despise, he frequently employs. But these few make up for, returns to the scene of familiar triumphs, their value in the prospectus every one can estimate. Wagner's music has been forced into notoriety as much by his writings, as by his having obtained the patronage of the King of Bavaria. As an author, he has certainly great talent; but when his powerful pen is no longer wielded in attacking his critics and in defending his compositions, they prob. ably will not be found to possess any great vitality of their own. There is scarcely an art which some enthusiasts have not tried to force beyond its prop. er limits. Many of them have found followers for a time, but their deaths have always been the signal for the gradual dispersion of their disciples. With in the last twenty years, we have seen in pictorial art pre-Raffaelism dawn, flourish, and decay. We have not forgotten the many attempts that have been made to tint or color statuary. In this, Gib. gon, one of the best English sculptors, was very successful, and for a time his novel ideas met with great encouragement and support. But even for years before his death he recognized that the at tempt to transcend the restrictions of his art. by imitating the color as well as producing the form of nature, was false and unhealthy in principle, and he had the good sense to abandon it, That Wagner will become convinced that his efforts are not based upon sound principles we do not believe; he is the god of a small clique, and every one who does not recognize his powerful genius is, in his opinion, actuated by some religious or interested motive. Lohengrin, as far as the story goes, is infinitely inferior to many of the German operas; and none will deny that, for melody alone, there are, we might say, hundreds that surpass it. What value, then, it should have, is as an exemplar of Wagner's theory of the perfect union of poetry and music. The test of the meaning of a musical phrase, to which we have alluded above, will prove conclusively how unsuccessful it has been in this respect. That Wag ner has in Germany, and in this country, a large number of adherents is undoubtedly true; but of these, probably not more than one fourth really admire his composition, or would be able to give a satisfactory reason for so doing; while the remaining three-fourths pretend to like his music because they imagine that, by so doing, they prove their superiority in musical knowledge and subtlety of appreciation to those who fail to discover truth in his theories or beauty in his works. JULIAN MAGNUS. Music in London. ROYAL ITALIAN OPERA. Mr. Gye has issued his prospectus for the coming season, and we are glad to observe that he continues the new fashion of making that erstwhile vain-glorious and deceptive document as moderate in tone and business-like in character as possible. The director first of all announces that his establishment will open on Tuesday, March 28, with a performance, as on several previous occasions, of Guillaume Tell. No one will object to the choice of a masterpiece which combines with good music, scenic and other effect of the highest order, while the comparative insignificance of the principal female part evades all difficulty with prime donne, none of whom like to head a procession the honorable place in which seems to be behind. As regards the list of engagements, habitués will, no doubt, rejoice to find that most of the artists who have done good service lately are still members of Mr. Gye's company. Mdme. Adelina Pat.i, the absence of whom nothing could There will not, however. be one Frenchman the less at a dramatic singer, about which curiously diverse opin- ly are Mille. Rosavalle, Miss Emma Abbott, an Ameri- As no present and absolute necessity existed for the CRYSTAL PALACE. The feature at the sixteenth con- the occasion of the Royal Marriage, was the last instru- HENRY LESLIE'S CHOIR. The first concert of the pres- evening, the 17th instant, commencing loyally with Mr. Leslie's arrangement of the National Anthem. The programme contained a good and varied selection of unaccompanied part-music, in which the choir always appear to the greatest advantage, and though there may be good reason for occasionally varying the style of music performed, we always go to these concerts with some regret that Mr. Leslie should find such a course necessary. The programme of the 27th comprised [besides more modern things] four fine specimens of the old madrigals, viz:-Wilbye's "The Lady Oriana;" Weelkes's "As Vesta was from Latmos' hill descending;" Manin's "O hear me, love;" and Savile's well known "Waits," with which the concert ended. The performance of these madrigals, excellent as it was in many points, did not give us that complete satisfaction which we had expected; in fact it was over-refined [Query: "Dead perfect."