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Dwight's Journal of Music

, ,

I Paper of Art and Literature.

WHOLE No. 890.

BOSTON, SATURDAY, MAY 29, 1875.

Vol. XXXV. No. 4.

New Music for Yune.

Advertisements.

AXD

TRANSLATED FROM THE GERMAN

OP

PUBLISHED THIS DAY BY

DWIGHT'S JOURNAL OF MUSIC, 20 Superior Music Books.

Published every other Saturday
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(New. For Opening and Closing Schools, 40 cents.
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Old Folks at Home. Quartet. 2. D to d.

arr. by Fairbank. 25 JOHN 8. DWIGHT, EDITOR. American School Music Readers. The Flower Girl. (La Fioraja]. 6. Et to b. Vols. 1, II and III. 35C., 50 c., 50 C.

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con

WHOLE No. 890.

BOSTON, SATURDAY, MAY 29, 1875.

VOL. XXXV. No, 4.

scene.

an

The Cincinnati Musical Festival other city sends a delegation. This shows what very grandly, and the quintet with Mrs. Smith, FIRST NIGHT, TUESDAY, MAY 11,

a single city can do when it has art love in its Miss Cary, Bischoff, Řeromertz and Whitney,

heart, and sound business men who back it up, supported by the superb, chorus, warmed the (From Correspondence of the Baltimore Bulletir.)

seeing clearly that'art pays. This Festival, | house up again. There was waving of hats and CINCINNATI, May 12. There is a sketch with its excitements, decorations and illumina- scarfs, and thunder, noise and shoutings of aphanging in the windows around town, which tions, pays-pays Cincinnati.

plause. It seemed indeed a triumph over the not inaptly represents the present high pressure

The Triumphlied of Brahms, which opened | tempest outside. But the tempest took a mean musical excitement of the city. It is a battle the Festival last night, is a work of great gen- revenge—the moment that Lohengrin cnded it

I. R. A strongly entrenched height at the ius, and written on the highest key of exulta- cleared up. back, whose salients bear the names of Liszt, tion and triumph; and it is of immense diffiWagner, Schubert, &c., is keeping up a de- culty. The fact that this chorus has been

SECOND DAY, MAY 12. structive fire of musical notes upon the assail- able to produce such a work in such splendid ants below. Crotchets and quavers are explod- style is sufficient evidence of its excellence and (From a Staff Correspondent of the New York Tribune.) ing in every direction. Theodore Thomas, of its devotion to work. It is more difficult

CINCINNATI, May 12. The first matinée of mounted upon a prancing steed, is leading up than Handel or Bach; a chorus that can sing the festival was given this afternoon at 2 o'clock, a solid phalanx of Addlers to the assault, and this need fear nothing. It is an eight-voice with an audience of about 4,000 persons. The a heavy battery of trombones and ophicleides choral. There are two choirs, which are kept is hurling bass notes into the forts.

distinct in every movement but one, where programme was good, though it contained The whole town is decorated. Not merely they are massed for a short time. The two nothing novel and nothing of very high impor

tance, if we except Beethoven's " Second Lenthe streets leading out to the Industrial Hall, choirs answer each other, in dialogue and re

nore Overture " and the “Overture to Tannbut the whole business part of the town is hung iteration, and echo in the most intricate en: häuser," followed by the “ Romance of the with flags, festooned with gay cambrics, and tanglements of harmonies. Moreover, each of

Evening Star," which Mr. Remmertz sang wreathed with greens. The city may well take the eight parts is full of difficulties, and repride in the festival; for it has spared no pains quires a voice of good compass and good train- beautifully. Besides these we had the "Hun

garian Dances” by Brahms, the “New Mediing. In short, it is a composition whose suc

tation" by Gounod, with 30 violins playing The musical ball is an unpretending room, cessful production taxes the very highest pow. the melody; the trio from William Tell, qualities and capacity for eight thousand lis- so marked and decided as to establish their given with admirable effect by Messrs. Bischoff,

