Meistersinger and of Tristan and Isolde! But then the
modern orchestra is such a wondrous mechanism-
a new era in itself,—a new created world, and Wag-
ner is its God! The "instrumentation," nobody
will doubt, is "gorgeous; " but is there not reason
to suspect that this was about all? Can any amount
of gorgeous instrumentation supply the want
of inspiration, of intrinsic meaning, of sublimity?
Now so far as we can judge from a single reading
and hearing of the pianoforte arrangement (in
striped covers) of this paragon of marches, we are
persuaded that the instrumentation, the gorgeous
blaze and intensity of orchestral clothing and col-
oring, must have been all. For a thing more com-
monplace and empty in its themes, more disappoint-
ing as the "development" goes on through a most
tedious trying over and over of the same sort of
fruitless variations of effect to a most inordinate

to have it repeated at once, to deepen and make
clearer the impression. We envy the Londoners
their privilege of hearing the whole of this great
Mass, the only peer of the Missa solemnis of Beetho-

ven.

A good relief, after this intensity of mood, it was to hear a group of Songs by Robert Franz (a. "The Lotus Flower" (Heine); b. "On a Thornbush blooms a rosebud" (Osterwald); c. “In May" (Do.); d. "Marie" (Gottschal), interpreted so feelingly, with fine discrimination and artistic style by Mr. Osgood, who is so much at home in German Lieder of the finest class.

Again the chorus voices blended almost to per

were well played; but we confess-what we suspect to have been a pretty general experience,-to being in a weary, dull condition for appreciating anything of the sort, after listening to so much of such varied and absorbing interest.

Attention is called to the advertisement, on the first page, of the Music School of the Maplewood Institute at Pittsfield, Mass., which enjoys a high reputation.

Boston Church Choirs.

HOW HARD TIMES AFFECT THE SERVICE OF SONG.

[From the Sunday Herald, May 14.] Never before, within the memory of the oldest inhabitant," have there been so many professional singers and musicians out of business in the city of Boston as at the present time. The hard times," that universal curse, which during its prevalence has affected every known occupation and industry, has made its influence felt even in the worship of the sanctuary, and important

length-anything more uninspired and uninspiring, with so great pretention, so little calculated to give a moral, spiritual lift to the great multitude upon a great occasion, we can scarcely imagine. We think there are several musicians in any of work, and seemed written con amore, as well as with changes have taken place, such as would never have

our cities, even Americans, who could have composed all that was needed in the shape of March for that day. But how much better it would have been to take the greatest, the most intrinsically noble and uplifting that exists, even if not expressly orWould that have dered, even if somewhat old.

made it less appropriate, or less popular? How much more inspiring, more in the spirit of the great unity and triumph of such national world's festival, the glorious March Finale of the Fifth Symphony

would have sounded! Handel or Beethoven would

seem to be the truest musical prophets for a solemni

ty like that.

fection in the most satisfactory rendering we have
ever yet heard of that pure gem of sacred harmony,
the Ave Verum of Mozart. And then followed the
first performance of a new Sonata, for Violin and
Pianoforte, by Prof. J. K. PAINE, in three move-
ments: Alegro con fuoco; Larghetto (in canonic
form); Allegro vivace. It is a spirited and genial
much skill and learning and no lack of fresh inven-
tion. The first Allegro (B minor, 3-4) starts off
with an energy of purpose, which it well maintains,
with the relief of a more pleasing well contrasted
second subject. The Larghetto (in which we confess
we should not have suspected, by mere hearing, the
presence of the Canon) has much beauty, though it
seemed to us as if in some of the latter portion the
inspiration was a little at a loss how to go on, so
that for some measures it was vague and tame; per-
haps another hearing might remove the feeling.
But the Finale was full of life and sparkle, a play-
ful, happy movement, at the end of which the de-
tic and repeated plaudits that the composer had to
rise in his seat and bow his acknowledgments.

been tolerated for a moment under better auspices. Quartet singing, which has been a costly item in the expenses of some churches heretofore, has in many instances been altogether abolished. In others, the salaries have been largely reduced. In others still, professional singers have been dismissed and volunteers sub stituted, whose chief merit lies in the attribute that they are willing to serve without pay. Occasionally it is found the entire singing service has been revolutionized, and from being performed by a choir has become congregational. Nearly all the engagements with choir vocalists at the different churches are made during the spring months, generally about the 1st of April or dur

We approve, however, the policy which dictated light of the audience culminated in such enthusias- ing that month. The applicants for vacancies occurring,

the procuring of original productions from some of our foremost native composers. Of the result we are not yet prepared to speak.