-ED.]; we had beautiful pianos and crescendos, but no vigor, and not a single real forte, the nearest approach to one being at the conclusion of Weelkes's "As Vesta," where the basses gave out the augmented subject," Long live fair Oriana," with a power which set a good example to the rest of the choir, but unfortunately did not obtain a response from them. In addition to the above the choir sang a madrigal by Mr. Henry Leslie, "Charm me asleep," which is a beautiful specimen of part-writing, and being throughout in a quiet, dreamy style, was exquisitely sung; another madrigal by Pearsall, "Allan-aDale," of whose good and vigorous music we cannot hear too much, and we hope the first time of performance of this week by the choir will not be the last; and another madrigal, and one of the most beautiful, "Sweete floweres, ye were too faire," composed by the Thomas Attwood Walmisley of Cambridge.-Mus. Standard. Music in New York. MARCH 27.-At the fourth Symphony concert given by Theo. Thomas, at Steinway Hall, Feb. 26, the orchestra played Haydn's Symphony in G, (No. 13 of Breitkopf's and Haertel's edition),—a fresh and charming composition, which was given with all the perfection of enɛemble in which this band is unsurpassed. Something of the naive and beautiful character of the work seemed to inspire the musicians, for they played as if they loved the music. Besides this they played Beethoven's overture "Co· riolan," and a new Suite (No. 2, in F, op. 194), by Raff, which was received with great interest. The new Suite is remarkably well scored, and its execution was refined and spirited. It is divided as follows: 1. Au der Grenze-[Overture. 2. Auf der Puszta-[Träumerei]. 3. Bei einem Aufzug der Honved-Marsch. Mr. Wm. Mason, whose reappearance in the concert hall we note with pleasure, gave an admirable rendering of Mozart's Concerto in C, (Koechel 467), for piano and orchestra. A better performance could hardly be imagined. Mr. Mason played with precision and good taste, which was supplemented by a faultless orchestral vccompaniment. Saturday evening March 11, Fifth Soirée of the New York Quartette. The first selection was Mendelssohn's Sonata for Piano and Violoncello, op. 45, performed by Master Rietzel and Mr. F. Bergner. The pianist, to all appearances, is not more than twelve years of age and certainly showed unusual talent, getting through the piece very creditably and showing some insight into its meaning; but he had not the requisite digital force for its performance, which was, therefore, somewhat strained. The violoncello part was of course faultlessly rendered, Mr. Bergner being an artist unequalled in America. Mr. E. Mollenhauer gave a careful performance of Tartini's Chaconne, for violin. He is an earnest and conscientious player, but he never succeeds in getting a good tone from his instrument. The programme ended with Beethoven's Quartet in E flat, op. 74. Miss E. F. Richmond was announced to sing Rossini's Aria, "O Patria" from Tancredi, and Handel's "Semele; " but, owing to indisposition, she did not appear, and another lady took her place. During the past week we have been favored with three pianoforte recitals by Dr. Von Buelow, at only one of which was it my good fortune to be presThe Dr. has devoted the entire week to Beethoven, giving three evening recitals. ent. The programmes were as follows: Monday, March 20. Sonata Patetica, op. 13. Adagio con variazioni, op. 34. Sonata quasi fantasia, op. 27, No. 1, in E flat. Fantasia, op. 77. Fifteen variations, fugue and andante finale on a theme from the Eroica Symphony. Wednesday, March 22. Sonata, op. 31, No. 2, in D minor. Sonata, op. 109. in E. Three Sketches from op. 119 and 126. Rondo Capriccioso, op. 129. Sonata appassionata, op. 57, in F minor. nor. ness;" but the Leipzig Leuckart edition, from which it was here sung, has it: "Deep, within my heart was sorrowing." etc. The additional accompaniments of Robert Franz were used, consisting chiefly of two clarinets and two bassoons, besides an Organ part, whereas Bach's score has, besides the string quartet, only a single oboe, except in one number a horn, in another four trombones in unison with other parts, and in the concluding chorus three trumpets. It is of course impossible to give a sat isfactory description of the work without musical citations; but we may briefly characterize its contents, which consist of eleven numbers: an instrumental prelude; four choruses set to words from This was an evening of pure, unalloyed delight. the Bible, one of which has a Chorul melody interEvery one knows how Von Buelow interprets Beet-mittently running through it: three Arias, two Rechoven's music. In rendering a Sonata he follows no itatives, and a Duet. traditions, accepts no rule, but is himself the rule and the standard. It would be useless to particularize respecting his performance on Wednesday evening. Every one of the selections was given in the best possible manner. The Sonata Appassionata which he has already played several times in New York, is a splendid example of his remarkable skill in crescendo effects and his wonderful use of the pedal. The programme on Friday evening, March "Les Adieux. L'Absence et Le Retour:" Sonata Caracteristique, op. 81. 