Remmertz, and Whitney; the Beethoven trio teners. The end of the room slopes up in a fame, even should they do nothing else. The

-“Tremate, Empo”_and vocal selections by steep incline with seats for about seven hun house was full but not crowded. There were a

Miss Cranch, Miss Cary, Mrs. Smith, and Mr. dred singers. The middle and top of the in- little less than eight thousand listeners—but

Winch. cline is occupied by the organ. A large horse

A miscellaneous programme of this when eight thousand people burst into applause, kind is proper and pleasant enough as shoe, on a lower level, is scooped out of the it sets things jarring: incline where a grand orchestra sits—an orches

This was followed by the Seventh Symphony such selections that the serious value of the

amusement for the afternoon, but it is not in tra built on a scale of ten double-basses, and of Beethoven, played by the orchestra. The celebration consists. The real work of the fesquite plastic under the wand of Theodore orchestra has been increased to a little over tival is done at the evening concerts. The first Thomas. On either side of him stand the soloists, Mrs. Smith-a lively soprano voice,

are ex-members of the orchestra, and well part of the performar.ce this afternoon was ruMiss Cranch, Miss Whinnery, Miss Cary, Mes' grounded in its traditions.

ined by the noise of late arrivals. All through

To say that the the Leonore Overture they tramped along the srs. Bischoff, Remmertz and Whitney-a rare symphony was rendered with the utmost refine- aisles, and they nearly destroyed the effect of collection of fine artists. ment and finish is to say not half.

Mr. Winch's sympathetic delivery of his aria The chorus has been in training for six (We are sorry that the writer does not give us from “ The Creation." They were still months or more,

under the very able direction the other, larger half; for then perhaps he would tramping when Miss Cranch began her Mozart of Mr. Otto Singer. He is a man who has not inform us whether Thomas rushed the quick move

aria. At last Thomas stopped the performance only a sound musical culture, but a tremendous enthusiasm. He is evidently deep in the affcc-ments through at the unfeeling rate he did in Bos- and warned the people that if they did not

keep quiet it would be necessary to shorten the tions of his chorus, for they applaud him most ton.]

programme. The remonstrance was not made affectionately whenever he takes the stand.

Those who are accustomed to see a moment too soon. The audience gave the diWhen Mr. Thomas is conducting, Singer roams Thomas conduct his own orchestra, and note rector three hearty rounds of applause, and for the field. He is everywhere at once, singing all the calm composure and grace of his leadership, a while there was peace; but I am sorry to say the parts, and by gesture and facial expression ought to see him on his war-horse, when he that after the intermission the noise was reand violent contortion, imploring, beseeching, leads a vast chorus in addition. He is indeed newed. A part of the confusion to-day was commanding and expostulating with the cho a master of the situation, through all excite caused by a misunderstanding as to the hour for rus. When things go smoothly, his face beams; ment, violent in gesture, imperious, impetuous, beginning the performance; but after all it is if there is a roughness he is the picture of woe. striking with his baton, beating out with both no easy task to keep 4,000 people quiet. At one moment he is found leading a dashing arms, stamping his feet like a big drum, even This evening the attendance charge of tenors; at another he is holding back shouting out the word of command; he seems prompt, but Thomas was nevertheless obliged a torrent of impetuous bass that threatens to to centre in himself the passion and the energy to order a pause after the third number. The carry everything before it. It is easy to see of the chorus. He fixes the eyes of all the crowd was much greater than at either of the that Otto Šinger is one of the phenomena that singers' on himself, and carries them with him previous performances, and the enthusiasm was account for the great art excitement in Cincin in the rush of his rapture. [Sic. “Rush of also unlimited. Mendelssohn's “Elijah ” con. nati.

his rapture” is good!] All the singers say stituted the entertaininent, and, considering The Cincinnati chorus is how excited he makes them: he is a born what else the chorus had to go through this almost wholly American. I had been led to leader.

