« VorigeDoorgaan »
of temperance to the length of refraining from the Nähe des Geliebten," op. 5, No. 2, (Do.); "Sei Piano Solo: Rhapsodie Hongroise (Miss Topp); use of violins, which he excludes from his orchestra mir gegrüsst" (Do.)
Paganini's Campanella ” (Miss Mehlig.) 2 ; as too Venetian in their coloring for such a subject. SPONTINI. * Overture to “ La Vestale."
Transcription of Midsummer Night's Dream “In the execution of this work the violins must be
(Mme. Schiller); Do. of Bach's Organ Prelude and replaced by tenors.” He takes care to explain his
Fugue, in G minor i Miss Meblig); Do., Do., Prel. theory by way of preface. The flutes, oboes, clari- Overtures: *“Ruler of the Spirits,” 2; Preciosa ;
and Fugue, A minor (Do.) nets, bassoons, and four horns, with the tenors Freyschütz; Oberon, 5 ; Euryanthe, 7; Jubilee, 2.
GADE. (quintes), constitute the orchestra, which is inexora- Piano with Orch.—Concertstück, 2 (Miss Alice Dutbly confined to one grey key. We must not forget, ton, Miss Mehlig).
Symphonies: No. 1, C minor, 4; * No. 2, E, 2; however, a stroke on the gong, struck at the right * Clarinet Concerto, in A flat (G. Weber).
* No. 3, A minor: No. 4, B flat. moment, and even less must we forget the harps, * Finale from first act of Euryanthe, for Soprano Overtures: *“ Nachklänge aus Ossian,” 3; *“Im which cannot fail to be present, seeing that in an (Miss Whinery), Chorus (Cecilia) and orch.
Hochland," 4; * Concert Ov., op. 14. opera imitated from Ossian there are always bards.
MOSCA ELES. I think that no one ever sacrificed with greater con
* Piano Concerto, G minor, 2, (Park- Norbert BURGMUELLER : Symphony, No. 2, in D; er); “ Les Contrastes," 2 pianos, (Dresel, Perabo,
* Piano Concerto, in F-sharp minor, 2 (Perabo). viction and austerity to the divine idol called dram
Lang and Leonhard). atic truth. But the work failed; neither connois
STERNDALE BENNETT. seurs nor public would have aught to do with it. Rossini. Overture to “Tell,” 2; Romance: "Selva Overtures: " Naiades." 3; *“Wood Nymph,” 3; Every one acknowledged readily enough that, opaca,” from Do., (Miss Doria).
*“ Paradise and the Peri." viewed in the light of fidelity of expression, it was
Piano with Orch._* Concerto, No. 4, in F minor, sublime, but no one returned to hear it a second
(Perabo); * Capriccio in E (Lang). time.
Symphonies: No. 3, A minor, 3 ; No. 4, A major,
2 ; *“ Reformation" Symphony," D minor; TAUBERT.-* Overture: “ Tausend und Eine Nacht;" After speaking of "Joseph," the writer goes Scherzo from Do. 3.
* Song: “ Bäuerlein ” (Miss Doria). on to observe that when he reflects on the con Overtures : Midsummer Night's Dream, 2 ; Hebri. Jul. Rietz.-Concert Overture, 4; * Oboe Concerto, dition of a work like this, and hears the noise des, 4; Melusina, 7; Ruy Blas, 5; Meeresstille,
F minor (A. Kutzleb). made about the theories of Richard Wagner, &c., 7; Athalie, 2; *“ Trumpet" Overture. he fancies he must be dreaming: War March of Priests, from Athalie, 2.
LIPINSKI: Military Concerto, Violin, in D, first
movement (B. Listemann). What is there new, I should like to know in them ? | Piano with Orch.—Concerto in G minor, 2 (Lang,
Parker); Concerto in D minor, 3 (Dresel, Parker, What organic law of modern opera do all these pre
VIEUXTEMPS : Ballade et Polonaise, violin with tended prophets of the Future advance which has
Miss Mehlig); * Serenade and Allegro giojoso, 2,
orch., 2 (Camilla Urso).
Parker, Leonhard); * Rondo, op. 29 (Perabo); not been carried out by this musician of the Past ?
Capriccio, B minor, op. 22 (Miss Finkenstädt). Ernst: Violin Solo: " Elegie” (Camilla Urso). Listen to that orchestra always purposely moderate, where modulation is introduced only at the call of Violin Concerto, E minor, 4 (Carl Rosa, Camilla
FERD. David: * Andante et Scherzo, violin with
Urso, Miss Teresa Liebe). dramatic truth ; listen to that accompaniment always
orch., op. 16 (Terese Liebe).— Violin Solos : in keeping with the nature of the subject, and then Chorus, with Orch.— “ Midsummer Night's Dream”
*“Hungaman Air; ask yourself whether it is true, as we are informed, music (B. J. Lang, conductor); “First Walpur
Am Springquell” (Rosa.) that such simultaneity of expression is a discovery
gis Night,” 2, (Cecilia); “Hear us, Bacchus," and LINDBLAD: * Song of a Maiden from Dalecarlia”
“Wonders in Nature," double chor., from Antig (Miss Doria). of our own time. From the instrumentation let us
Thou hast come, O stranger," from Oedipus; proceed to the portrayal of the characters; another
Song: “ Allurement” (Mrs. Kempton). invention for which some individuals are pleased to claim the credit. Do we find that Joseph, Simeon, Part-Songs; "Huntsmen's Farewell” with horns, RICHARD WAGNER: Overture to "Tannhänser ;
"The Lark; ” Canon, (Cecilia); Abendlied. Benjamin, and Jacob are figures wanting plasticity,
Vorspiel to “ Lohengrin.'' impersonal and abstract figures, heroes of classical Songs with Piano: Cradle Song (Mrs. Barry);
ROBERT Franz. Hunting Song (Mrs. Kempton); Wanderlied (Miss tragedy such as were imagined at the same epoch by Marie Joseph Chénier ? Let these figures sing,
Whitten); “ Song of Spring” Mrs. Barry); “Mor. Songs: Weil auf mir, du dunkles Auge” (Mrs. gengruss" (Miss Addie Ryan).