24, was as follows: Sonata, op. 101, in A. Grand Sonata, op. 196, in B flat. Thirty-three variations on a Waltz of Diabelli, op. 120. To which Dr. Von Buelow added the Sonata in E flat, op. 31, No. 3. A matinée recital was announced to take place on Saturday afternoon, but owing to the illness of Dr. von Buelow it was postponed. Next week one evening will be devoted to Chopin, one to Schumann and Mendelssohn, and one to Schubert and Liszt. At Theodore Thomas's fifth Symphony Concert, Saturday evening, March 25, the following selections were performed: Suite No. 1. in C. [first time]. Symphony, No 3-Eroica- Miss Anna Drasdil. Eine Faust Overture...... ..... .J. S. Bach Weber Beethoven .....Rubinstein Wagner The suite by Bach consists of an Overture, Forlane, Bourrée and Passepied, and is in no way inferior to the Suites Nos. 2 and 3, which have already been produced by Mr. Thomas. It was played with marvellous fire and precision. The performance of the Eroica Symphony was one of the best I ever heard. Miss Drasdil made an an excellent impression in both Arias-particularly in that by Weber. The house was well filled, notwithstanding the A.A.C. stormy weather which prevailed. Dwight's Journal of Music. BOSTON, APRIL 1, 1876. OUR MUSIC PAGES. The Part Songs in this number, are taken by permission from "German Part Songs," edited by N. H. ALLEN, published by Oliver Ditson & Co., Boston. 1. A short Sinfonia in C minor, of a very tranquil, delicate and serious character, at once impassioned and resigned. The oboe and first violin alternate and imitate each other in liquid, long-drawn, florid passages, enriched by Franz with clarinets and bassoons, while the other strings and organ move below in broad, expressive harmonies; but it is the oboe that catches the ear as the chief singer iu the mingled melody. 2. Chorus: Deep within my heart was sorrowing and great affliction. So it begins, Andante con moto, 4-4 measure; first the word "deep "is thrice exclaimed (in the German, "Ich,") and then the following motive: mf &c. deep, with in my heart was sorrowing, &c. is taken up, first by the Sopranos, then answered on the last eighth of the first bar by the Tenors one note higher, while the Sopranos carry it up to E, the Tenors again to F; then it drops in the Alto to A, the Bass echoes it in B flat, and so the marked and pregnant theme climbs and floats upward and downward by degrees of the scale, the four parts mingling in harmonious complexity, the instruments besides, developing into a rich and strangely fascinating web of melodies. Then the movement is arrested; two long chords on" But," followed by an animated Vivace, "Thou dost comfort me with all thy mercies," etc. Here the character is mostly Major; voices and instruments imitate and blend in long roulade passages of sixteenth notes, running in thirds and sixths, with very brilliant effect, ending with a quiet Andante, and with the major chord of C. This chorus is sure to win its way upon acquaintance; and none can sing it together long enough to feel at home in it without learning to love it. 3. A most beautiful and touching Soprano Aria (Andantino con moto), in which the melody is first sung through by the Oboe, with quartet accompaniment; in the original score there is nothing but oboe and figured Basso Continuo. The words are: Sighing, mourning, sorrow, tears, etc., waste away my troubled heart. The contrite and afflicted heart pours out its lamentations and its fears in a series of short, detached phrases, almost recitative-like, and yet so balanced, so symmetrical, so connected, that the melody is perfect. De profundis clamavi. The deep religious sadness of the strain, its thrilling tender pathos, is only equalled by its divine beauty. It gives the singer scope for most expressive accent, and admits of being sung somewhat ad libitum; at least the instruments should wait upon the singer. And yet it is all chaste, and healthy feeling, nothing morbid in it, as is ever the case with Bach. "Ich hatte viel Bekuemmerniss." This is the title of the Cantata by Sebastian Bach -the first specimen of its kind yet given in this country-which was performed at the last Harvard Symphony Concert. It is one of some 380 Cantatas which he composed for every Sunday and church festival for five years, mostly in the earlier period of his residence in Leipzig. This one, however, although it is one of the most elaborate and most beautiful, was an earlier composition, and dates back to the year 1714, when he lived in Weimar. It was composed for the third Sunday after Trinity, 4. The anguish and distress is carried to still June 17; and the text has reference to the Epistle more intensity of utterance in the Tenor Recitative of that Sunday; nevertheless Bach wrote over it: and Aria which follows: Why hast thou, O my God, "Per ogni tempo" (good for any time). These op- in my sore need, in my great fear and trembling, so ening words: "Ich hatte viel Bekümmerniss," turn'd thy face from me? etc. One of a thousand fine might be translated, with some resemblance to the instances of Bach's eloquent recitative, (still in C. sound of the original, "My heart was full of heavi- | minor), leading into the Aria in F minor (Largo): Rivers of salt tears are flowing, floods are rushing evermore; o'er me waves and waters going, seas of grief that have no shore, whelm me, soul and body taking; mast and anchor all are breaking; I am sinking 'neath the tide; yonder hell is gaping wide, etc. These images suggest the movement to the string quartet, to which Franz has added clarinets and bassoons, Listen to these as they flow along with the voice in sympathetic sweet companionship, all pursuing the one persistent weeping melodic figure. But to appreciate the beauty of the song, which is wonderful in its way, requires something more than an amusement seeking hearer. One who listens in a light mood, not having studied the music and become penetrated with its spirit, will find it monotonously mournful and perhaps passing long as well as strange. But if you, too, need the sweet relief of tears, if you seek music out of the same inward need which with Bach found expression in this Air, you will the rather crave continuance of so heavenly a comfortWe can hardly expect that of audiences. We only know that no one who has any of the religion of music in his soul, can by study or repeated hearing become familiar with this Aria without feeling and acknowledging its beauty. er. 5. Chorus, in C minor. It begins with a few measures of Adagio, full of pathos, by the quartet of soli, repeated by the tutti on a higher degree, with more intense expression: Why, my soul, art thou vexed? Then a livelier movement (Spiritu oso) starts off to the words: and art so unquiet in me? Four strong motives, rhythmically contrasted, are assigned to the voices, which with the instruments, forming so many real" parts, pursue each other in Canon, or blend together, forming a most ingenious and most impressive web of polyphonic har. mony. The unquiet hopes and fears of the human heart could hardly be more vividly expressed. Then follows a more tranquil movement for a few bars: For I shall yet praise Him, in which the soul seems to gather up new life and strength; and then (Andante con moto, C minor) a splendid closing Fugue: For He is my glory and the rock of my salva lion. 6. Recitative and Duet for Soprano and Bass, which allegorically represent the Soul and Christ. Here, as in the Alto solo or chorus which open the second part of the Matthew Passion Music, and else. where, we meet a certain vein of the romantic which ing dialogue is most tender and expressive. S. Ah is characteristic now and then of Bach. The openJesus, light divine, my sun. when wilt thou shine ?-B. Fear not, soul, I am with thee.—S. With me? around With the first words is darkest night! And so on. the violins climb slowly a whole octave from B flat, the dominant of the key, which is E flat major; at the allusion to darkest night they suddenly drop an octave and a half,-a marked and beautiful effect. Then follows one of the loveliest of duets, with long-drawn flowing melody, in 4-4 measure. Bach's score has only the Organ and Continuo for accompaniment; but out of these mystical figures Franz has deciphered a full quartet with four reed parts. Words: S. Come, my Jesus, with thy blessing.-B Yea, I come, etc., fear yielding slowly and misgivingly to reassurance, until the rhythm changes to a lively Allegretto in 3-8, on the words: Ah Jesus, thy peace to my soul is returning, answered by: Away now, ye troubles, fly, sorrow and mourning, and then Da Capo. 7. A Chorus of wonderful artistic subtlety and beauty, rich in harmony and rich in comfort. The movement is con moto, 3-4, the key G minor. A single Soprano begins: O my soul, be content and be thou peaceful, soon joined by a single Bass, a single Alto, which pursue their even way, when presently all the Tenors in dotted half notes begin to sing the first line of a Choral (Wer nur den lieben {Gott”lässt walten), which Mendelssohn has introduced in his St. Paul. Intermittently, first a line and then a pause (as in the Organ Vorspiele) the choral is heard while the solo voices steadily pursue their way. Then the tutti swell the rich harmonious stream, and the Sopranos take the Choral. Finally four trombones reinforce the quartet; the Sopranos keep the Choral; the other parts still pursue the strain with which they began; but a new motive, a descending phrase of four eighth notes, continually appears in one voice or another, or in some instrument, lending a wonderful richness and exhaustless charm to the whole. Such a chorus, broad, deep, limpid and transparent, fills the soul with peace. What a delight it must be to sing in it when it all goes well! 10. Tenor Aria, F major, 3-8, Andantino con moto: Rejoice, O my soul--- Change weeping to smil. ing, etc. A buoyant, peaceful, blissful melody, with a delicate flowing accompaniment. As the instruments begin, you may be reminded of a song by Franz: "Marie, am Fenster sitzend." 