George L. Osgood's Concert. Instead of a series of Historical Concerts, as in the past two years, Mr. OSGOOD this time concentrated his thought and effort on a single evening with a remarkable programme-rich, significant, select, and for the most part new. Mechanics Hall, on Thursday evening, May 11, was filled with a most appreciative audience. Mr. Osgood had for co-workers his own mixed Chorus of forty voices, Mr. ERNST PERABO, pianist, Mr. J. MULLALY, violinist, and Mr. S. L. STUDLEY, accompanist.

The next selection was extremely interesting: Schumann's Cycle of Songs, Frauenliebe und Leben ("Woman's Love and Life"), op. 42, which Mr. Os good sang for the first time in this country, only the first two of the eight songs having been familiar here before. He sang them in the original German of the very beautiful poetry by Chamisso, the audience following with their eyes a fair translation by Baskerville. The litttle poems breathe the delicate confession of a woman's heart, from the first stirring of the tender passion in the maiden's breast, through all the phases of admiration, worship and devout self renunciation toward "the noblest" man and lover; the ecstasy and seeming dreamlike impossibility of finding herself beloved; the pressing of the ring to her lips; the call upon her sisters to help deck her for the wedding, and the momentary sadness at "joyfully quitting their bright circle"; the premonitions and fruition of maternity; and finally the grief of widowhood, which seeks consolation in recalling the sweet history and dreaming over love's young dream again. Schumann has entered into the inmost heart and spirit of these verses, reproducing them in music with an instinct almost feminine, so delicate, so natural, so fresh, so subtly mod

sion he has given to the entire poem. And there is
plenty of contrast in the songs; if there be any
sameness, it is simply that of the continuous inten-
sity of such a theme, with that of Schumann's indi-
viduality. It would require a long and separate
article to go into an analysis of these eight lovely
compositions, and we shall not attempt it here. The
best interpreter is such a singer as we had on this
occasion, although we could not help feeling that
they ought by good rights to be sung by a woman.
But Mr. Osgood threw his soul into them with real
fervor, and expressed the spirit of the poem and the
music, with such abandon, such sympathetic and
discriminating insight, and such artistic refinement,
that all felt the beauty and the meaning of the work.
The aɔcompaniments were finely played by Mr.
Perabo.

Mr. Perabo opened the feast with a very clear and artistic rendering of a Toccata by Bach, followed by a Fugue by Handel, both in E minor. The former is the opening movement of the sixth Partita, beginning with a poetic, florid, free fantasia, leading into a fague of singular imaginative charm, after which the free fantasy returns. The Handel Fugueulated through each phase of feeling, is the expresis from the fourth Suite, of which the theme announces itself so positively with a thrice repeated note. The two pieces together were a good prelude to the grand feature of the programme, which came next: the wonderful Crucifixus from Sebastian Bach's B-minor Mass, which shares with the Matthew Passion Music the glory of being the two greatest works of the greatest master of all time in sacred music. Still again we are in E minor ! (modulating in the last measures into the relative major). Into this short piece of four-part vocal harmony,―resting on a Basso Continuo which consists of a single phrase of four measures (3-2), descending in even eights by semitones from the tonic to the dominant, and steadily repeating itself until the final cadence-Bach has crowded what a wealth and depth of solemn feeling and expression! It is impossible to describe the subtile art with which the voices intertwine and blend, after each part singly has uttered the mournful phrase Crucifixus, the whole giving the impression of a sea of sorrow in exhaustible and vast as ocean. The admirable training of the nicely balanced choir of sympathetic voices was shown to great advantage here. All was smooth and even and subdued, with only gentle swelling and subsiding, and the ensemble very sweet and musical, the utterance distinct, the intonation So noble a thing needed to be heard more pare. than once, and it was a wise thought in Mr. Osgood