week, it was probåbly the best possible selecexpect a large preponderance of German socie A sad misadventure spoiled what was ex- tion. It makes no extraordinary demand upon tie but I find that not five per cent. are Ger- pected to be the great feature of the opening the powers of the vocalists, and it is sure to

The voices are decidedly American in night-Lohengrin. Just as it was about to be please the great multitude of the inexperienced quality, and all the chorals are sung in Eng- gin, a violent storm came up and made such to whom Brahms is a puzzle, and even Bach lish. The ladies are mostly youvg, and their noise on the roof as to render the delicate parts will possibly be something of an enigma. voices have a freshness and purity that are of the music inaudible. After two abortive Last night I was more struck by the magnificharming. They belong largely to the best starts, Mr. Thomas put it to the vote of the cent triumphs of the chorus in overcoming unclasses of society, and they sing with a grace, house whether to go on or wait for the storm to heard-of difficulties than by any conspicuous intelligence and spirit that show their own blow over. But though we waited and waited excellence in the voices. I have already exenjoyment in the art. The piano and pianis- until we were worn out the storm continued plained why a great volume of tone ought not simo of the female voices are of heavenly sweet with unimpaired cheerfulness. At last the to have been expected in the eight-part song ness.

music had to go on, but the audience had of triumph; but besides that, there was a lack There is another thing of interest. This cooled down, and the music fell somewhat flat. of fresh" color, especially in the male voices, chorus is almost wholly of Cincinnati. I had Wagner cannot fall flat. He is sublime or which I was in doubt how to account for. It expected to find the choral societies of Chicago nothing. Mr. Bischoff sang the “Swan Song." | was plain to-night, however, what the trouble and St. Louis represented, but it is not so. No Mr. Whitney sang the “King's Invocation” was; it was merely fatigue. The great exer

*

was

more

man.

one

rus,

tion of incessant rehearsals carries its unavoid beginning to taste the fruit that Theodore only clarinets (using them partly as substitutes able penalty, and I have no doubt that the cho- Thomas has been so long cultivating.

for the obsolete oboe d'amore), bassoons, and, rus has been a little over-trained. A day of

J. R. G. H. very sparingly, the bass trombonc. A good exrest has nearly cured the hundreds of inflamed

ample both of the necessity for his work and the throats, so in the solid harmonies of “Elijah”

THIRD DAY, MAY 13.

manner in which he has performed it is shown the voices came pouring forth with a richness,

(From the same.)

in the noble bass solo, “Quia fecit.” As Bach as well as volume, which left nothing to be de

left it, with only an organ and continuo accomsired. They first showed their fine quality in

CINCINNATI, MAY 13. The matinee to-day paniment, this aria was almost impracticable; that majestic passage, “ His Mercies on Thou- was the festival of the school children. About but Franz, supplying the string quintet, with sands fall," and thence to the intermission 1,200 of the little songsters filled the chorus 2 clarinets and two bassoons, besides the organ, there was a succession of superb choruses, with benches and two sections of the gallery, all throws upon it a pure bright light, which sets hardly a weak page to interrupt them. I have prettily dressed—the boys in the rear; the girls out all its beauty, and makes clear its meaning. rarely, if ever, beard those three famous num

in white gowns and gay ribbons blooming in the terzetto “Suscepit Israel,” for two soprabers, "Blessed are the Men,” “Baal we Cry to the front. They were all in a flutter of excite

nos and alto, would also have been impossible Thee,” and “Thanks be to God” better than ment and tremendously elated at the prospect without the aid of Franz, for the only accomthey were sung to-night. The second in par- of singing under Theodore Thomas, whom they paniment in the original score consists of two ticular, which derives so much splendor from regard with profound awe as the greatest and hautboys in unison, violoncelli senza violone e its orchestral accompaniment, made a remarka- most celebrated musician in all this world. I

bassoni, and organ.