11. The splendid final Chorus, upon the same text with that of Handel's Messiah. Here Bach's three trumpets come in with stirring effect. It is in C major. The words: The Lamb, that for us is slain, to Him will we render power and glory, etc., are declaimed by all the voices with stupendous and startling modulations. Nothing could be more exciting and full of grand presentiment. As each deliberate phrase rings out, you seem to hear the echoes in the pause that follows. Then the time changes to Allegro. A solo Bass voice declaims: Power, and glory and praise be unto Him forevermore, lengthening out the Amen, Allelujah in florid_roulades, while voice after voice (soli) take up the theme and pursue the Fugue. Presently the tutti join them, first in one part, then another, until the whole mass is drawn into the harmonious vortex, and amid stirring trumpet calls, it surges on to a higher and a higher climax, and the whole ends in a blaze of glory, almost too suddenly, you think, although the musical matter has been fully treated and exhausted. It is truly a sublime conclusion to a noble work. Concerts. HARVARD MUSICAL ASSOCIATION. The tenth and last Symphony Concert of the eleventh series, which took place on the afternoon of Thursday, March 16, had the most interesting programme of the season, and the largest audience. It was unusually long, to be sure, but, with comparatively few exceptions, the andience sat through it more than patiently. Seldom have we heard so much satisfaction so generally expressed. 1. Passacaglia, in C minor, Organ work, arranged for the Orchestra by H. Esser......J. S. Bach 2. Canons, for three Soprano voices (repeated by request)..... Hauptmann a. Tu sei gelosa." b. "O cari boschi." C. 3. Symphony, No. 1, in B flat, op. 38.....Schumann VOCAL, BY THE CECILIA. 1. **Cantata per Ogni Tempo. Ich hatte viel Bekümmerniss," for four Solo voices, Chorus, Orchestra and Organ,.........J. S. Bach 2. **Motet: “Laudate pueri," for Female Choir, with Organ ... Mendelssohn 3. Finale to the First Act of "Euryanthe" (second time)....... .......... Weber This division of the programme was suggested in order that the chorus might be off the stage during the performance of the first part (conducted by CARL ZERRAHN) and allow a more convenient seating of the orchestra. The two orchestral works were well performed, especially the B-flat Symphony by Schumann, which promises to hold its place as one of the great Symphonies of the great classical period, and which we have seldom heard interpreted by any orchestra with more fire and precision. The three little Canons by Hauptmann formed an agreeable entremet between the Passacaglia and Symphony. They were sung, as before, by Miss CLARA DORIA, Mrs. F. P. WHITNEY, and Miss ITA WELSH, and made a very charming impression, though they were hardlp given with the same exquisite nicety as before, particularly the first one. In the second part Mr. LANG took the baton, and the members of the Cecilia, who had carefully rehearsed with him, were grouped together more compactly in the centre of the platform than before. The tenors and basses, still inferior in number and in volume to the sopranos and contraltos, were not so widely separated, and in consequence they were This more distinctly heard. We think the best success achieved by the Cecilia as yet was in their rendering of the Bach Cantata, of which we have given a very inadequate description above. The orchestra was well subdued, so as not to overpower the voices, the tempi were well taken, and the instrumentation for the most part was delicately and effectively produced. The choruses had been carefully studied, and in spite of the strangeness of the task to many in the first rehearsals, were sung con amore, with precision, spirit, and good light and shade. was particularly the case with the third chorus, which contains the Choral, and with the brilliant and inspiring Finale. The quartet of soli, which occurs in two of them, was satisfactorily given by Miss DORIA, Mrs. JENNY NOYES, Mr. GEORGE L. Os GOOD, all of the Cecilia, and Mr. Joux F. WINCH. In the solo arias and recitatives the place of honor belonga to Miss Doria, who sang the pathetic Air with oboe obligato in the true Bach style and feeling, with fine artistic execution, clear, pure, telling voice, and heartfelt, chaste expression. Still more enjoyed, apparently, was the Duet with Mr. Winch, in which both sang admirably. Mr. Osgood had the most difficult and, under the circumstances, in such a place, before so large an audience, so tomed to such music, the most thankless task of all. But he is probably much more at home in Bach's music than any other of our tenors, and he understood the work. The recitative: Why hast thon, O my God, was well declaimed; and the long Aria itself was sung with fervor, and in passages requiring the best part of his voice with beauty and intensity; unaccns the indistinctness of his low tones was the chief drawback; nor was his organ generally at its best; continual teaching and a succession of colds impaired its freshness and its freedom. The second Air: Rejoice, O my soul! was more successful. Mr. G. W. SUMNER did good service at the Organ. And what impression did the Cantata make? Good enough upon the whole, we think, to justify the risk of introducing it, and to give promise of better