Barry); and, like the philosopher who, to prove the exist
“ Wandlich in dem Wald' des Abends" ence of movement, walked, they will forth with con
Concert Aria, with Orch., “Infelice" (Miss Wbin (1)0.); *Romance: “A rider thro' the valley rode” ery).
(M. W. Whitney); *“In the Spring," op. 22, vince you of their musical individuality. The rem
(Mrs. Barry); Goethe's Mailied," 2, [Do]; iniscences and the melancholy of Joseph, the remorse
*“ April-Launen," op. 44, [Do.), Ave Maria and repentance of Simeon, the candor of Benjamin, Symphonies: No. 1, B flat, 4; No. 2, C, 5; * No. [with Quartet accomp:], [Do.); Serenade: “Der the sorrow of the old man, Jacob; his rage and his
3,'" Cologne,” E fat, 4; No. 4, D minor, 4; Mond ist schlafen gangen,” op. 17 (Miss Dorial; joy, are so many admirable motives treated with the
* Overture, Scherzo and Finale.
“ Stille Sicherheit” (G. L. Osgoodl; “Nun die inspiration and the talent of a master never found
Overtures : * Genoveva, 9; * Manfred, 3; * Entr'. Schatten dunkeln ” (Do.]; “ Evening,” op. 16, deficient in any of the principles really appertaining acte and “Incantation," from Manfred, 5.
[Do.); Tieck's “Schlummerlied" (Miss Abbie to his art.
Piano with Orch.--Concerto, A minor, 5, (Dresel, Whinery]; “ Er ist gekommen" (Do).
OTTO DRESEL: Song: "Come into the garden, Maud"
[Mrs. Barry).-*Longfellow's Ballad on Agassiz's abo, Miss Mehlig); Canon (Dresel).
50th birthday, with orch. * Cantata : “Paradise and the Peri” (Cecilia). Carl REINECKE: * Overture to “Dame Kobold.” BOSTON, MAY 15, 1878.
Choruses : "Gypsey Life” (A. Kreissmann con.
JOACHIM: * Hungarian Concerto, for Violin, D mi. the Rose” (Do).
nor, 1st movement [B. Listemann]; * Schumann's One Hundred Symphony Concerts. Songs : * Schöne Fremde," 2, (Osgood); “ Two
Abendlied,' arr. for violin. Grenadiers". (M. W. Whitney); Dichterliebe J. RAFF: * Symphony, No. 2, in C; Suite, in C, op. (Continued from Page 15.)
(Kreissmann); *" Rose, Meer und Sonne” (Mrs. 101, for orchestra. -We have to complete our list of the composi. Barry); *“The Soldier's Bride” (Mrs. Barry);
Ant. RUBINSTEIN: tions which have figured in the programmes of the * Requiem: Old Latin Hymn of Héloïse, op. 90,
Ocean Symphony; * Piano (Miss Doria); Frühlingsnacht (Do.); *" The
Concerto, No. 3, in G (Lang]. first ten years of the Harvard Symphony Concerts ;
Hidalgo” (Nelson Varley); * Serenade, op. 36 BARGIEL: Overture to“ Medea." having alrcady enumerated those by Bach, Handel,
(Do.); * Wanderer's Song, op. 35 (Do.)
GOLDMARK: * Overture to “ Sakuntala,” 3. Durante, Weelkes, Gluck, Tartini, Haydn (12 Sym
CHOPIN. phonies), Mozart (6 do.), and Beethoven (9 do.). Piano with Orch. - Concerto, E minor, 6, (Leonhard
GOLTERMANN: Concerto for Violoncello, A minor, Next in Chronological order (nearly) come:
Concerto in F minor, 3 (Miss Mehlig, Leonhard, Gernsheim, Fr.— * Piano Concerto, C minor [Pera
G. W. Sumner); Andante spianato and Polo bo). Overtures: * Anacreon, 5 times; The Water-Car
naise, op. 22, (Leonhard); * Krakowiak, op. 13, rier, 6; Les Abencerrages, 3; * Medea, 6;
DUDLEY Buck: * Overture to “Don Munio."
2, (Do.) * Faniska, 3; * Lodoiska.
Piano Solo: Rondo, E Aat, op. 16 (Dresel); Fan. SVENDSEN, J. $._* Violin Concerto in A, op. 6, Introduction to fourth act of “Medea."
taisie Impromptu, C-sharp minor, (C. Petersilea); (Aug. Fries). HUMMEL.
Polonaise, in A flat, op. 53, 2 (Miss Krebs, RichPiano Concerto, A minor, (Parker).
ard IIoffman); Nocturne in B, op. 32 (Hoffman); Septet, Piano, &c., (Perabo,) 2. Nocturne (?), (Miss Mehlig); Tarantella, op 43,
Concerts of the last Fortnight.
HANDEL AND Haydn Society.
with which the revival of Huydn's melodious and Symphony: “ Weihe der Töne.”
nor, op. 113. Overtures: Jessonda, 2; * Faust.
wonderfully descriptive Cantata, “ The Seasons," HENSELT: * Piano Concerto, F minor (Petersilea). SCHUBERT.
was received by the eager audience who nearly Liszt.
filled the Music Hall on Wednesday evening, April Symphonies: No. 9, in C, 6; Unfinished, B minor, 2. Overtures: * Fierabras, 6; * Alfonso and Estrella, 3. Symphonic Poems : "Les Preludes ; ” “Tasso : La 28, muct be taken as a symptom of a wholesome re* Fantasia, op. 15, for piano, arr, with orch. by mento e Triunfo.”
action in favor of a sound, classical, pure style of Liszt (Lang, 2). Piano, arr. with Orch.--Weber's Polonaise in E, 3,
music,-music which is a law unto itself, [because Songs: Suleika," 2, (Osgood); *“Wohin?” (Lang 2, Miss Topp); * Fantasie on Beethoven's from Die Schöne Müllerin (Miss Doria); *“ Love's • Ruins of Athens” (Do.); Schubert's Fantasia,
the vital principles of form are really intrinsic, lie Message,” from Schwanengesang, No. 1, (Osgood); op. 15, 2 (Lang).
in the very soul Music], and which without try.
Dwight's Journal of Music.
