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WHOLE NO. 890.

A Paper of Art and Literature.

BOSTON, SATURDAY, MAY 29, 1875.

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20 Superior Music Books.
NATIONAL HYMN AND TUNE BOOK

New. For Opening and Closing Schools, 40 cents.
For Note Reading in Schools,

VOL. XXXV. No. 4.

New Music for June.

VOCAL.

Old Folks at Home. Quartet. 2: D to d.
arr. by Fairbank. 25

American School Music Readers. The Flower Girl. (La Fioraja]. 6. Eb to b.

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NEW MUSICAL WORK.

ΡΙΑΝΟ AND SONG.

How to Teach, How to Learn,

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USICAL DIRECTOR.

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Boston, Mass.

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Otto Lob's Sacred Trios.
No. 1. Lord thy Glory. (Sop. Alto, Tenor).
4. G to g.
Weber.
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I fear those beaming Eyes. 3. F to f. Glover. 30
I will love thee. (Io t'amero). 5. D to d.
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Sing not of the Past.
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66

No. 7. Annie Laurie, and Who'll be King but Charlie ? 6. Eb Chaconne. 3. C. Subscriber's Waltz. 3. Harpe Aeolienne. Tone Picture. Flight of the Nightingales. Commencement March. 3. D. Reverie. 6. Eb. Fandango. Morceau Caracteristique.

Capt. Folsom's March.
Little Beauty Waltz.
On the Wing. Galop.
L'Esperance Waltz.

75 Durand. 40 Strauss, 60

4. D. Lange. 35

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Lange. 60 5. Db.

S. Smith. 75

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A Night in June. Idyl.
Home, Sweet Home.
Icebrook Galop.
Firm Step March.
Beauties of Ruy Blas.
La Poste aux Grelots.
4. Db.
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2. G.

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2. C.

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The book is of the greatest value to Organists and Choirs of the EPISCOPAL CHURCH, as here are found anthems fitted to all occasions of the regular and special service, thus forming a complete STANDARD BOOK OF SERVICES. With the exception of the Gloria Patri's, these fine anthems, with music by the best American and Foreign Composers, and noble words from the sacred scriptures, are also perfectly adapted for use in the services of ALL DENOMINATIONS,

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[795

In C, (with Solos,).
In D..

Phelps.

.Kortheuer. CANTATE.

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..Ilsley. DEUS MISERATUR.
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In Eb, (with Solo,).
BENEDIC ANIMA MEA.....

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WHOLE NO. 890.

The Cincinnati Musical Festival

BOSTON, SATURDAY, MAY 29, 1875.

other city sends a delegation. This shows what
a single city can do when it has art love in its
heart, and sound business men who back it up,
seeing clearly that'art pays. This Festival,
with its excitements, decorations and illumina-
tions, pays-pays Cincinnati.

FIRST NIGHT, TUESDAY, MAY 11. (From Correspondence of the Baltimore Bulletin.) CINCINNATI, MAY 12. There is a sketch hanging in the windows around town, which not inaptly represents the present high pressure The Triumphlied of Brahms, which opened musical excitement of the city. It is a battle the Festival last night, is a work of great genscene. A strongly entrenched height at the ius, and written on the highest key of exultaback, 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 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 ing in every direction.

Theodore Thomas,

mounted upon a prancing steed, is leading up a solid phalanx of fiddlers to the assault, and a heavy battery of trombones and ophicleides is hurling bass notes into the forts.

The whole town is decorated. Not merely the streets leading out to the Industrial Hall, but the whole business part of the town is hung with flags, festooned with gay cambrics, and wreathed with greens. The city may well take pride in the festival; for it has spared no pains in the grand affair.

of its devotion to work. It is more difficult

The two

than Handel or Bach; a chorus that can sing this need fear nothing. It is an eight-voice choral. There are two choirs, which are kept distinct in every movement but one, where they are massed for a short time. choirs answer each other, in dialogue and reiteration, and echo in the most intricate entanglements of harmonies. Moreover, each of the eight parts is full of difficulties, and requires a voice of good compass and good training. In short, it is a composition whose sucThe musical hall is an unpretending room, cessful production taxes the very highest powhaving, however, the merit of rare acoustic ers of a chorus. They achieved in it a success qualities and capacity for eight thousand lis- so marked and decided as to establish their teners. The end of the room slopes up in a fame, even should they do nothing else. The There were a steep incline with seats for about seven hun-house was full but not crowded. dred singers. The middle and top of the incline is occupied by the organ. A large horseshoe, on a lower level, is scooped out of the incline where a grand orchestra sits-an orchestra built on a scale of ten double-basses, and quite plastic under the wand of Theodore Thomas. On either side of him stand the soloists, Mrs. Smith-a lively soprano voice, Miss Cranch, Miss Whinnery, Miss Cary, Messrs. Bischoff, Remmertz and Whitney-a rare

collection of fine artists.

little less than eight thousand listeners-but
when eight thousand people burst into applause,
it sets things jarring.