yet in this sort for the future. Yet of course there will be all shades of conflicting testimony, from those who found it mournful, slow and tedious, to those whose deepest sensibilities, both musical and spiritual, were strongly drawn to it and charmed with it. We safely say that it was enjoyed precisely in the degree (1) of each individual listener's acquaintance with the music and with Bach in general, and (2) in proportion to each one's depth of nature and of moral experience. There were many in whose hearts those serious, yet serene, sustaining harmonies found warmest welcome; and there are many among cultivated music-lovers, and even some uncultivated, who, the more they become acquainted with Bach, the more do they enjoy it, love it, and find peace and health and comfort in it beyond any other music. It is the music that will wear best of all. All true musicians come to this ac sisted of Liszt's "Prometheus," a Symphonic Poem, followed by a series of choruses, solos and quartet to words from Herder's poem. The Symphonic Poem, or Overture, was about the most thankless music we have listened to for many years. As for beauty we could find none in it, nor any meaning. The only thing it seemed to suggest, in connection with its title, was the gnawing vulture and the groaning victim, and this seemed helpless, hopeless, endless. The vocal portion contained more variety, some tantalizing signs of promise here and there, and some even beautiful effects, many which were very curious and striking, such as the chorus of the Dryads, and that of the Gleaners and Wine-dressers. The opening chorus of Oceanides excited hopes continually baffled. But most of the others,-Tritons, Spirits of the Lower Regions, chorus of the Invisibles, and the concluding chorus of the Muses, were for the most bizarre, extravagant and straining for effects unheard of, sometimes positively unmusi cal and disagreeable. There was no fault to find, that we are aware, with the singers; the Sharland Choral Society, the soloists (Miss E. E. KENDRICK, Alto, and Mr. REMMERTZ), and the Temple Quartette, all did their part as well as could be expected. But we are sure that Music would lose all its charm for us if all music should become like that. The second part of the programme comprised the Introduction and Finale to Tristan ana İsolde, and Wotan's Farewell" (Mr. REMMERTZ) and the “ Magic Fire Scene," from the Walkuere, works of Wagner which have become somewhat familiar here. The second concert was in refreshing contrast to the first. Beethoven never fails and this was purely a Beethoven Night. First came an altogether beautiful and admirable performance of his first Symphony, heard here for the third time this winter. Then, -after a good rendering of his dramatic Trio: Tremate, empy, by Mrs. H. M. SMITH, Mr. W. J. WINCH, and Mr. REMMERTZ-Mr. Thomas gave us, in contrast with the earliest Symphony, the last, the Ninth with Chorus. Both orchestrally and chorally it was one of the most finished performances of that great work that we have ever had here; and yet there have been one or two occasions (Handel and Haydn Festi vals) when some parts of it have come out more inspiringly and grandly. Mrs. FLORA E. BARRY completed the Quartet of solo singers. HERE, by some strange miscalculation of space, we are suddenly cut short, and must reserve the rest, including Mr. Lang's two interesting concerts, for future notice. WELLESLEY, MASS.-The new female College in this place appears determined from the start to establish for itself a high musical character. Mr. Charles H. Morse is the Musical Professor, who has two assistant teachers: Miss E. Randall (Piano], and Miss Louise Gage [Vocal knowledgment. Certainly it is the farthest possible music]. They have one of Chickering's best grands for from all that we call sensational music; and it can hardly be expected that it will be much enjoyed by those who are taken off their feet by the dynamical excitements of the works of Wagner, Berlioz, Liszt, etc., whatever incense each of these, in one way or another, may have seen fit to burn before the shrine of good St. John Sebastian, not to be ignored by as pirants in Art, however different the crown they seek. The Motet by Mendelssohn-one of the three he composed for the nuns of Trinità de Monti in Rome, is a pure and pleasing composition, which served well to show the beautiful ensemble of the female voices in the Cecilia, and their refined, expressive execution. It has a second movement, a Terzetto (adagio): Beati omnes, in which the three solo voices are presently joined by the three-part chorus -The fresh, bright, simple choruses of peasants, answered by manlier charming finale from Eurganthe, with its buoyant, strains of knights, proved as delightful as before; Miss WHINNERY sang the blissful florid soprano solo very beautifully, and the brief quartet was finely sung by Miss Whinnery, Miss Morse, Dr. Langmaid snd Dr. Bullard. -So ended one of the richest and most varied concerts of our winter. We have yet to sum up the whole season. THE THOMAS ORCHESTRA. The two extra concerts given in the Music Hall on Tuesday and Wednesday evening, March 14 and 15, were but moderately well attended, especially the first, the "Liszt and Wagner Night," which fact goes some way to show that the "new music" has not after all the most attraction. The first part of that concert con concert use, and expect soon to have an excellent threemanual Organ. A series of six classical Piano-Forte Recitals, by the best Boston artists, was most successfully initiated on the 11th of February by Mr. Hugo Leonhard, whose interpretations of the following programme were enthusiastically received: Suite-Piano and Violin E op. 11... ..Goldmark 1. Allegro. 