Franz re-enforces the hautble impression. I suppose the chorus had a

think if they had known that a great and cele- boys with two clarinets in unison, and supplies pleasant consciousness of its own success when brated soldier-I mean Gen. Sherman, was

a barmony by first and second violins, viola, it greeted Theodore Thomas with a round of moreover listening to them, the weight of so and violoncello solo, with very soft organ. In applause on his resuming the stand after the much accumulated honor would have broken

some parts of the work he redistributes more intermission.

them down. A great crowd of people came to
hear the performance, many of them as usual in the opening chorus, where he assigns to the

or less of the accompaniment-us for example In the second part of the Oratorio there was coming very late, and making a great clatter clarinets certain passages which Bach, who had no falling back from the high point of excel: about it. The first chorus was a prayer arlence reached in the first. On the contrary, ranged from Gluck. The next was the favorite, ever it is practicable he adheres to the original

no clarinets, gave to the trumpets; but wherthe chorus went on increasing in spirit, precis "Night Shades no Longer,” from Rossini's instrumentation as far as it goes. ion, and sonorousness, from beautiful

"Moses in Egypt.” They were charmingly number to another. In the “Be not Afraid,

The Magnificat in D consists of 12 short numsung, not only with correct intonation, but bers, as follows: 1. Introduction and Chorus, in the “He Watching over Israel,” in the with a beauty of shading which is extremely “Holy! Holy!”-in all those familiar choruses

· Magnificat anima ineu.” 2. Aria, 2d soprarare in children's singing, while the freshness which have made the Elijah loved wherever and purity of the multitude of young voices

no, “Et exultavit."

3. Aria, 1st soprano, music is cultivated, these singers covered them had a peculiar effect which maturer art can ationes,” 5. Aria, bass, “Quia fecit.” 6. Du

Quia respexit." 4. Chorus,

"Omnes generselves with glory. I hope the audience under

never imitate. I am opposed to encores on stood how good the performance was.

7. ChoI feel

et, alto and tenor, “Et misericordia.” principle, but I could not help feeling glad as if I could hardly praise it too warmly. The when the little folks stood up to repeat the “Deposuit potentes.

“ Fecit potentiam." 8. Aria, tenor, delicious accompaniment by the band had of Rossini chorus, after the whole house had in- entes."

9. Aria, alto, “Esuri

10. Terzetto, 2 sopranos and alto, course a great deal to do with the grand effect; sisted upon it. Subsequently they sang the but we have heard Thomas play it in New York, choruses in Mozart's miniature cantata, origi- tus est."

“Suscepit Israel." 11. Chorus, "Sicut locuand we know what he can do with it. The nally written for a Masonic celebration, and the choruses are in five parts—two sopranos,

12. Chorus, “Gloria Patri.” All organ also contributed in no slight degree to entitled in English: “Praise of Friendship.," alto, tenor, and bass. There is a short instruthe successful result. It seems to be a good The three solo parts were taken by Mrs. H. M. mental introduction. The florid and joyful instrument for the purpose to which it is here Smith, Miss Whinnery, and Miss Cranch. The opening chorus was given correctly and fluentput, for it has a grand pedal bass, and a good, juvenile performances were interspersed, dur-ly, though with not enough spirit. The delirich, full tone in the upper register. More im- ing the rest of the concert, with orchestral seportant still, it was admirably played by Mr. lections and some good vocal solos by. Mrs. in the noise of the unquiet audience, but in the

cious aria for second soprano was almost lost Dudley Buck, and I ought not to forget to say Smith, Miss Whinnery, Miss Cranch, Mr. Bis- snatches of it which I heard, Miss Whinnery that the same gentleman did remarkable ser choff and Mr. Whitney. vice last night in the “ Triumphal Hymn,"

seemed to be singing with unusual sentiment

The evening performance was the culmina- and taste. There was a long pause after the when he supplied a perfect organ part from the tion cf the festival. It was for this that Chorus, fourth number, and the rest of the work, alorchestral score. Brahms used the organ when Orchestra, and Conductor had worked with though it was sometimes disturbed in an unhe directed this work of his in Cologne; but, greatest zeal; and toward it the public had pardonable manner, was at least audible. strange to say, the part was not written out, or looked forward with greatest eagerness. The

