keep in view, in the first line, the development of the whole, and seek through this to orient itself in regard to the particulars. Even for the musician, with the most searching study, entering into the smallest details, it will never do to leave this out of sight, unless he would run the risk of misunderstanding Bach. Now here our first Chorus, in spite of the richest fullness and variety, unfolds itself essentially in the most simple forms. As a first change the Dominant is introduced, from which the chorus in its further course takes a side direction to the parallel key (or relative minor). From this the modulation swerves unconstrainedly back toward the Tonic, touches the Subdominant in passing, and finally makes a full close in the Tonic. Ornate melodic cadences mark the end points of the principal keys and give a tender lyric breath to the grand, majestic forms. After the vocal setting has come to an end, the orchestra comes forward again with an independent post-lude, which is taken from the second half of the prelude. We see how simply and with what comprehensive oversight Bach knew how to lay out the fundamental relations of his plan! Dazzling splendor and jubilant joy, as of each meeting each in the most graceful interwinings of tones, are the leading attributes of this first number. Keeping expectation on the stretch, it admirably prepares you for the following, and is like the festively decorated entrance to the temple, in which songs of thanksgiving and praise resound to the might and mercy of the Lord. (And 2. The next sentence brings a Solo (D major, 3-8 measure), which in a lovely manner flashes to which the chorus has lent a broad and back as individual feeling the same emotions, weighty expression. The voice part, a Second Soprano, treats the words of the text: "Et exultavit spiritus meus in Deo salutari meo my spirit hath rejoiced in God my Saviour), and is accompanied by the string quartet, here and there interrupted by the Organ. A gently soaring motive, seconded in easy play by an intervening bass figure, which afterwards, as the whole goes on expanding, imparts itself ornamentally to the first violin, controls almost, exclusively the development of this mild and tender Arioso. Here all so rounds itself to the most beautiful symmetry of forms, that the last half of each musical sentence seems to flow from the first half of itself. Such a bright, childlike joy, which runs along so wholly unobstructed and untroubled, could only spring from the absolute purity of a virgin heart. 3. Quite different is the character of the number which now follows, an Aria for the First Soprano (B minor, 4-4 measure), to which a Chorus is appended in the most immediate connection. The solo part is built upon the words: "Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent "-the chorus, on their continuation: "omnes generationes." (For he hath regarded the low estate of his handmaiden, for, behold, from thenceforth all generations shall call me blessed). Plain and simple as the style seems in which the Air is outwardly disposed of-the song is only accompanied by an Oboe d'amore and the Organits depth of feeling is most touching. Bach conceives the text words not only within the situation in which they present themselves; his musical conception evidently reaches far beyond. In Mary he perceives not only the humble, lowly maid, to whom the Saviour of the world has just been announced and who in blissful peace enjoys the consciousness of this great boon-he rather, with a prophet's eye, sees in her that mother of God, whose Son is to bear and to atone for the sins of the world un der a servile form. How else shall we explain the uneasy, fearful, plaintive tone that like a dark veil settles down over all the still repose and devotion? And still more is this mystical conception of Bach confirmed, when we take into view the character of the chorus that falls in so swiftly, in F-sharp minor, 4-4 time. In wild, cager haste the voice-parts rush in at the close of the solo piece and, as if driven by demonic forces, tower to such a colossal height of expression, that it is easy enough to imagine that the master seeks to bring before us here a world-convulsion of the most unexampled kind and from its remotest starting point. Perhaps there floated over his deep soul in the moment of creation the words of Christ: "Think not that I am come to send peace on earth: I came not to send peace, but a sword." The extremely energetic theme is first seized by the Bass, around which the second Soprano, Alto and Tenor start off with a whirling motion. Then follow the further entrances of the theme, which constantly draws after it a powerful, wildly excited figure; they succeed each other in half measures blow on blow. A far reaching sequence crowds it tone by tone upward, till it at last finds a momentary point of rest in the parallel key, A