1. Andante Pastorale.
In the Fields.
ing to shake off old forms, moves with far more oftering flakes. Equally welcome was the grand Bass of our most skilled performers, and many other the freedom of genius and inspiration, than any of of Mr. M. W. Whitney, just arrived from London orchestral instruments I have heard him use in a the “new” music with which we have been. dosed rendering of the part of Simon. In truth the Society on a short visit home; who gave a most satisfactory
manner that would put to shame most of our public and drugged of late. Tired of excitement and as. could not have secured a finer trio of principal
soloists. tonishment, we go back for something we can love vocalists; and the result was, in spite of the two His vocal training must also have been far supein music.—But not so fast! we do injustice to our
drawbacks above mentioned, a very delightful feast rior to that of most of our teachers of highest retrue musical public, by confonnding them with the of pure and noble music.
pute. For, as at the organ he seemed to be inspired balf musical and the unmusical who are carried away so easily; the true musical public never has afr. B. J. Lang's second Concert, Thursday after- / by direct teaching and communication from Bach been much delighted with the new school, and stood this the programme: noon, April 29, was a fit pendant to the first, and himself, in the instructions received in later years
from the illustrious and venerable “ Father in no need of reaction. But the time was with us Duet for two piano-fortes, “ Hommage à Handel."
Mieksch,” and his pupil Kisse, I noticed with sur
Moscheles. when Haydn, as compared with Beethoven, Men
prise that the rules for Vocal Culture derived from
Arin and Scherzo from Sonata No. 1, op. 2. Schumann. Mr. Keller, were all corroborated and confirmed, delssohn, Schumann, &c., had come to seem tame Song of Separation..
.... Mozart. Sonata, op. 46, “The Maid of Orleans."
making it appear that his vocal education must and too amiably all alike; now Wagner and Berli.
Sterndale Bennett. have come in a direct line from that celebrated oz and Raff, Brahms, Volkmann, &c., have made
school of Bologna, from which were diffused those
established principles that still govern the genuine him fresh again, in vocal forms, as he has long been
“In innocense I led my sheep
world of song. in Symphony.
2. Allegro Marziale.
As a conductor of orchestra, he had few if any Seasons” had of course more novelty for
In the field.
equals, possessing in a high degree, that magnetic us than “The Creation," and though it is less great And the loud war cry thunders in my ear."
charm which drew every performer with him by its
3. Adagio Patetico. than that, yet what wonderful variety and beauty it
subtle influence, and an electric fervor of soul that
In Prison. contains! How faithful the whole expression and
“ Hear me, () God, in mine extremity!
was an inspiration to all who formed the musical In fervent supplication up to 'Thee.
circle around him. atmosphere of the music, and all the imitative hints,
Ur to Thy heaven above I send my soul." 4. Moto Di Passione.
Reference need only be made to the records of the to the texts of every season! The orchestral pre.
old “ Boston Academy of Music," for evidence of his ludes and accompaniment are exquisite ; it must be
“ Brief is the sorrow; endless is the joy;
noble efforts to give the fine and classical works of ..Sterndale Bennett.
May Song.. owned they suffered somwhat in performance, the
his father land a hearing in Boston. To such influThe Asra.....
Rubinstein. orchestra sounding at once thin and coarse and show
Concerto in F-sharp minor, op. 69... Ferdinard Hiller.
ence how much do we owe, at the present day, of
Moderato ma con energiae con fuoco-Andante the educated taste that enables us to enjoy music of ing need of more rehearsal ; yet portions enough
espressivo-- Allegro con fuoco.
such an elevated character, and to appreciate any were so fairly rendered that it did not spoil the
above the most common musical works! general impression of the work.
For Dwight's Journal of Music.
Of Joseph A. Keller it may truly be said, no good The choruses were for the most part finely sung?
man ever knew him but to honor and admire, and and most of the andience must have been most Mr. Editor,— Although I hailed with delight the termined and unshrinking opposition to treachery
whatever enemies he had he honestly earned by de. agreeably surprised by their great variety of power and beauty, their poetic suggestion, and vivid, im few lines appearing in your Journal some months and humbug in every form. To such men, who have aginative characterization. Not to speak of the ago, from the pen of Gen. II. K. Oliver, concerning labored and struggled with trial and sorrow in their familiar “Come, gentle Spring,” with its fine conJOSEPH A. Keller, I have since felt greatly disap- and upright life, it is due that their memory be
njost aggravating aspects, and maintained a pure trast of female and male voices, which went very pointed that they have been followed by no correperfectly, what could be more impressive than the
honored, and not allowed to die without suitable • deep, tremendous voice” of the thunder storm sponding and similarly appreciative words, from recognition of their claims to the gratitude and rechorus, prepared as it has been by music so expres. some of his many pupils and friends, who must have spect of all who reverence the good, true and beau
tiful in the noble Art of Music.
E.B.O. sive of the heat and languor of the Summer, espe. felt his noble influence in the days of his success. cially the recitative immediately preceding, through it may not however, be unwelcome to them to hear which “ a boding silence reigns," with the more
BAYREUTH.—The following intelligence from a rebodeful rumble of the deep sub-bass of the Organ, from a pupil who admired and loved his master,
has been transmitted to us for
sponsible source, until the voices burst forth, and “ to its foundations some of his impressions concerning him. the solid globe is shook." If with some this chorus In the spring of 1837, my father, wishing to se publication. It will interest our young friends who fell short of the expectation raised in the beginning, cure for me the best musical instruction that this contemplate a pilgrimage to this Saxon Mecca of it was no doubt partly owing to the cutting out of so much of the middle portion; the storm was
" The Future,” where they may worship all their country could afford, placed me under the tuition
moral gods. Thor, Wotan, Freia, and the rest, who incomplete. In the Autumn we have the strong of Mr. J. A. Keller, and that I might enjoy his more chorus in praise of Industry ; the ringing, echoing especial and immediate care, I became a member have great Richard for their prophet. Hunting Chorus, full of vigor, likewise most sugges: 1 of his family.