I can spare time for only a few words of genat any rate has not been published.

programme consisted of Bach's si

Magnificat in eral praise for the artists, Mrs. Smith, Miss Mr. Whitney to-night sang the music of the D,” never before performed in this country, whinnery, Miss Cary, Mr. Winch, and Mr. “Prophet" with all the taste, dignity and corand Beethoven's Ninth Symphony.

Whitney, whose privilege it was to sing in this rct dramatic instinct which we have so often

BACH'S MAGNIFICAT.

divine work at its first representation in Ameradmired, though in one or two of the solos his

The “ Magnificat

ica. voice was not quite so clear as usual.

They caught its exquisite spirit and its The so

was given, as nearly all prano solos were divided between Miss Whin Bach's principal vocal works must be given deep religious sentiment, and gave it forth nery, who appeared in the first part, and Mrs. nowadays, with the additional accompaniments with a conscientiousness and eloquence which

The invaluable labors of

I cannot commend too warmly. If I must sinSmith who had the principal

work to do in the this scholarly musician upon the scores of Bach gle out any numbers for especial mention they second. The alto was likewise divided, Miss Cranch singing the “.. Woe unto them, and and Handel are entirely unlike the unfortunate must be the exquisite alto and tenor duet, and

the alto solo, with obbligato accompaniment; Miss Cary, o

Rest in the Lord.” Mr. 'Winch attempts to modernize the older masters which gave a highly refined and truthful interpreta- Bach left but the merest sketch of an accomwe are occasionally called upon to lament. for two flutes. Both these are gems of purest

ray serene in Bach's most characteristic vein. tion of the tenor solos, showing himself to be an artist of rare sensibility; but he, like Mr. paniment for his great vocal compositions, But it is hardly fair to particularize where ev

The choruses are all Whitney, seemed a little fatigued. Those two supplying a few parts for flutes, hautboys, erything is so noble. little gems, the “Quartet of Angels," "Cast strings, and now and then one or two other marvels of polyphonic harmony, and they culThy Burden upon the Lord,” and the terzetto instruments, together with the monotonous mipate in an outburst of grandeur on the words ** Lift Thine Eyes," were charmingly sung, and continuo, and a figured bass which he filled up - Gloria Patri,” which have hardly a parallel the double quartet, “For He shall give his An- extemporaneously on the orgạn. The secret of in sacred music. Then the work closes with a

scores with life repetition of the opening chorus. There was gels ”-intrusted to a little choir of 15 persons and beauty of outline died with him, and Franz no weakness in any of these choruses except -was executed almost without a fault.

discovered it only after long and patient study. the first. They all went on superbly, and I There is no doubt now that the festival will He has harmonized the whole in the polyphon- must say that the work gave me more delight meet all the expectations of its most sanguine ic style of which Bach is the great model, and than anything I have heard for many a day. friends. The expense of the whole affair is has added instruments to the orchestra with

(From the Cincinnati Gazette.) about $40,000, and the receipts already amount such taste, moderation, and clear insight into to $30,000, with the certainly of an enormous the composer's intentions that one could almost

It was evident that the audience had a bad attack increase to morrow, when the Ninth Symphony believe the improved score to be entirely the of Ninth Sympho-mania. So soon as the clanging is to be given. There will be no need to touch work of Bach himself. He retains the organ, there was a hurrying to and fro in the crowded

of the bell announced the end of the intermission, the guarantee fund. There is serious talk of a though of course it no longer asserts itself so

aisles, and a crush through the doors leading into similar festival next year at Chicago, and I prominently in the accompaniment as it had to the hall fearfully destructive to silk hats, ladies' think it is highly probable that before long do in the composer's time, when the orchestra dresses, and human tempers. It took quite a long there will be a great musical gathering every had not yet been developed. . Bach wrote parts time for the fortunate owners of reserved seats to

of the cities of this region, Cincin- for 2 tlutes, 2 hautboys, 2 oboi d'amore, 3 trum- regain possession of them, but after this was done, nati, Chicago, and perhaps Indianapolis, taking pets, tympani, 1st and 2d violins, viola, and a hush, an unnatural silence came over the immense turn in the good work, The whole country is bass strings (the continuo); to these Franz adds assemblage which spoke well for the character of