major. But without rest or peace the heaving masses roar along in a new onslaught, which shapes itself, if possible, in still bolder and more gigantic proportions, hurrying toward another goal, the key of the Dominant, C-sharp minor. Thus far an angrily murmuring bass figure has roared below the voices, irresistibly (in obedience to that sequence) working its way up out of the dark depths. Suddenly the Halt! is given to the Basso Continuo: sharp and heavy orchestral strokes, marking the Dominant Chord of Fsharp minor on the first and third quarter of the measure with full force, follow, and so form a sort of Organ point, above and within which now the main theme is heard in the most fabulous contractions. Imitations in five-part Canon, in unison and in the octave, in swift succession on the quarter beats, press onward to a strange, uncomfortable hold (fermata), which forms in a certain sense the decisive cri sis of our stormy chorus. For after this the voices, swiftly hastening to the conclusion, move with almost homophonous uniformity, as if blended into steadfast unity-the purification process. although after violent conflicts, is fulfilled in them! 5. To the wild unrest of the number just described there now succeeds, in splendid contrast, a Bass Solo (in A major, 4-4 measure). with the words: "Quia fecit mihi magna, qui potens est, et sanctum nor en ejus" (For He that is mighty hath done to me great things, and holy is his name). Here all breathes warm and heart-felt thankfulness for the great things which the Lord hath done to us; all praise his holy name. The economy of this Aria is really admirable and could hardly be surpassed. A characteristic and expressive motive of the basso continuo, forming four measures, repeats itself continually in the most different positions and intervals through the whole movement. First it diverges to the Dominant key, from which, by a gentle transition, it reaches the parallel key, F-sharp minor. Then we are led into the Mediant, from which the Tonic springs again as if new-born. The voice part takes its material partly from this theme; partly it moves, calmly and full of dignity, in ires and independent figures, which mount * * * * and float above it like the smoke of a thank- expressed in a masterly manner; the hungry ones eum 6. The next number of the Magnificat brings At 7. The following Chorus forms a grand con trast to this mild Duet. Its far reaching, pow- more and more to the orchestra and take an ev- character of the whole. F-sharp minor, 3-4 measure, which in its essen- | 10. The charm of the last piece is one that seizes upon you immediately. Bach follows it up with a conception, full of deep significance, which transports you into remote times, into another world, a movement which may well be regarded as forming the very central point and kernel of the whole. Church used also for the Benedictio,its origin dates The primeval melody of the Magnificat, which the back into the 7th century-appears now in the oboes as canto fermo, with three female voices (two cordatus misericordia" (He hath holpen his servant sopranos and an alto) mysteriously playing about it, to the words: " Suscepit Israel puerum saum, restrokes the violoncello marks the fundamental harIsrael, in remembrance of his mercy). In gentle monies, rather hinting than actual executing them. The canto fermo floats mildly gleaming, like a star, over the voice parts, lifting them as by a soft attraction to itself. The vocal setting, on its part, heaves and fluctuates towards it in lovely imitapassing it on to one another in artful involution. tions, the several voices taking up the thread and sounds. For the two lines of the Choral the mas All seems to draw life and motion from the primeval is, to the first line the voices sing the “suscepit 18ter uses two portions of accompanying matter: that rael puerum suum,” and to the second line the “recordatus misericordiæ." again, find their peculiar musical treatment. The Both divisions of the text, suscepit Israel puerum suum is emmotive to ployed directly and in the inverted form, a mode of representation which answers characteristically enough to the helping hand of the Lord; the itself without the use of snch artistic means, and so "recordatus misericordia," on the contrary, develops all the more effectually glorifies the eternal mercy and compassion. 