BERLIN, APRIL 12. tively introduced by fragments of recitative, and
DEAR SIR:-I wrote to Wagner the other day, suggestlittle bits of figurative instrumentation, which make
In the two succeeding years, all my expectations you see the pack of hounds on scent. Then, best in him were realized, in every respect, as I found in ing that, by giving his great entertainment, at Bayreuth
in July, 1876, he would fail almost entirely of the attendof all, the very remarkable “Wine Chorus, with its him not only a most superior teacher but a model ance of Americans, since all citizens of the United States episodical bagpipe and dance movement (exquisite in gentlemanly deportment, and a shining example would aim to he at home, at that time, for the Centennial. this too was weakened by the omission of some of for me in purity of life and manners. In subsequent I added, that in ordinary seasons, he might rely upon
several thousand dollars from American travelers in supthe finest music in the middle, whereby the piece years, the impressions made upon me by him at the port of his undertaking, and urgud that he should defer lost its symmetry, and the great climax at the end, early age of fifteen, have been indelible, and the main performances until September. its justification. In the Winter we have the fascina- although I afterwards enjoyed the best instructions In acknowledging the value of the suggestion, Wagner ting minor chorus of the Spinning Wheel, alternat
wrote that it would be impossible to have performances ing with Soprano Solo, full of serious suggestion. in Germany, I found cause for ever increasing grat
so late as September, because his artists will be available The final chorus: “The everlasting gates of life,” | itude, and to regret nothing received from him. has grandeur, but it was made to jump to its con
Recalling the admiration excited in me at that only in July and August, the vacation months of their
several theatres; but with a view to accommodate Amer. clusion, by leaving out the middle portion, which is time by his knowledge and skill, I wonder now at ican travelers, he will have a repetition of all the main a fugue, not perhaps a great one but a good one. Putting head and tail together does not make a the extraordinary versatility of his brilliant genius. performances in the last week of August, 1876.
At his request, and for the information of my countrybody. Brevity of course was the motive of these When seated at the Organ, one could say, he becuts, for the work is very long; but if we remember | longs there, let him never come down from the
men, I beg you to give this fact publicity through the rightly, these choruses were given in their integrity organ bench, where he so wonderfully calls forth notice as widely as possible.
Musical Journat, and to ask other papers to extend the when Mr. Lang brought out the “Seasons ten years ago, and we do not remember any sense devotional aspirations, and elicits the praise of God
The musical world of Berlin is in high expectation of of weariness. from the most insensible hearts.
the Concert to be given next week, at which Wagrer will The solos, duets, trios, so many and so beautiful,
in person lead the orchestra in the interpretation of por
So at the Piano, he possessed an unrivalled deliwere admirably sung. Miss BEEBE had 'precisely
J. P. T. the voice, the execution and the culture for the so-cacy of touch, a smoothness and beauty of execution prano melody, which is full of delicate embellish- rarely heard, and in free fantasie, showed himself a
(Concluded from Page 16.) ment, and in parts brilliant. We may name, among perfect master of the laws of harmony, and always
New YORK, APRIL 26. Mr. Hoffman's performother numbers, the long descriptive Recitative: obedient to the strict rules of musical composition. "O, welcome now, ye groves,” and the Air follow. It is scarcely credible, however, that in addition to great clearness and delicacy of handling, and by a
ance of the Beethoven Concerto was marked by ing: “0, how pleasing to the senses." Mr. Wm. J. Winch was in fine voice, and sang the tenor solos this, he possessed wonderful skill upon the violin poetic fire such as I have seldom known infused into with fine taste and expression ; particularly the and violoncello, which more than all others were
the composition. In the second part of the proRecitative and Cavatina describing the sultry mid- his favorite instruments, as is proved by those nett's Fourth Concerto, in F minor Op. 19) was so
gramme bis treatment of the Barcarole (from Bensummer heat: “ 'Tis noon, and how intense the sun," and “ Distressful nature fainting sinks,"; and alter. many sweet toned treasures that he collected during refined and artistic that an encore was a matter of wards in opposite contrast, the Winter picture of his life, and left silent at his death. the traveller lost in the suow storm, where the stac The trumpet, clarinet and flute also spoke with I give the Repertoire of the Philharmonic Soci. cato figures of the violins seein to fill the air with flut as sweet and pure tones from his lips, as from those ety of Brooklyn-Seventeenth Season.
tions of his latest work.
TORONTO, C. W. Randegger's Cantata “Fridolin " BEETHOVEX-Vo. 5 in C Minor, Op. 67.
(of which we have already had a description in this SCHIMAVY-Nolin B Flat Op 38. SCHUBERT-B Minor (infinished.]
Journal) was twice performed here some six weeks MENDELSSOHY-No. 3 in A Minor.
DESCRIPTIVE LIST OF THE HAYDY- Oxford (first time 1
ago, under the direction of Wr. Torrington, well BEETHOVEN-NO. 6, Pastorale in F Major.
known in Boston. MOZART-E Flat, Köchel 543 (first time.]
According to the Toronto Liber. L A T E S T M U S I O,
al, it was a great success, especially the second Pablished by Oliver Ditson & Co. BACH-Suite in B Minor (first time).
time. Liszt-Symphonic Poem---Orpheus. Bach --Ciaconne (new) adapted for orchestra by J. Mrs. Dow's fine soprano voice showed to better advan
Vocal, with Piano Accompaniment. Rafl.
tage than ever, and after the recitative and song of the Old Folks at Home. Quartet. 2. D to d. Liszt-Symphonic Poem-Tasso Lamento e Trionfo. RUBINSTEIN- Ein Musikalishes Characterbild, Op. 68 Countess, she received round after round of well-merited
arr. by Fairbank. 23 (first time).
arplause. The Hunters' Chorus was performed in a bril. BRAHMS-Hungarian Dances (new). liant and spirited manner, and was again enthusiastically
A simple 4 part arrangement. WAGNER-Kaiser March.
encored. This fine chorus bids fair to become a lasting The Flower Girl. (La Fioraja). 6. Eh to b. BRAHMS—Theme and Variations, Op. 18 (first time). favorite with Toronto audieices. The landmaidens' CONCERTOS. Chorus evinced less sign of improvement than any of the
Bevignani. 75 othe's, the alto being almost too faint to be heard at the
" Chi vuol fiori eccomi qua.". REETHOVEN-C Minor, Op. 37 (first movement]. further end of the auditorium. The Chorus of Villagers
“ Who wishes flowers ?' Hither come.” RAFF-Opu' 158 (new).
in the Forest Glade was exceedingly beautiful, and well Vory bright and flowing concert song. BENNETT-Barcarole from Fonrth Concerto.
executed, while the grandest and most difficult of all, the
The Clang of the Wooden Shoon. 3.