THE NINTII SYMPHONY.

year in

nie

ye

PART I.

Schubert

" Walküre"..

PART II.

.. Liszt

Liszt

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The pro

the audience. The impressions of two years ago in thrill seemed to run through the listening thou musical appreciation, yet one can hardly give too some cases, and the conviction that the inner sanct- sands. There is something inexplicable in the pow much credit to this beautiful and enthusiastic city uary of the divine art was to be entered, exerted a er of the simple theme to which Beethoven has for the noble work which it has done in such a power over all which held them in almost breathless dared to set the beautiful words of Schiller's ode.

noble manner.

It is to the high honor of the Festisilence. Not a bar of the music was lost; the trem It appears to be too trivial to be in keeping with val Committee and of Theodore Thomas that they ulous whisper of the strings in the massive first the grandeur of the sentiments which the words ex did choose works like the “Song of Triumph” and movement, the bated accents of the first violins as press, yet its power is irresistible. Perhaps, how Bach's “Magnificat,” which are as yet far above the they dropped the strangely suggestive figure which ever, the most effective part is the chorale set to apprehension of the public; and it is to the honor of imparts to the movement its chief characteristic, all the words:

the people that, though they did not pretend to relwere borne to the furthermost recesses of the hall. Ihr stuerzt nieder, Millionen, Ahnest du den Schæp-ish all these things, they never allowed their interest How so many people stood throughout each long fer, Welt? or, as the words are tamely translated to flag in the slightest degree. The æsthetic devel. movement without shifting in their positions is al. “Then, ye millions, kneel and praying, fear the opment of such a population as this will go on with most a mystery. We had been led by a study of Maker of the world.”

a rapidity which must soon astonish the world. the first movement to expect somé sign of weari. Its solemo grandeủr is overwhelming. One of its Fortunately, there is a circle of highly-cultivated ness or ennui long before its completion, but the beautiful effects, however, we find is destroyed, as is and public-spirited people in Cincinnati

, who are reality was gratifying-disappointment. All their the entire beautiful ode, by the translation. The making a much better use of their money and time senses seemed to have flocked into their ears, and setting of the line is as follows:

than the corresponding social circle in New York. they hung upon each sound as though it was a voice

The matinée this afternoon was the best of the from the spirit world proclaiming to them

3

week. The principal selections were Beethoven's upon which depended life and death, Superlatives

overture, “ Consecration of the House," the superb are idle in attempting to describe the work of the

Meistersinger selections, in which Mr. Bischoff made orchestra; it was simply perfect. Every note in

a brilliant success with his “ Walther's Prize Song," the delirious whirl of the Scherzo as well as the in

Ihr
stürzt
der.

and the orchestral arrangement of Liszt's second tricacies of the extraordinary variations of the

Then,
mil - lions.