66 Although the voice parts in their circling movemomentary hardnesses are always mitigated by the ments sometimes cut across each other, yet these independent individual movement of each part, and rather serve to lend to the whole piece a certain extraordinary and mystical stamp. And this may have been precisely Bach's intention. The union of just those words, which describe the redeeming mercy of the Lord towards his servant Israel, with the venerable tones of the old Magnificat or (in the sense of the Church) the still more significant Bene dictio, is surely not an accidental one and points to rable greatness in the clearest light. The form and substance of the piece just analyzed "Where the natural Musica is sharpened and polished by Art, there we first see and recognize with wonder the great and perfect wisdom of God in this wondrous work of his called Music, in which this sings the mere tune, along with which three, four above all is strange and wonderful: that one voice or five other parts are sung, which as it were with jubilation playing and springing around the said mere melody, in all sorts of ways and sound, do lead off as it were a heavenly dance, meeting each marvellously embellish and adorn the same, and other friendlily and fondly hugging and embrac ing." 9. The following number, an Alto Solo, in E Powerfully confirming what precedes, there now major, 4-4 measure, again, is in strong contrast. sets in a Chorus, in D major, alla breve, to the Two flutes, the Continuo and the organ falling in words: "Sicut locutus est ad patres nostros, Abraham occasionally, accompany the melody to the words : et semini ejus in secula" (As he spake to our fathers, "Esurientes implevit bonis et divites dimisit inanes' to Abraham, and to his seed forever). Suitably to (He hath filled the hungry with good things, and its contents, this text is used for a vocal fugue, enthe rich he hath sent away empty). The Aria has ergetically supported by the Basso Continuo and the that expression of mildness and repose, which stirs Organ. That Bach is the unrivalled master in the our soul so beautifully, without wearying by mc-fugue form, is universally agreed. And so here too thirds, holding fast to an extremely peculiar fect skill. To the marrowy main theme: "sicut lonotony. The flutes move mostly in sixths and he solves his problem with a playful ease and perrhythm, and only now and then are off et against cutus est ad patres nostros" are one by one added vaeach other in ingenious play. The words: "im.rious secondary motives, the first with the words: 'plerit bonia," and then again; "dimisit inanes" are "Abraham et semini ejus," the second with: "sicut locutus est," and the third with: "in secula," which all unite together at the last entrance but one of the theme in the bass. The significant harmony of word and tone needs scarcely to be mentioned. Bach's fugues are commonly written in a Counterpoint of as many kinds as there are voice parts employed. By an apt inyersion of these the mas ter with the simplest means often reaches the great est effects. In general he works out his main theme in three, four or five parts, and gives to each single part a character as independent and as individual as possible: this material, almost exclusive. ly, is discussed throughout the further course of the movement. Accordingly one might believe that here, after all, the mechanical prevailed rather than the organic. Up to a certain point this may be admitted; but then we must not overlook the way in which Bach knows how to invent his themes; he breathes into them such an elastic energy, that in all positions and relations they appear always fresh and new. Towards the end our fugue moulds itself somewhat freely, and thus admirably prepares the character of the concluding number. 12. With the "Sicut locutus est" Mary's song of praise is properly ended. But for a more definite rounding off of the Magnificat, the verse: Gloria Patri, gloria Filio, gloria Spiritui Sancto! Sicut erat in principio, et nunc, et semper, et in secula seculorum, Amen,” is added, once more summing up the whole in a grand, broad feeling. how he gives the local color and feeling of the surroundings; on the ship-in the palace gardens on the summer night-in the castle where the horn of the Breton herdsman heard outside gives the first indication that we are on new ground; and the art with which he excites the expectation of the spec tator by one device after another, while withhold ing the climax of the scene. Yet when we regard the work from a musical point of view, we are full of misgivings. Points there are which at once assert themselves, no doubt; such as the prelude and scenic music of the second act: the ecstatic rush of the violins in a phrase which becomes a prominent feature of the great scene between the lovers, entering first at the words, "O Wonne der Seele ; " the short low "Ha!" upon a high note, amid the dead silence of everything else, with which Isolde recognizes that her lover is dead; the opening and close of the final dirge; and others which have been and might be adduced. But without repeating what we have already said as to the place of rhythm in music, the vocal portions seem for the most part to be written with an absolute and determined ignoring of the fact that certain intervals are more natural to the voice and the ear than others. Even the sailor and the herdsman cannot be allowed