C minor to c.
Molloy, 40 RUBINSTEIN-Triomphale, Op. 43 [new].
ance. Both chorus and orchestra deserve the highest
“Oh! the dance and the merry tune." BEETHOVEx-Leonore. No. 3. SCHUMANN-Bride of Messina.
fessedly difficult piece of combined vocalization and in Those who have heard the clatter of the wooden strumentation.
Babots of the old countries,” will be pleased with VOCAL SELECTION.
During the recess the Beethoven Quintette Club agnin this, which is, in a curious way, a vocal clog dance. HEROLD-Aria from "Le Pré aux Clercs."
played a piece not on the programme-Theme and variaTHOMAS-Polacca from “ Mignon."
tions from the “Kaiser Quartet," by Haydn. The ex Staccato Polka. Bravoura piece. 6. F to h. BEETHOVEN - In questa tomba oscura." quisite character of the performanɔe kept the majority of
Mulder. 75 Ross[NI-Tancredi - Di tanti palpiti."
the audience in breathless stillness, as if afraid to lose evRUBINSTEIN-“E Dunque ver!" Op. 58. en a single note of the music. The applause and encore
A true bravoura, which will make a sensation REINECKE-Miriani's Song of Victorv, Op. 74. with which it was greeted were responded to buy the per
when brightly sung. WAGNER-Wotan's Abschied und Feurzauber [first formance of Schumann's "Träumerei," which so enchant. time). ed the audienc:- the evening before.
Otto Lob's Sacred Trios. MEYERBEER—"Pietà, pietà," from “Le Prophéte.” Mr. Torrington wielded the baton with his usual skill No. 1. Lord thy Glory. (Sop. Alto, Tenor). MOZART-Batti batti, from “ Don Giovanni." and energy, keeping chorus and orchestra perfectly under
4. G to g.
W’eber, LESLIE, H.-"How Sweet the Moonlight!”
control through even the most difficult passages. Only No. 2. Praise thou the Lord. (MezzoBENEDICT, J.-Hunting Song.
once did even an approach to a serious error occur, and LESLIE, H.-Lullaby of Life. then it was scarcely perceptible.
Sop. Tenor, Bass). 4. Eh to q. Mehul. MACFARREN-Sands o' Dee.
No. 3. Loud Proclaim. (Sop. Tenor, Bass). For want of space I cannot give a detailed account Balfe's “ TALISMAN” (also given in this city when
5. Do to f.
Spohr. of a number of concerts in New York which deserve the Kellogg troupe were here) is thus neatly, and
No. 4. Bow down thine ear. (Alto,
Tenor, Bass). 4. C to g. Il’agner. notice. They must wait over until my next letter. fairly, hit off by the Baltimore Bulletin, May 1.
These are trios of a high classical character, and And for the same reason I can give only a brief no. The Talisman is Balfe's posthumous opera. It is easy to
of some difficulty. And these reasons commend tice of the last concert of the N. Y. Philharmonic see the reason why posthumous; for as long as life 'flick
them to quartet choirs. ered in that senile breast, he had sense enough not to I fear those beaming Eyes. 3. F to f. Glover. 30 Society, which was given last Saturday evening. bring it out. But it may be that he died in giving birth
“I fear to touch that hand." I give the programme.
to it. It is difficult to conceive anything more limp and A musical effusion for a plaintive lover. PART I.
washy than the music: so tepid in its passion, so tame in Overture, “ Manfred" .Schumann
I will love thee. (to t'amero). 5. D to d. its furies. It inay roughly be described as Bohemian Girl Scena and Aria, " Ab perfido!”.
" Thee will I love, Piano-forte concerto in E flat, No. 1. Liszt guors and flavored with the negro serenaders. It was in
When swallows are returning." Miss Julin Rive.
deed a cruel thing for Balfe's literary executors to permit Melodious, as the author's pieces are wont to be. Fantaisie-Overture, “ Paradise and the Peri," Op. 42
its production; but man is srail, and a new opera well
puffed has “ money in it."
The music, tame as it was, was tamely rendered. Mr. Flight of the Nightingales. Commencement
March. 3. 11.
Whitney. 35 Overture, “ Les Frances Juges," in F.
Berlioz He was a dear little love of a leopard, with his mane oiled Faschingsswank au Wien...
Powerful. Grand. Many octaven introduced. .. Scbumann and parted in the middle, and his tail freshly released Miss Julia Rive.
from the curl-papers. He roared you gently as any suck- Reverie.
Lange. Co little Mr. Maas as a stalwart crusader, any more than it An elegant arrangement of a Reverie by VieuxThe orchestra, it seemed to me, did not play as
can accept the two exciescences on the shine of " Vecto temps. well as usual, for there was a terrible blemish in the
banus" as typical of any known physical deformity.
" Nectobanus should have been a malicious cripple, bù: Fandango. Moreeau Caracteristique. 5. Db. performance of the first movement of the Sympho- he was not. He was gentle, and showed an undue fond
* S. Smilh. 75 ny, caused by one of the violins coming in some
ness for the prompter's box, where he seemed to have one
Very bright, as it must be, being made by Sidney
Smith. measures ahead of time.
“ Richard Ceur de Lion," and Miss Kellogg's “Edith
Plantagenet,” alone saved the opera from the open deri- Capt. Folsom's March. 3. Eb. The best feature of the evening was the piano
Reedes. 40 sion and jeers of the populace. Yet Miss Kellogg's only
fuccess was when she abandoned the score and inserted a A spirited composition. forte playing of Miss Julia Rive, a young lady who ballad by Clay: “She Wandered Down the Mountain Little Beauty Waltz. Side." Nothing could give a juster idea of the value of
2. F. I believe has but recently returned from abroad,
Turner. 39 the music of the opera than that this little song, by anothwhere she has finished her studies under Liszt.