This was followed by the Seventh Symphony
of Beethoven, played by the orchestra. The
orchestra has been increased to a little over
one hundred players, and some of the additions
are ex-members of the orchestra, and well
To say that the
grounded in its traditions.
symphony was rendered with the utmost refine-
ment and finish is to say not half.

ton.]

* *

The chorus has been in training for six [We are sorry that the writer does not give us months or more, under the very able direction the other, larger half; for then perhaps he would of Mr. Otto Singer. He is a man who has not inform us whether Thomas rushed the quick moveonly a sound musical culture, but a tremendous enthusiasm. He is evidently deep in the affec-ments through at the unfeeling rate he did in Bostions of his chorus, for they applaud him most affectionately whenever he takes the stand. When Mr. Thomas is conducting, Singer roams the field. He is everywhere at once, singing all the parts, and by gesture and facial expression and violent contortion, imploring, beseeching, commanding and expostulating with the chorus. When things go smoothly, his face beams; if there is a roughness he is the picture of woe. At one moment he is found leading a dashing charge of tenors; at another he is holding back a torrent of impetuous bass that threatens to carry everything before it. It is easy to see that Otto Singer is one of the phenomena that account for the great art excitement in Cincin nati.

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* Those who are accustomed to see Thomas conduct his own orchestra, and note the calm composure and grace of his leadership, ought to see him on his war-horse, when he leads a vast chorus in addition. He is indeed a master of the situation, through all excitement, violent in gesture, imperious, impetuous, striking with his baton, beating out with both arms, stamping his feet like a big drum, even shouting out the word of command; he seems to centre in himself the passion and the energy of the chorus. He fixes the eyes of all the singers on himself, and carries them with him in the rush of his rapture. [Sic. "Rush of his rapture" is good!] All the singers say how excited he makes them: he is a born leader.

A sad misadventure spoiled what was expected to be the great feature of the opening night-Lohengrin. Just as it was about to begin, a violent storm came up and made such noise on the roof as to render the delicate parts of the music inaudible. After two abortive starts, Mr. Thomas put it to the vote of the house whether to go on or wait for the storm to blow over. But though we waited and waited until we were worn out, the storm continued with unimpaired cheerfulness. At last the music had to go on, but the audience had cooled down, and the music fell somewhat flat. Wagner cannot fall flat. He is sublime or nothing. Mr. Bischoff sang the "Swan Song." Mr. Whitney sang the " King's Invocation"

VOL. XXXV. No. 4.

very grandly, and the quintet with Mrs. Smith,
Miss Cary, Bischoff, Remmertz and Whitney,
supported by the superb chorus, warmed the
house up again. There was waving of hats and
scarfs, and thunder, noise and shoutings of ap-
plause. It seemed indeed a triumph over the
tempest outside. But the tempest took a mean
revenge-the moment that Lohengrin ended it
cleared up.
I. R.

SECOND DAY, MAY 12.

(From a Staff Correspondent of the New York Tribune.) CINCINNATI, MAY 12. The first matinée of the festival was given this afternoon at 2 o'clock, with an audience of about 4,000 persons. The nothing novel and nothing of very high imporprogramme was good, though it contained tance, if we except Beethoven's "Second Leonore Overture" and the "Overture to Tann

hauser," followed by the "Romance of the Evening Star," which Mr. Remmertz sang beautifully. Besides these we had the "Hungarian Dances" by Brahms, the "New Meditation" by Gounod, with 30 violins playing the melody; the trio from "William Tell," given with admirable effect by Messrs. Bischoff, Remmertz, and Whitney; the Beethoven trio