The Chorus then sang Gade's soft and dreamy music to Heine's "Waterlily"; Mr. Perabo played a quaint and spirited Gavotte in C minor (new) by Saint-Saëns, a Menuet by Beethoven, and Schubert's Barcarolle, transcribed by Liszt; and Mr. Osgood sang a tragical and striking ballad: "There was an old, old king," by Rubinstein, the "Asra" by the same, and very beautifully the "Frühlingsglaube" by Schubert. Robert Franz's "May Song." one of the most exquisite of part-songs for mixed voices, so fresh and buoyant, and the parts gracefully and subtly interwoven, was sung in the most satisfactory manner, and had to be repeated. This would have made a perfect ending to the concert. The three Morceaux by Rubinstein, for Violin and Piano, may have been very good, as doubtless they

or about to occur, are always largely in excess of the number that can be employed, and the amount and range of talent to select from is at all times large. For chorus choirs abundance of excellent material is at hand for first-class directors, music teachers availing themselves of the opportunity for good practice thus afforded, and recommending their pupils for this exercise. Besides, every congregation furnishes a greater or less number of willing volunteers for the service of song, among

whom are many of decided talent. That there has been a steady progression in the quality and performance of church music in this city for some years past there can be no question. Careful selection of talent; the gradual substitution of first-class compositions for the senseless trash in vogue a few years since; the recognition of

the merit of the whole question of the musical service;

and withal the inevitable emulation excited, have chief

ly

contributed to this result. Following is the composi

tion of some of the principal choirs in the city, with the

zation:

changes which have lately taken place in their organiBOWDOIN SQUARE CHURCH (BAPTIST.)

At this church Mr. Charles H. Whittier is organist and director. The present organization of the quartet choir is the same as has existed for three years past: Soprano, Miss Angie Trescutt; alto, Miss Mary Hall; tenor, Mr. Hiram Hall; bass, Mr. John Young. Mr. Young left the city about two months since, to be absent a few months, and during his absence his place is filled by Mr. Peevy. A chorus choir is about being organized, to consist of fifteen voices, in addition to the quartet. The singers are members of the society.

CLARENDON STREET CHURCH (BAPTIST.)

Miss Carrie E. Symonds, organist. All the members of the quartet are salaried. There have been recent

changes in its organization, and it now stands as follows:

Soprano, Mrs. A. L. Ellsworth; alto, Miss Ella Cleveland; tenor, Mr. J. C. C. Cooper; bass, Mr. S. N. Dickerman. The singing is partly congregational. The service at this church differs from that of other Baptist Churches in that responsive readings of the psalms forin a part after which reading the congregation join with the choir in singing the Gloria in Excelsis. A new organ has been supplied here since the fire in the church about two years ago.

HARVARD STREET CHURCH (BAPTIST.)

A change in the quartet at this church occurred in December last, at this time Miss Josie Brainard of Hyde Park being employed as alto. The present organization is, soprano, Miss M. S. Butterfield; alto, Miss Brainard; tenor, Mr. Albert W. Daniels; bass, Mr. Frederick W. Goodwin; organist, Mrs. W. A. Woodside. Miss Brainard took the place of Miss C. S. Chamberlin.

SHAWMUT AVENUE CHURCH (BAPTist.)

At this church Mr. J. A. Rising is organist and director. The choir is quartet, all salaried. Soprano, Mrs. A. C. Kendall; alto, Mrs. W. E. Bryant; tenor, Mr. George J. Parker; bass, Mr. Arthur W. Porter. Here the service differs somewhat from that of other Baptist churches. After the opening anthem the Doxology is sung by the choir and congregation. After the praver a vocal response, and the Gloria after the reading of the Scrip. tures. The hymns preceding and following the sermon are congregational.

Rubies.

By ASA HULL. 33 cts.

Truly sparkling, crisp, bright and taking songs throughout.

Glad Tidings.

BY L. O. EMERSON AND

L. B. STARKWEATHER.

The Shining River!

By H. S. and W. O. PERKINS.

Price 35 cts. in Boards. 30 cts. in Paper, and $30.00 per
hundred in Boards.

The Picture Title of this new treasury of children's sacred songs is quite sug-
gestive. We see before us the wide expanse of a noble river, evidently clear as
crystal, and proceeding out of the mountain land. On those everlasting hills
rests the full radiance of the sun, and in the bright distance we may imagine all
kinds of beautiful and glorious things.

Sacred Cantatas.