A little beauty of a Waltz. er composer, seemed like a bright patch on the items on the Wing. Galop. background. It met with some little success, but it was
2. C. She has played at concerts in some of the Western
Faust. 30 the only moment during the evening when the baskets of A brilliant Faust galop. cities, and I have heard enthusiastic accounts of her flowers which had been prepared for the occasinn could with any possibil ty have been presented.
3. Db. from there, but I hardly anticipated the very favor.
Fraser. 40 The opera, in addition to its short-comings as music, is able reception which awaited her here. It is not wholly bare of dramatic situations and of plot. The lead
A rich and mellow coinposition. ing characters come in one after another, as at a variety A Night in June. Idyl.
4. Ah, Wilson. 50 too much to say that this young lady, who came to show, and sing their solos, and then meander off again; nothing leads to anything else. There is no musical dec
Very neat picture title, and will probably be prous so quietly and modestly, achieved a great artisJamation, dialogue or concerted music worth mention
nounced one of the sweetest of this writer's sweet tic success upon her first appearance. She played nothing but the spectacle. Now a spectacular opera ought Idyls. the magnificent concerto of Liszt’s from the first kings and princes, sumptuous costumes and calcium lights Home, Sweet Home. 6. Bb Kuhe. 50
wil make very poor stutt go off moderately well; but note to the last without a slip or a blemish. She
Sweet Home on the 4th of July, evidently, as it is when a spectacular opera is conducted rather with a view full of musical fireworks, Splendid piece. not only gave a correct rendering of the piece but
to economy than to show, the effect is not apt to be imposa poetic rendering. Her playing was not that of a ing. Thus it fared with the Talisman as presented by Icebrook Galop. 2. C.
Speck. 40 Miss Kellogg's company. “Edith Plartagenet "had some prize pupil but of a mature artist. She made light pretty clothes, and “ Kenneth," the raging leopard, also
Played with great success by La Favorita Orches
tr3. of the immense difficulties which invest this piece had a shiny helmet and spangled shoes; but the rest of
the kings and dukes anal earls of high degree appeared to like a hedge of thorns, and she did this without the
Firm Step March. 3. G. have been born of poor but i onest parents--humble in.
Steiner. 30 slightest sign of self-consciousness or of being con deed, but knowing their place. The only thing like ac A firm, powerful march. scious of anything save the music. tion in the whole opera is where six supes on one side
3. G. The Schumann“
Knight. 30 Fantasiebilder," her
and five on the other, representing the armies of England Beauties of Ruy Blas. second
and Austria, closed in deadly conibat, and clasheil feelily One of Mr. Knight's brilliant arrangements of piece, was a little too good even for a Philharmonic their pasteboard battle-axes taking great care not to in favorite airs. audience ; but her playing was appreciated to the jure the tin foil, until the King of France," looking like
an obere Jack of Clubs in reduced circumstances, ap. La Poste aux Grelots. Galop de Concert. extent of an encore, to which she responded with peared suddenly and put an end to the carnage--sceming
Boscowitz 75 Liszts' second Hungarian Rhapsody, which she Jike a right bower played by some invisible hand which
Very spirited, bright, and rather powerful for a played with such effect that there was a furor in had taken the trick.
galop. the audience and even orchestra and conductor
Such was the Talisman, as presented at the Academy
of Music last Friday night, to one of the largest andiences joined in the applause when, at the close of her that ever assembled there. In justice to that audience wo ABBREYTATIONS.-Degrees of difficulty are marked performance, she was recalled time after time to the must say that we never saw a full house so cold, so utter 1 to 7. The key is marked with a capital letter: as C, B stage. You will certainly hear much of her in the ly unrippled by applause. They were on the whole, fai, &c. A small Ronian letter marks the highesi note,
patient and well behaved, so that we hardly ever saw a if on the staff, an italic letter the highest note, if above future. A, A. C. better audience or a worse perforinanco.
American School Music Reader,
Hour of Singing.
DEEMS'S SOLFEGGIOS. CHIMES.
SCHOOL SONG BOOK ! FOR HIGH SCHOOLS, By L. 0. Emerson and W. S. Tilden,
By L. O. EMERSON and W. 8. TILDEN. A Systematic Graded Course in Three Books. CHEERFUL VOICES.
Until recently, it could not be said that there, was really PREPARATORY COURSE. This, the lightest of the
BY L. O. EMERSON. Price BOC. any music book especially adapted for High Schools. There three book, is intended for children of the “ Primary
were, to be sure, excellent collections of music which could School " age. The lessons commence with a single note, and proceed to pieces of moderate difficulty. Copious of Mr. Emerson's previous school song books about Music had no proper text book until the appearance of the
be used, after a fashion, in tcaching. Still the Instructor in directious to teachers, are printed in very small type to 300,000 have been printed. “Checrful Voices” being as sayt oon.. 70 pages, and 100 songs.
HOUR OF SINGING. Its adaptedness to its placo and good as the best, should reach at least 150,000 singers. Book Second,
work was so apparent, that it was at once, without ques. Price 50 Cls.
The book contains a well written Elementary Course, tion, adopted in a large number of High Schools and Semi
with abundance of agreeable exercises and tunes for plac-naries, and has also, to a certain extent, been used by tho This book is intended for children in the classes next beyond the Primary Schools, and will be used gener- tice; and also a large and varied collection of Songs, higher classes of Grammar Schools. ally, in the lower classes of Grammar Schools. 'Two. Rounds, &c., with thirty pieces of Sacred Music for openPart Songs are introduced at the appropriate place.
ing and closing School.
Price 75 Cents.
Designed to be a book for teaching the Elements of Nusic.
By L. O. Emerson. Price 50 Cents.
Music, and in its theory has a general resemblance to other Mr. Tilden has thoroughly and successfully tested his
Methods with a similar object. There is, however, a theories in schuols in the vicinity of Boston.
marked character in the exercises and solfeggi, which have a
Has an excellent reputation among School Song Books. graceful Italian style, are safe and good for the voice, Dr. Mason's Song Gardens Put together et a later period than that of the appoarance and render the book an excellent one for all schools of a
of THE GOLDEN WREATH by the same author, the high grade. Has had a Very Large and Well-Merited Sale. book contains more original matter than the other, and
may either be used alono, or in connection with another pleases all, but in a different way.
book, in which case it will serve as a collection of useful THE FIRST BOOK. Price 50 Cents,
Solfeggios, or "Songs without Words.'