an

-"Tremate, Empo"-and vocal selections by Miss Cranch, Miss Cary, Mrs. Smith, and Mr. Winch. A miscellaneous programme of this kind is proper and pleasant enough as such selections that the serious value of the amusement for the afternoon, but it is not in celebration consists. The real work of the festival is done at the evening concerts. The first of the performance this afternoon was rupart ined by the noise of late arrivals. All through the Leonore Overture they tramped along the aisles, and they nearly destroyed the effect of Mr. Winch's sympathetic delivery of his aria from "The Creation." They were still tramping when Miss Cranch began her Mozart aria. At last Thomas stopped the performance and warned the people that if they did not keep quiet it would be necessary to shorten the programme. The remonstrance was not made a moment too soon. The audience gave the director three hearty rounds of applause, and for a while there was peace; but I am sorry to say that after the intermission the noise was renewed. A part of the confusion to-day was caused by a misunderstanding as to the hour for beginning the performance; but after all it is no easy task to keep 4,000 people quiet.

more

con

This evening the attendance was prompt, but Thomas was nevertheless obliged to order a pause after the third number. The crowd was much greater than at either of the previous performances, and the enthusiasm was also unlimited. Mendelssohn's "Elijah stituted the entertainment, and, considering what else the chorus had to go through this week, it was probably the best possible selection. It makes no extraordinary demand upon the powers of the vocalists, and it is sure to please the great multitude of the inexperienced to whom Brahms is a puzzle, and even Bach will possibly be something of an enigma.

Last night I was more struck by the magnificent triumphs of the chorus in overcoming unheard-of difficulties than by any conspicuous excellence in the voices. I have already explained why a great volume of tone ought not to have been expected in the eight-part song of triumph; but besides that, there was a lack of fresh color, especially in the male voices, which I was in doubt how to account for. It was plain to-night, however, what the trouble was; it was merely fatigue. The great exer

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tion of incessant rehearsals carries its unavoid able penalty, and I have no doubt that the chorus has been a little over-trained. A day of rest has nearly cured the hundreds of inflamed throats, so in the solid harmonies of "Elijah" the voices came pouring forth with a richness, as well as volume, which left nothing to be desired. They first showed their fine quality in that majestic passage, "His Mercies on Thousands fall," and thence to the intermission there was a succession of superb choruses, with hardly a weak page to interrupt them. I have rarely, if ever, heard those three famous numbers, Blessed are the Men," "Baal we Cry to Thee," and "Thanks be to God" better than they were sung to-night. The second in particular, which derives so much splendor from its orchestral accompaniment, made a remarkable impression. I suppose the chorus had a pleasant consciousness of its own success when it greeted Theodore Thomas with a round of applause on his resuming the stand after the intermission.

beginning to taste the fruit that Theodore
Thomas has been so long cultivating.
J. R. G. H.

THIRD DAY, MAY 13.
[From the Same.]

only clarinets (using them partly as substitutes for the obsolete oboe d'amore), bassoons, and, very sparingly, the bass trombone. A good example both of the necessity for his work and the manner in which he has performed it is shown in the noble bass solo, "Quia fecit." As Bach left it, with only an organ and continuo accompaniment, this aria was almost impracticable; but Franz, supplying the string quintet, with 2 clarinets and two bassoons, besides the organ, throws upon it a pure bright light, which sets out all its beauty, and makes clear its meaning. The terzetto "Suscepit Israel," for two sopranos and alto, would also have been impossible without the aid of Franz, for the only accompaniment in the original score consists of two hautboys in unison, violoncelli senza violone e bassoni, and organ. Franz re-enforces the hautboys with two clarinets in unison, and supplies a harmony by first and second violins, viola, and violoncello solo, with very soft organ. In some parts of the work he redistributes more or less of the accompaniment as for example in the opening chorus, where he assigns to the clarinets certain passages which Bach, who had ever it is practicable he adheres to the original no clarinets, gave to the trumpets; but wherinstrumentation as far as it goes.