10:1

Which may be performed by the older members of a Sabbath School. Music is not difficult, stories are Bible Stories, and when given in costume, the effect of the spectacle presented is remarkably beautiful.

ESTHER

Although much has been said against the present style of Sabbath School The Beautiful Queen.

music, the following statements are manifestly true.

1st. Sabbath School Songs must be simple, low else can average sabbath school scholars sing them?

Sabbath School Songs must (generally) be bright, cheerful, and of quick movement. This is a matter of experience. Young singers soon tire of anything else. Musical taste has to grow to appreciate classical, choral music. By feeding a simple, elementary taste, we interpose no obstacle in the way of this growth. It may be added that young singers, like older ones, soon tire of even a well constructed book; and frequently need a new one. It is a matter for congratulation, even of thankfulness, that publishers are thus induced to fill the market A wide-awake book by well- with their frequent editions of pure, fresh, cheerful sacred songs. It is worth while to say, also, that the "trash" in Sunday School Songs is mostknown composers. ly eliminated. Such effusions as

Price 35 Cents.

Silver Wings.

BY C. O. CONVERSE. Price 35 cts. Silver sweet melodies in excellent taste.

The Casket.

TWO VOLS. IN ONE. PRICE 45 CTS,

BY ASA HULL.

Short, bright tunes and hymns, a great deal of music for the money.

THE RIVER OF LIFE.

By H. S. Perkins

and W. W. Bentley.

PRICE 35 CENTS.

THE RIVER OF LIFE has been thoroughly announced, and very extensively used, and may now safely retire to the second place in our descriptive notices.

The book, however, is as good

"Give a boy a jacket,

To keep him from the cold,"

have mostly sunk below the surface.

Specimen lines from hymns in the SHINING RIVER.
"Beautiful vale of rest!

No tempest fierce shall ever roar,
No storms shall beat upon thy shore!"

"There are angels arrayed in white,
And their wings are bathed in light."

"With all the angel choirs,

With all the saints on earth,

Pour out the strains of joy and bliss,
Pure rapture; noblest mirth!"

"Who are these like stars appearing,
These before God's throne who stand;
Each a golden crown is wearing,
Who are all this glorious band ?"

Specimen Titles from The Shining River.
A LITTLE TALK WITH JESUS.

A SONG OF HOME.

CHRISTMAS CAROL.

THEY ARE WAITING FOR ME.
WALK IN THE LIGHT OF TRUTH.
NO OTHER FRIEND LIKE JESUS.
HAPPY HOUR.

as ever, has a remarkable variety WHEN WE GET HOME TO THAT BEAUTIFUL LAND.

BY WM. B. BRADBURY.

Price 50 Cts.

This well-known and favorite piece has been recently dramatised, or rather fitted with costumes and action. The costumes cost no more trouble than ordinary tableaux. In its new form, Esther is living a novel and splendid life. The words, music, and action are unexceptionable, and the spectacle is a gorgeous eastern

one.

Has attracted crowded audiences in hundreds of towns and cities.

Belshazzar's Feast,

OR,

THE FALL OF BABYLON.
By George F. Root.
PRICE 50 CENTS.

DANIEL,

OR

The Captivity and Restoration.

PRICE 50 CENTS.

By Root and Bradbury. The above are not dramatized, but may, if thought best, be casily costumed and accompanied by tableaux.

THE

Pilgrim Fathers.

By George F. Root.

Price 50 Cents. Illustrates musically, early "Plymouth" times.

OUR SAVIOUR,

By W. WILLIAMS. 45 Cts.
A "Children's Oratorio."

There are about 125 others of perhaps equal beauty, and the collection will The Children of Jerusalem. bear comparison with any other.

FOR SALE EVERYWHERE.

A specimen copy mailed, post-free, for Retail Price.

BY J. C. JOHNSON. 30 CTS. Music For young singers only. classical, and the story is one of Jewish History.

A Catalogue describing the above and about 1,000 other books published by Ditson & Co., sent free on application. Also, all books mailed, postpaid, for retail price.

OLIVER DITSON & CO.

277 Washington St., Boston.

CHAS. H. DITSON & CO.

LYON & HEALY,

711 Broadway, New York.

Chicago.