Price 80 Cents.
L. 0. Emerson. 50 Cents.
By W. 0. Perkins and A. R. Hallett.
than a quarter of a million copres having been sold. To Intended, according to the title page, For Bor's SCHOOLS Dr. H. R. Streeter.
that number of persons, therefore, its face is as that of a AND COLLEGES. As Boys voices and Girls voices arc,
familiar friend. Since its 168ue 'lowever, an entirely new previous to change, at the same pitch, there is no reason Price 60 Cents.
set of children fill the scho's ind to those who are unac- why THE ORPHEAN may not be used in the advanced in Primary Schools. The book is for all ages, and.con still be the best School Song Book.
These must not be supposed to be Elements for use qualnted with Its melodies the GOLDEN WREATH may classes of any common school. tains a well arranged presentation of the Elements of
The music is exceedingly well selected, and conveniently Music, somewhat like thinge ordinari.y found in Church
arranged into Two, Three and Four Parts, Music books, but with the Dr's ideas impressed upon them, and also numerous examples and exercises, in all keys and of easy compass.
Dr. Streeter has a high reputation as a teacher of “Voice Building," and his ideas are well worth noting.
Two Vols, each with 30 Charts,
and as the cxerciscs and Illustrations are printed upon them Quite valuable, as giving the theory of Primary Instruc
in large block type, they are visible from all parts of a tion, from a French Professor's point of view. All teachers
A very appropriate name for a favorite collection of school-room.
The charts savo much Inconvenience in tho way of black. should become acquainted with these various "Schools," School Songs. The sweet bird has sung its way into many whether they use them or not.
communities, with melodies that have made many a child's board writing.
Note that they are too large for mailing, but may properly
be sent by express. Wilhem's Method of THE GOLDEN ROBIN.
THE GOLDEN WREATH.
Primary Elements of Music,
THE NIGHTINGALE, Dr. Lowell Mason's Music Charts
Panseron's A, B, C, of Music.
Teaching Vocal Classes.
BY W.O. PERKIKS.
PRICE 50 CENTS
Musical progress, both among young and old people, the subject of teaching music to the masses.
depends so much upon musical enthusiasın, that thero Every good teacher will study all metbods, and adopt the
One of the best known of School Song Books, and will seems to be almost a necessity for introducing Concerts and best. Every good teacher will then, of course, examine yet make many more friends. Well chosen and good songa, Exhibitions, into the music teaching course of schools. To “Wilhem."
more than two hundred of them, and the usual elementary give brilliancy and success to these affairs, nothing can be courso with attractive exercises.
better than such Cantatas as are mentioned below: The Flower Queen ;
G. F. Root. 75 Tho Culprit Fuy.
J.L. Ensign. 1.00 Tho Twin Sister.
H. G. Saroni. 50 Fairy Bridal,
Hewitt. 50 The Pic Nic.
J. R. Thomas. 1.00 There is a close resemblance in all collections of Vocal
Festival of the Roso.
J. C. Johnson. 30 Exercises. They are, and must be composed of the sounds
Flower Festival on tho Banks of the Rhine. of the scale, arrarfged with or without skips, in runs, or in
J. C. Johnson. 45 slow time.
Price 60 Centrs.
C. C. Converse, 75 Dr. Mason's book contains the most essential ones.
Quarrel Among the Flower.. Shoeller. 35 As to the Bolfeggios, they have been exceedingly useful
Juvenilo Oratorios. Containing “The Festival of and plen::affairs, when applied to class practice, and Classical and pleasing songs which are in use in High the Rose," "The Indian Summer," and "The Childron may also b. used by thuse who study alone. and Normal Schools.
of Jerusalem," three Cantatas. By J. O. Johnson. 60
MASON'S VOCAL EXERCISES Part Songs for Three
And Solfeggios, Price $1.50.
AND FOUR FEMALE VOICES.
A Catalogue describing the uovo and about 1,000 other books published by Ditson and Co., sent free on application. Also all books mailed, post-paid, for retail price. OLIVER DITSON & CO.,
C. H. DITSON & CO., LYON & HEALY, 277 WASHINGTON STREET, BOSTON. 711 BROADWAY, NEW YORK.
AT ALL MENTIONED BELOW HAVE ACHIEVED, OR ARE EARNING, DISTINGUISHED SUCCESS.
THE AMERICAN TUNE BOOK. THE JUBILATE.
National Hymn and Tone Book.
THE CHORAL TRIBUTE
Sacred Quartets a Anthems
The name of this great eclectic collection may with
PRICE $1.50. propriety be placed either the first or the last on our list of modern Church Music Books. First, because it contains Encouraged by the very marked success of the HARP OF
Price 40 cts. $35.00 per Hundred. nearly all of the most popular church tunes published in: JUDAU Mr. Emerson, after a proper interval, brought out or before the first half of the present century, and is there his JUBILATE, which as a matter of course followed in
This book contains an exceedingly well chosen selection fore a rich reservoir of old tune8. Last, because as new
of the best Congregational tunes, 200 in number. There books become known, and their contents iried and proved, Harp were quite willing to try another book by the same the footsteps of its predecessor. Those who had used the
are 340 Hymns, enough for all practical purposes. These their best tunes are from time to time removed to the author, and those who only kuew it by reputation, thought being designed for the following uses:
hymns have a general and undenominational character, American Tune Book, which is intended to be a sort of that reputation a good one. Paradise of good tunes and hymns.
1. For Congregational Singing. Made up in this manner, it is easy to ace that there can
2. For Vestry and Social Singing, be no better book for a Congregation, and that a Choir will
3. For opening and closing exercises in Schools, Semnot try to do without it, while the vast number of old favor.
inaries, etc. ite tunes will always render it a y able buok to keep at
4. For opening and closing exercises in any societies home.
where singing is in order. About 500 prominent Music 7'er chers and Choir Leaders
Light, handy, convenient and comprehensive, the Nawere consuited at the last re-arrangement of the book,
TIONAL HYMN and TUNE BOOK is fitted for very general
use. which now contains about 1000 tunes and anthems.