2. Andante sostenuto. 3. Allegro ma non troppo. 4. Allegro moderato quasi Allegretto. 5. Allegro molto. Prelude and Fugue-Piano E minor, Notre temps, No. 7.... Men lelssohn Dolorosa-Sonata quasi Fantasia, Violin Solo with Piano accompaniment... Pietro Locatelli, [1702-1764]. 1. Molto Largo, Lento, Allegro ma non troppo. Sonata-Piano and Violoncello, G minor, op.5, No 2, 1. Adagio sostenuto e espressivo, Allegro molto Trio-Piano Violin and Violoncello, E, No 4 Haydn 1. Allegro moderato. 2. Allegretto. 3. Finale, Allegro. Musical Libraries. public schools are giving so much attention to music. Composer and Publisher. PUBLISHER BUMPUS.-Well, Dr. Slim, what have you DR. SLIM-I have brought you a symphony, Sir. key? DR. SLIM.-C sharp minor, Sir. PUBLISHER BUMPUS.-C sharp minor don't pay. Why not major? Why the lesser third? Dr. SLIM.-I have arranged it, Sir, for four hands, Sir, on one pianoforte. Always, always,-when she pleases. I had a Dream last night, Maggie. Song and Knight. 30 "She gently rests: She gently rests." These soft words constitute the chorus, and the whole is placid, sweet, soothing music. Words by Sophie May. Faintly flows the falling River. 3. Db to f. PUBLISHER BUMPUS.-Four hands on one pianoforte DR. SLIM.-No, Sir-not without transposing it half a PUBLISHER BUMPUS.-That's out of the question. DR. SLIM.-Will you print the full score, Sir? DR. SLIM.-A cantata, Sir. PUBLISHER BUMPUS.-Cantatas don't pay. The subject, if you please? DR. SLIM.-A martyrdom, Sir. PUBLISHER BUMPUS.-Martyrdoms don't pay. Can't DR. SLIM.-No, Sir; but I could try and write one like PUBLISHER BUMPUS.-Oh! That would never pay, be- DR. SLIM.-Then, Sir, what am I to do with my sym- PUBLISHER BUMPUS.-Bonfire!-they won't pay. [From the Same, March 11.] Of circulating musical libraries,-like Schuberth's or Schirmer's in New York, Flaxland's in Paris, Novello's in London, and many others, where anybody can subscribe by the month or th quarter, and take out two or more volumes, according to the amount of his subscription, we have as yet none in Boston. We have not heard of a circulating musical library on the MudieLoring principle being undertaken anywhere. It would be a great blessing to many of our music-lovers, especially to those who devote themselves to four or eight hand piano-forte playing, or to part singing, if some such establishment could be set on foot in Boston. But what Bo-ton-and. if we mistake not, most of our great American cities-still more needs is a good library of reference; a place where the musical student can find trustworthy editions of the works of the great masters, both classic and modern. The institution that ought to take this matter in hand would seem to be the Public Library. The Harvard Musical Association has a fine library of over two thousand volumes, which is kept in the association's rooms in Pemberton Square; this collection (which is one of the finest, if not the finest, in the country] is rich in works of the old Italian and English masters, and almost complete in the works of German masters of the classic period, but it is very poor in works of the post-classic period. Besides, it is a private collection, open only to members of the association. The Boston Public Library has some few volumes of music: the scores of Sebastian Bach's works in the great Breitkopf und Haertel edition, some few of Handel's scores, the scores of some of Mozart's symphonies, and one volume of Carissimi's oratorios; other full scores we have not been able to find; there are also some piano-forte scores of choral and dramatic works of Beethoven, Bennett, Gluck, Gounod, Haydn, Meyerbeer, Mendelssohn, and Weber [notably the French edition of the Freischütz with Berlioz's recitatives, which is a curiosity], and some few piano-forte and organ works of Liszt, Chopin, Schubert, Schumann, and one or two others, but the merest scattered collection, in no way approaching to PUBLISHER.