to sing and pipe naturally; they sing and pipe in Wagnerian intervals. Wagner speaks in one place, and speaks eloquently, of the wonderful power of music "which, by means of the firm precision of melodic expression, lifts even the gifted singer so high above the This concluding piece is divided in its outward level of his personal performances." But even the structure into two main parts, the first taking the most gifted singer will look in vain for this "preciwords "Gloria Patri," etc., and the second the "Sision of melody," except in a few isolated sentences. cut erat in principio, (As it was in the beginning), The voice is dragged through such tortuous and unetc. The five chorus parts, accompanied by the or- natural paths that the really free expression of feelchestra, with the exception of the trumpets and ing on the part of the singer seems often almost indrums, which only come in at the gloria spiritui compatible with the strain on the ear, and the atSancto," and the organ, break out at first in a short, tention necessary to keep in correct relation with energetic exclamation: Gloria!" Thereupon the the labyrinth of orchestral accompaniments, in reOrgan, tasto solo, holds out the deep A as organ-gard to which the singer is, as before observed, onpoint, upon which now an unprecedented tone-pict- ly an instrument among the other instruments. ure builds itself up. The Bass, followed by the oth- Without forgetting the stricture which Gluck passed er voice parts at intervals of half a measure, unrolls upon those who judged of his operas apart from without further accompaniment a strongly scaring their effect on the stage, we cannot but think that triplet figure, which, after traversing three bars, the uncertainty and confusion of tonal relation in plunges into the "gloria Patri," flashing as with the vocal melodies, as well as in the harmonic consuper-earthly splendor, when the orchestra again struction of the orchestral part, implies not merely falls in with all its might, resuming that loud exclaan indifference to scientific method (which is debatemation. These sweeping onsets are repeated on the able ground), but an ignoring of the physical basis organ-point E, only reversing the order in which of music, which rests on demonstrable facts, and by the voices enter, to the "gloria Filio," and then which its aesthetic form must necessarily, within again upon the organ-point B, but with a new mocertain limits, be determined. That Wagner, in his tive, to the "gloria Spiritui sancto."-The voices attempt to give to musical drama the unrestrained in the eager rush of their ascent to the triune God freedom of spoken drama, has overstepped these seem to tumble over one another, until the need of limits, must, we think, be the ultimate conclusion Tristan." Nor do we community again unites them upon far-resounding based on such a work as five-six chords; they seem to wish to take heaven believe that the brilliant and powerful points in the by storm, but to sink upon their knees, not crushed, work can ever, with any but a very partial audibut jubilant, before the eternal splendor. And here ence, adequately atone for the tedium inseparable right clearly Music shows the power peculiar to it- from a method which allows so little relief and conself alone, of representing highest transcendental trast of manner and effect, and which, discarding moods in full reality; the expressive faculty of oth- the resources of amplification and extension of muer arts is very far from reaching it in this direc- sical form, and emphasizing every detail of the tion. words, keeps the musical expression, so to speak, at a white heat throughout, and never allows the listener a moment's repose. Nevertheless, we are of opinion that an adequate performance of "Tristan und Isolde " ought to be given in London at an early date, and this unique experiment in musical drama " After this introduction follows the second half of the chorus, with the words: "Sicut erat in principio, et nunc, et semper et in secula seculorum, Amen." Bach here turns back to the opening number of the work, letting its leading motive float before us once more in a condensed form. The satisfactory round-be subjected to a fair test. ing off thus given to the whole work is worthily in keeping with the preceding traits of perfect beauty. www The "Edinburgh Review" on Wagner. [Concluded from Page 180.] The writer goes into a detailed description of "Tristan and Isolde," quoting from the libretto; as to this latter, he says:— The libretto of an opera has seldom much claim to literary merit; but of all the doggerel we ever met with "to be said or sung" on the stage, Herr Wagner's verses appear to us to be the worst. Childish jingle and tasteless alliteration take the place of rhythm and poetry; and whatever he may have done with the art of Mozart and Beethoven, he has certainly prostituted the