"Hungarian Rhapsody," by which the vast audi. Adagio and Andante themes,dropped from the strings

3

ence was almost carried away. Mr. Whitney sang with a crisp clearness and brilliancy which almost D:3

Beethoven's “ In Questa Tomba," with Thomas's arshut out the belief that fifteen first violins and not

rangement of the accompaniment for wind instru. one were executing the music. It was certainly the

ments, more beautifully than I ever before heard most extraordinary revelation of artistic and me

The literal translation of the German line is “ Ye

him. chanical perfection ever experienced in this city.

fall down," and it will be observed that Beethoven
in the realistic spirit which pervades the whole

The programme to-night was as follows :
Naturally enough there was no great outburst of symphony

[?] has suited the music to the action de enthusiasm after the performance of the first move

Symphony No 9, in C..... ment. The realistic [?] manner in which its apparent chorus but also of the accompanying instruments, scribed. The melody and harmony, not only of the

Wotan's Farewell and Magic Fire Scene, from the

Wagner design and meaning are portrayed make it almost Autes, clarionets, violas and violoncellos, describe

Vocal part by Mr. Franz Remmertz. tedious to all save those who are far enough initiat. the fall, and the effect is heightened by the sudden ed into the mysteries of the musical art to become

hush and staccato rendering of the last notes, and Symphonic Pnem, “ Prometheus". engrossed with its wonderful internal structure and

Music to Herder's “ Promethens ” development. It depicts more powerfully, than sion this excellent effect is entirely lost, since the then opening in the harmony. In the English ver

Solo voices, chorus, and orchestra. anything in music within our recollection, a contin-line in itself describes no action as the original least to a New-Yorker-is in the second part. Liszt's

The only novelty in this fine programme at uous, desperate struggle for something which ap- does. pears to be unattainable.

The chorus attacked the difficult music with a

symphonic poem of“ Prometheus " is known by our It is a mass of musical tones put in violent agita- spirit which served to carry it through to a success.

audiences, but the vocal music which he wrote for tion by the power of a will too weak to accomplish ful end. The sopranos especially showed a deal of

Herder's poem on the same subject is as yet a sealed that which it attempts to evolve order out of cha. pluck. In the severe strain of holding high A

book to us in its complete form, though the LiederAmid the pregnant trembling of the second through thirteen bars they did not falter, and even

kranz has sung some extracts from it. violins and violoncellos the reeds diseover a germ

gramme calls it a cantata ; but it is not a cantata ; of melody, a sweet and promising strain; but hard succeeded in making the nuances in other high pas

it is a series of musical illustrations of the poem, ly does it appear before it is seized by the serried sages very gracefully. As the conclusion of the

mostly choruses with a few solo passages interranks of brass and strings and plunged into the the voices of those who'sang had undergone told spersed, intended to accompany a recitation of the foamless aby'ss.

text, as Schumann's music was written to accompany upon them, and there was a falling off in fire, The whole movement is made up of these strug: strength, and precision. All the massive choral

and relieve a reading of Byron's “ Manfred.” Nor gles; promising beginnings, a brief development, and a disastrous, despairing end. When its last passages were grandly rendered. There is hardly is there any connection between the vocal composi

tion and the symphonic poem except the identity of minor chord is hurled out by all the instruments, any work in all the range of vocal music so tyranno feeling of satisfaction or even of relief comes over

nous to the voice as the solo parts of this symphony. subject. They were written many years apart ; Mrs. Smith, Miss Cary, and Messrs. Winch and

but their collocation is of course natural and logical, the mind of the listener. He must needs wait for the giddy mazes of the Scherzo to obliterate the did Mr. Winch's smooth, sweet voice falter after a Remmertz did them justice, however. Only once

and the earlier work serves very properly and ef

fectively as an overture to the later one. To those vague, restiess impression made and left on the strain of musical difficulty even in the Ninth Sym

who know Liszt only by his instrumental works, mind of the vain longings and efforts of the first phony. Mrs. Smith's voice scaled the lofty heights

the sweetness of this melodious vocal composition movement. The influence extended by the Scherzo | with the clearness which it always possesses, and

will be a great surprise. The most delicate vein of is widely different. The mind is taken captive and held them with its old power.

poetry runs all through it, imparting to the whole whirled off into the world of pleasure. He can not pause; the power that bears him onward is irresist- and eminently satisfactory, it did not equal that of