As The Elements of Music, according to Dr. Lowell
The next in order of publication to the JUBILATE, and ing classes, and may under some circumstances be preferred and long continued sale, the second and third scasons being
THOMAS'S to other books for that use.
something like the first. RETAIL PRICE $1.50.
The book is characterized by the peculiar excellencies of
By J. R. THOMAS.
Price in Boards, $2.50. Cloth, $3.00.
difficult, and in perfect taste, the collection cannot well form a quartett of very popular singing books of which no be excelled. Abundant provision for solo voices,
author need be ashamed. For keen appreciation of public taste, and for special genius to meet it, Mr. Emerson stands almost unrivalled. In three books, the LEADER, the SONG NONARCH, and the STANDARD, he has joined hands with H. R. PALMER, of Chicago.
The last named gentleman is well-known in the region of which Chicago is the centre, and his popularity as com.
of Psalm and Hymn Tunen, Chants, An. poser and conductor at the West, is perhaps quite equal to
By THEO. H. SEWARD. assisted by Dr. thems, and Sentences. By H. W. GREAT. ihat of Prof. Emerson in the Eastern States. Books by LOWELL MASON and WM. B. BRADBURY.
OREX. Price, Cloth $1.25 ; Boards $1.50. such a "double team" of authors must of course be suc
Mr. Greatorex, while compiling this work. was bold cesses; and such they are proving.
enough to put together music altogether too difficult for tho PRICE $1.50.
great body of singers in those days. These days however
are better days, and many thousands are now competent to The amount of musical matter contained in this large grapple with this truly first class music.
The GREATOREX COLLECTION has always been a favor. collection is almost unprecedented, yet the type is plain and ite with the best singers, and in common use for Quartet clear. Of the three compilers it may be said:
judgment could have produced a superior book without can hardly fail to be the leading book in 1874 and 1875.
* assistance." Price, $1.38, or $12 per Doz.
Dr. LOWELL MASON, who recently finished the wellSinging School Course; Sacred and secular Music for ronnded and perfect work of a long and active life, was better
With Piano or Organ Accompaniment. Price, Cloth $2.75. practice; Metrical Tunes and Anthems, all the products of qualified than any other to give suggestions founded on ex
Boards $2.50. ihe highest skill, and intended to be the best of material perience. While for Singing School Teachers, and for use in Choirs and
WM. B. BRADBURY, whose excessive labore doubtless Cuuventious.
caused his “sun to set at mid-day," during a busy life
a talent not to be in church SACRED MUSIO. Price, Cloth $2.75; Boards $2.50. and sunday school music fit für the times.
L. O. EMERSON'S SINGING BOOKS.
THE TEMPLE CHOIR GREATOREX COLLECTION. .
Baumbach's Sacred Quartettes.
The Song Monarch II
Buck's Motett Collection,
The Standard !!
Price, Cloth $2.75; Boards $2.50. is the work of the above gentlemen, is intended especially for SINGING CLASSE$, and contains the same Singing School Courso as the LEADER, with the addition of about 120 pages of Bongs, Glces, Quartets, &c., &c., for Singing By WM. B. BRADBURY.
Price, Cloth $2.75; Boards $2.50. Class practice.
Messrs. Buck and Baumbach have in these four books
amassed a rich store of the best of music Price, 73 Cts. ; $7.50 per Doz.
FOR QUARTET CHOIRS.
Duets, Trion, and Quartets, with well arranged accompani.
ments for Piano, Reed or Pipe Organ.
It is quite superfluous to ask which book is the beet, is an acknowledged success, having been very largely in
since no quartet choir can get along without all of them. Use in all parts of the country during the past musical sea.
As more than 200,000 "Jubilce's" have been sold, and The compilers aro L, 0. EMERSON and H. R. probably 500,000 singers have sung from them, the book has
CHURCH already a large advertisement. It is still in demand. The PALMER.
and HOME. Price, $1.50, or $13.50 per doz.
Key-Note, by the same skillful hand. will commend itself to
A collection of Anthems, Motetts, &c., from the works pact, bright, solid music of other favorite composers.
of Handel, Haydn, Mozart, Beethoven. Weber, Mondel.
neohn, Spohr, Cherubini, Gibbons, Boyce, Crouch, Gluck, Price of Each Book, $1.50.
King. Winter, Himmel, Novello and others. By GEORGE
A worthy companion to the collections by Baumbaeh and Buck, and, as indicated above, has a great variety of
authors. PRICE, $1.50. of the HARP OF JUDAH, it is perhaps sufficient to say
DANK'S that it made the reputation" of Prof. Emerson as a composer of Church Music. People everywhere were impressed
By Geo. F. Root. with the clear, ringing harmony, the beautiful melody, and with what might be called the devotional spirit" of the
To the collection of Tunes in this book are prefixed “ a music. Certainly music, in itself, can have no special devo
Containing a great variety of Anthem settings to all tional character. Still, when united to sacred words, if it exercises for Reading Music and Vocal Training, Songs, | ing and evening services.
new and omprehe ive view of Music and its Notation, the Canticles of the church for regular and special morncarefully avoids all constructions that remind one of the Part-Songs. Rounds, Etc.” Opera or The Ball Room; if it clings closely to the words As Mr. Root is not only a successful composer, but
By H. P. DANKS. in sentiment; if it adds decidedly to these words in their influence, then music may be said to have a devotional possesses unusual skill
in training voices, both singly and
Price in Boards, $2.50. in chorus, we find very naturally in his book a very smooth spirit, and such was the feeling with respect to the music of "singable” style of melody, that improves the voice of the
Cloth, $2.75. the Harp of Judah. The book has had an immense sale. It is, however, now singer, while it pleases his taste and ear.
This collection is a complete reservoir of Anthems for
all uses, in Episcopal churches. Each anthem is also unas good as ever, and, for those who have never used it, is
doubtedly good as an independent composition, and will perfectly new.
be useful in the repertoire of any choir.
THE HARP OF JUDAH
A Catalogue describing the above and about 1,000 other books published by Ditson and Co., sent free on application. Also all books mailed, post-paid, for retail price.
C. H. DITSON & CO.
OLIVER DITSON & CO.
277 WASHINGTON STREET, BOSTON.
LYON & HEALY,
711 BROADWAY, NEW YORK.