language of Schiller and Goethe. But it would be cruel to judge such trash by any known literary standard. Yet the mere perusal of the work shows a certain power and intensity in the general treatment of the legend, so wild and exciting in itself, so full in one sense of human interest. We cannot but remark in particular the genius for dramatic effect displayed in the manner in which Wagner opens each act: Next the writer sketches the chief features of the times uses it, a very cheap trick. But a still more serious drawback to our allegiance is the puerility, to English ideas, of much of Wagner's dramas, which illustrate only too well that peculiar childish element in the German mind, the presence of which to a certain extent even in Goethe formed, perhaps, the one national weakness of that otherwise most cosmopolitan genius. When Lohengrin" was produced in London last year, probably a good many besides ourselves may have wondered whether it was possible in any country but Germany that such a mere fairy extravaganza should be made the subject of such solemn and elephantine moralizing as has been expended upon what is supposed to be the morale of this opera. The case is certainly not bettered when we come to the Ring des Nibelun. gen;" aud as we light on the passage where Fricka (the Juno of the mythus) shakes her sleeping spouse at daybreak, and says, "wake up, man, and bestir yourself!" or where Alberic changes himself first into a serpent and then into a frog, and his windings in the one case and jumpings in the other are gro tesquely illustrated by the band; when we see the pages on pages of elaborate scoring in accompaniment to the movements of creatures whose efforts at speech extend little beyond "Heia!" "Wallaha!" or Ho-jo-to-ho!" when we hear of the special contrivances by which the stage will be filled with different colored mists at pleasure, or read the stage. direction in the scene of the fight between the hero and Fafner in the form of a dragon, in "Siegfried the sentence about 64 "The machine, which represents the dragon, is "Knights, squires, and steeds must enter on the stage. For it is not only as a new exponent of musical A few pages are devoted by the Edinburgh reviewer to the demolition of the ridiculous argument, of which we have heard much, that because Beethoven introduced poetry and voice-music into his ninth (choral) symphony, the great master had "abandoned the idea of purely instrumental music." On this point the writer says: There is not a tittle of evidence to render it im 'Ring des Nibelungen," in which he finds many probable that his "Tenth Symphony," had he lived beauties. But he goes on to remark: On the other hand, one cannot but be struck, in reading these scores, as we were in hearing "Lohengrin," at the sometimes almost absurd disproportion between the orchestral effect and the poem and action. The rush of the band, with the whole added power of more brass instruments than we have time to count up, to emphasize with an overpowering fortissimo some word or gesture which seems totally unworthy of such tremendous emphasis, almost provokes a smile at times at the disproportion between cause and effect. Big scores do not necessarily make great music either. Meyerbeer has not thrown Gluck into the shade, nor has Spontini superseded Mozart, We cannot ignore the fact, again, that we meet in Wagner's scores with a constant recurrence of certain resources of effect, repeated to an extent which amounts to mannerism. One of these, the incessant reiteration, namely, of a particular orchestral phrase or figure, till it mechanically takes the ear by storm, seems to us to be little more than a trick played on the physical susceptibilities of the audience, and, as Wagner some " to write it, would not have been as purely an instrumental work as any of the first eight. Had he died just after writing the "Pastoral Symphony," it might equally have been urged that he had adopted what is now called programme music" as the true end of the art; but his two next symphonies (the first of them a much greater and more recondite work than the "Pastorale ") are without note, hint, or comment of any kind. About the middle of his career he wrote a pianoforte fantasia with chorus, but so far from subsequently confining himself to this form, he never repeated it, and his most elaborate works for pianoforte solo were written long after. We are asked to regard these accidents as essentials, because it suits the theory of Wagner's disciples; while the fact is ignored that Beetthoven's very last great pianoforte sonata concludes with a set of variations as brilliantly and symmetrically elaborated, as purely music for the sake of music, as anything that Mozart (or even Bach) ever wrote. Nor can the view which regards the finale of the "Choral Symphony" as the roof and crown of the composer's works be accepted by a sound and |