As a whole, though the performance was excellent

an appearance of grace and refinement quite as re

markable as its strong dramatic character. The poible, he is powerless as against it. It cannot be two years ago. Then the chorus sang as though it

etic basis is always conspicuous in Liszt's songs and said to prepare him for the movement which follows was composed of people who were more than hu.

choruses; but here the union between the melody the Adagio with its celestial voices, but it does

and the poem seems to be particularly close. One place him in a mood which enables him to appreci- taneous and overwhelming vutburst of enthusiasm

The applause last night was not such a spon.

beautiful conception follows another with the most ate and receive its benign influences. In fact, try

as that which is still fresh in our memories. True, rapid step, but each is perfect and distinct. The as we may, we cannot connect the first three move.

divinities of the ocean and the nymphs of the grove, there was a storm of applause and a thunder of ments until the key is not only furnished, but the

bravos,” and calls for Thomas and Singer, but it

the blithe reapers and the jovial cultivators of the unification itself accomplished in the choral finale. sounded more like a token of appreciation for the

vine, the spirits of the Under World, and the muses It is this fact, so plainly apparent, which has excellent work done, and the plucky manner in

on Olympus, all have their appropriate and clearly prompted the critics to deny that the work has any which difficulties had been vanquished, rather than

discriminated numbers, and all move before us like unity in design. Of the transporting beauties of the a display of wild enthusiasm. * Perhaps it was be

the living figures in a drama. The soprano and alAdagio and Andante themes, and their wondrous

to solos are short; in fact are little more than fragvariations and treatment, what shall we say? Are lost its novelty, and they were, therefore, better cause to very many of those present the work had

ments of sweet melodic phrases. The male solosthey not typical of the highest beauty; the purest prepared to listen with critical ear than when every

two tenors and two basses—are more important, and and most lasting joys? Can any one listen to them bar was a musical revelation. But when Mr. Thom. in the latter part of the work are intrusted with a without feeling his soul expanding with love toward all the world ? Are they at all unmeaning or amas appeared and forced Mr. Singer to mount the

noble quartet. It is in the varying and always fasbiguous ? Let those answer who have been swayed the two were greeted was extraordinary. Hats and platform with him, the joyous tumult with which cinating choruses, however, that the principal charm

of the composition lies. The orchestra not only by their influence. Both of these movements were received with bursts of honest applause such as well almost threatened to lift off the roof.

embroiders the vocal parts with a rich and delicate handkerchiefs were waved, and the volume of sound

ornament, but combines with them to form a comthey deserved, for a more finished performance per

pact and carefully planned texture, and carries on haps Lever was heard.

so beautifully the spirit, if not the musical motives, But now the Finale was reached and the expectant

of the symphonic poem which has been adopted as hush grew awfully impressive. Mr. Thomas appeared

the introduction, that we can hardly realize that we to be completely under some strange magnetic influ

[From a Staff Correspondent of the New York Tribune.] listen to two independent compositions, ence; we never saw him direct with such earnest Cincinnati, MAY 14. The festival closed this The performance of the entire Prometheus music ness or heard so prompt and significant a response. evening, and Cincinnati will long remember it as a was directed by Mr. Otto Singer, and when he took The souls of the players appeared to be infused into bright chapter in the history of Western culture.

his place at the desk there was a curious scene. It the 'cellos and basses as they declaimed the recita- It has accomplished more [?] than any previous musi

seems that nearly all the chorus singers had small tives which bridge the chasm between purely instru- cal celebration in America, and though it can hardly bouquets concealed about their persons, and Mr. mental and vocal music, and when Mr. Remmertz, be denied that the principal selections have been Singer's appearance was the signal for a rain of with his powerful voice, took up the strain first giv- rather above the comprehension of the majority of flowers, which was prolonged for some time. They en out by the ambitious instruments, and clothed the audiences, and that the public zeal has been in

soon gave abundant reason

for their partiality it with the words of Beethoven, a sympathetic spired sometimes by local pride much more than by ) toward the accomplished musician under whom they

man.

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CLOSING DAY.

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