-Softly, my dear Sir; you surely have not completeness. Of Allegri, Astorga, Baltazzarini, Cav-forgotten your undertaking to compose a new dramatic alli, Durante, Frescobaldi, Graun, Guglielmi, Adam de la Hale. Hasse, Hans Leo Hassler, Jomelli, Josquin des Prés, Lulli, Marcello, Monteverde, Palestrina, Pergolese, Rameau, the two Scarlattis, Stradella, Spontini, Cherubini, Halévy, Auber, Boieldieu, Hérold, Bargiel, Brahms, Berlioz, Max Bruch, Gade, Goldmark, Félicien David, Massenet, Raff, Reyer, Rheinberger, Saint-Saëns, and Wagner, there is not a note in either form. For the Boston Public Library to keep a collection of piano-forte music, or piano-forte arrangements of choral or orchestral works, for public circulation would be ridiculous. Also the wear and tear that piano-forte music, either bound or in sheet form, is liable to, is immense. But the case is very different with a standard library of reference, a collection of the full orchestral and choral scores of the principal ancient and modern masters. As such works are, in general, very costly, these scores should not be allowed to go out of the library, though everybody should be free to consult them there. In cases of urgency, for instance, if any one should wish to make a piano-forte or organ transcription from some work, he might be allowed to take it home, by special permission." as is the case with books marked with an asterisk in the Bates Hall catalogue. Now that our COMPOSER.-Blow my reputation! COMPOSER.-Blow the directors of the Crystal Pal ace! cantata, on Lady Godiva, for the approaching Birming- COMPOSER.-Blow the Birmingham Festival! COMPOSER.-Blow the promises of my youth! COMPOSER.-Blow works of high art! COMPOSER.-Blow posterity! PUBLISHER.-Then I fear we must part. I have a duty towards the musical world to perform, and I must relinquish you to the care of my more commercial breth ren. COMPOSER-Blow your duty to the musical world, and [Eri! Composer, indignantly; —Publisher sighs, and re- 2. F to f. "A blue trip-slip for an eight cent fare. Punch in the presence of the passengare." Here it comes! Buy it while its hot and let the cheerful conductare take his varied fare, 'mil the chorus of the passengare. The composare, (modest merit) does not reveal his name. Come back to de Ole Plantation. Song and Cho. 2. F to f. 30 Danks. 30 Oliver Ditson & Co., in Boston, New York, and Philadelphia. Messrs. Oliver Ditson & Co., of Boston, beg to inform their customers and the musical public that they have recently purchased, at large expense, the entire stock of Engraved and Stereotyped Music Plates, Sheet Music, Music Books, Pianos, Instruments and good will of the old and well-known house of LEE & WALKER, of Philadelphia, and have established a branch house in that city, under the firm name of J. E. DITSON & CO. For several years the firm has had a large and successful branch house in New York city, under the firm name of CHARLES H. DITSON & CO. The Lee & Walker catalogue embraced over 50,000 music and book plates, and among the most valuable copyrights now now added to their former immense catalogue, Messrs. DITSON & Co. call attention to the following: VOCAL. ABBREVIATIONS. — Degrees of difficulty are marked from 1 to 7. The key is denoted by a capital letter, as C, Bb, etc. A large Roman letter marks the highest and lowest notes if on the staff, a small letter if above or below the staff. Alone and from home. S'g and Cho. Bb. 2. F to F. Frank Stanley. 40 .Launder. 40 Ellie Rhee, or Carry me back to Tenn. S'g & Cho. G. 2. d to D. Winner. 35 Good-bye Liza Jane. Comic. D. 3. d to F sharp......Eddie Fox. 35 Little Brown Jug. Song and Chorus. C. 2. E to E....Eastburn. 30 M. Loesch. 50 C. C. Converse. 40 We have met, loved, and parted. S'g and Cho. Bb. 2. d to E. Eastburn. 35 . INSTRUMENTAL. Meininger. 75 Bird of the Forest. Eb. 4. An elegant parlor piece....Carl Leduc. 50 Blue Bird Polka Mazurka. C. 3.. ..E. Mack. 20 60 March. F. 3.. Blushing Morn Polka. Eb. 4... Centennial March. Illustrated. Eb. 4... Introducing National Airs of United States. Centennial Gallop. C. 3.... Charity. Variations on Glover's Song. Eb. 4.. Chesney Wold Quadrille. F. 3... Chicago Fire Bells. Fantasia. Ab. 4.. Chick Waltz. G. 2.... Cinderella. Descriptive fantasia. C. 4. Come Along Scottisch. Eb. 3...... Contraband Scottisch. G. 2..... Cracovienne. Fantasia. Eb. 6... Dance of May Queen. Db. 5... Emma Mazurka. F. 3..... Empire March. G. 2... Evening Song to Virgin. Variations. Eb. 4. Fairies' Carol. Reverie. F. 3.... Five Finger March. C. 1.......... . Clara H. Saylor. 40 Memory's Dream. Waltz Reverie. Eb. 4.... ...................J. E. Muller. 50. As popular as "Falling Leaves," by same author. Transcription. A. 4.. Gr. Fantasia, in'ding “Auld Lang Syne.” Hoffman. 1.00 Mozart's Oxen Waltz. C. 3.... .E. Mack. 30 46 30 Aug. Schaffer. 50 .Arranged by E. Mack. 40 Db. With the story of its composition. No One to Love. Brilliant variations. Bb. 4.. Paul and Virginia Waltz. Eh. 3.. Pleyel's German Hymn. Variations. G. 4.. .John Werum. 50 5...A. P. Wyman. 75 1..........E. Mack. 20 40 W. F. Meyer. 35 .C. Grobe. 60 As its name intimates a 'Ray of Sunshine.' Rock Beside the Sea. Variations. Ab. 4... .C. Grobe. 60 E. Mack. 50 .A. M. Schacht. 40 Carl Le Duc. 50 ..E. Mack. 50 .B. Fr. Walters. 50 .... A Romantic Fantasy which charms all hearers. Descriptive of approaching Mount Vernon. Wings of a Dove. Variations. Bb. 4.. Marion Florence. 35 .............C. Grobe. 60 E. Mack, 40 .C. C. Converse. 30 .Ch. Grobe. 50 .C. Grobe. 60 Sheet Music and Music Books sent by mail, post-paid, on receipt of price. |