ADAPTED FOR USE AT CELEBRATIONS, OR TO PLAY AND SING IN
HONOR OF THE YEAR, AND FINALLY TO KEEP AS AMONG
ITS BEST MEMENTOES.

Either Song or Piece mailed, post-free, for Retail Price.

THE NEW ENGLAND

Normal Musical Institute

EMPLOYING

EIGHTEEN EMINENT TEACHERS
AND

FIFTEEN FIRST-CLASS LECTURERS,

HOLDS ITS NEXT SESSION AT

EAST GREENWICH, R. I.,

a delightful summer resort, from
JULY 20, TO AUGUST 17.
For circulars of this Institution, The New England
Musical Bureau, and The College of Music of Boston
University, address

914

E. TOURJÉE,
Music Hall, Boston.

ATTEND THE

NORMAL MUSICAL INSTITUTE

VOL. XXXVI. No. 5.

New Music for June.

VOCAL.

Defton Woods. Eb. 4. c to g.

I am ever near thee. E. 4. E. to a.
Where the sweet Arbutus grows.

Chorus. D. 3. d to D.
Love Dews linger on the Grass. E.

Sleep, dearest, sleep. Serenade.
E to F.

Gatty. 35 Navarro. 30 Song and

Prior. 30

3. d to F.

Boott. 30

Ab. 3.
Waud. 35
Muller. 30
Keens. 35

My Cross of Moss. Db. 4. d to F.
If. G. 3d to E.
Walk at Sunset. Duet. Soprano Voices.
G. 4. b to g.
Rock of Ages. Centennial Hymn for Four
Voices Ab. and Db. 4. to Ab. Emerson. 40
I ask not if the World unfold. G. 3 E. to g.

Fiori. 50

Nicholl. 30

On the blue Wave. Duet. Soprano Voices.
F. 3, to f.
O, for the Wings of a Dove.

Panofka. 35 G. 4. d to g. Mendelssohn. 40

The little black Wench. F. 2. c to D. Sealy. 30
Roses wither while in Bloom. Song and
Chorus. G. 3. F to F.
My sweet Pollywog.

E.

Title.

Percy. 30 E. 3. c to Tissington. 50

Crabtre. 40

Where my Fairies dwell. Lith. Title. Ab. 3.
E to F.

O, Lord, dismiss us. No. 8 of Otto Lob's Sa-
cred Pieces. G. 4 to g.
35
Must we then meet as Strangers? For Alto.
3. F to d.
Thomas. 40
Otto Lob's Sacred Trios.
each. 35
Savior breathe an Evening Blessing.
(Sopr. Ten. Bass). 4. Ab to a.
Praise the great Creator. (Sopr.
Mez.-Sop. Alt. or Ten). 4. Bb to g.
Sweet Peace. (Sop. Ten, and Bass).
4. Eb to a.

Of Boston, Mass.
C. A. HAVENS,

No. 5.

Of Chicago, Ill.

No. 6.

No. 7.

Song of Love. (Canto d'Amore). Duet. 5.
Db to a.
Hackensollner. 40
Triumphantly the Morning dawned. Centen-
nial S'g and Cho. 3. Ab e to e." Heine. 35
Beware! Take Care! 4. Eb to g. Gilbert. 35

$15. pays for 95 hours Instruction with the ablest I had a Dream last night, Maggie. Song and

(Dr. H. R. Streeter's Method) Room No. 3, National Songs

Wilson. 60 Aronson. 40

La Petite Mariee Galop. (The Little Bride).
G. 2.

Forest Scenes. 9 Piano Pieces by R. Schumann.

each 30 (Jager auf 4.

Catlin. 30 Strauss. 30

No. 1. Entrance. (Eintritt). Bb. 3.
2. Hunters in Ambush.
der Lauer). D minor.
Hard Pan March. C. 3.
Flower Festival Polka. Eb. 4.
Boulangere a des Ecus. Valse. 3.
Princess Wunderhold: C.. 4.
Brilliancy. Medley Quadrille. 3.
Valse des Perles.
Eleanoren Waltz.

Aronson. 60

Biehl. 40 Schacht. 40 Lamothe. 65

3.

3.

Parlow. 50

My Sweet Pollywog. Galop.
Title. D. 3.
Valses der Amoureuses.

Lithograph

3.

Tissington. 50
Lamothe. 60