The Magnificat in D consists of 12 short numbers, as follows: 1. Introduction and Chorus, 'Magnificat anima mea. 2. Aria, 2d sopra

CINCINNATI, MAY 13. The matinee to-day was the festival of the school children. About 1,200 of the little songsters filled the chorus benches and two sections of the gallery, all prettily dressed-the boys in the rear; the girls in white gowns and gay ribbons blooming in the front. They were all in a flutter of excitement and tremendously elated at the prospect of singing under Theodore Thomas, whom they regard with profound awe as the greatest and most celebrated musician in all this world. I think if they had known that a great and celebrated soldier-I mean Gen. Sherman- was moreover listening to them, the weight of so much accumulated honor would have broken them down. A great crowd of people came to hear the performance, many of them as usual coming very late, and making a great clatter about it. The first chorus was a prayer arranged from Gluck. The next was the favorite, "Night Shades no Longer," from Rossini's "Moses in Egypt." They were charmingly sung, not only with correct intonation, but with a beauty of shading which is extremely rare in children's singing, while the freshness "Et exultavit." 3. Aria, 1st soprano, and purity of the multitude of young voices had a peculiar effect which maturer art can ationes." 5. Aria, bass, "Quia fecit." 6. Du"Quia respexit." 4. Chorus, "Omnes genernever imitate. I am opposed to encores on et, alto and tenor, "Et misericordia." 7. Choprinciple, but I could not help feeling glad when the little folks stood up to repeat the "Deposuit potentes." 9. Aria, alto, "Esurirus, "Fecit potentiam." 8. Aria, tenor, Rossini chorus, after the whole house had in-entes." sisted upon it. 10. Terzetto, 2 sopranos and alto, Subsequently they sang the choruses in Mozart's miniature cantata, origi- tus est." 'Suscepit Israel." 11. Chorus, "Sicut locunally written for a Masonic celebration, and the choruses are in five parts-two sopranos, 12. Chorus, "Gloria Patri." All entitled in English: "Praise of Friendship." alto, tenor, and bass. There is a short instruThe three solo parts were taken by Mrs. H. M. mental introduction. Smith, Miss Whinnery, and Miss Cranch. The opening chorus was given correctly and fluentThe florid and joyful juvenile performances were interspersed, dur-ly, though with not enough spirit. The delicious aria for second soprano was almost lost snatches of it which I heard, Miss Whinnery in the noise of the unquiet audience, but in the seemed to be singing with unusual sentiment and taste. fourth number, and the rest of the work, alThere was a long pause after the though it was sometimes disturbed in an unpardonable manner, was at least audible.

In the second part of the Oratorio there was no falling back from the high point of excel lence reached in the first. On the contrary, the chorus went on increasing in spirit, precis ion, and sonorousness, from one beautiful number to another. In the "Be not Afraid, " in the "He Watching over Israel," in the "Holy! Holy!"-in all those familiar choruses which have made the Elijah loved wherever music is cultivated, these singers covered themselves with glory. I hope the audience understood how good the performance was. I feel as if I could hardly praise it too warmly. The delicious accompaniment by the band had of course a great deal to do with the grand effect; but we have heard Thomas play it in New-York, and we know what he can do with it. The organ also contributed in no slight degree to the successful result. It seems to be a good instrument for the purpose to which it is here put, for it has a grand pedal bass, and a good, rich, 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. Dudley Buck, and I ought not to forget to say Smith, Miss Whinnery, Miss Cranch, Mr. Bisthat the same gentleman did remarkable ser- choff and Mr. Whitney. vice last night in the "Triumphal Hymn," when he supplied a perfect organ part from the orchestral score. Brahms used the organ when he directed this work of his in Cologne; but, strange to say, the part was not written out, or at any rate has not been published.

Mr. Whitney to-night sang the music of the "Prophet " with all the taste, dignity and corr ct dramatic instinct which we have so often admired, though in one or two of the solos his voice was not quite so clear as usual. The soprano solos were divided between Miss Whin

The evening performance was the culmination of the festival. It was for this that Chorus, Orchestra, and Conductor had worked with greatest zeal; and toward it the public had looked forward with greatest eagerness. programme consisted of Bach's Magnificat in D," never before performed in this country, and Beethoven's Ninth Symphony.

BACH'S MAGNIFICAT.

The

66

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I can spare time for only a few words of general praise for the artists, Mrs. Smith, Miss Whinnery, Miss Cary, Mr. Winch, and Mr. Whitney, whose privilege it was to sing in this divine work at its first representation in America. They caught its exquisite spirit and its deep religious sentiment, and gave it forth with a conscientiousness and eloquence which nery, who appeared in the first part, and Mrs. nowadays, with the additional accompaniments 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
Miss Cary, O Rest in the Lord." Mr. Winch
gave a highly refined and truthful interpreta-
tion of the tenor solos, showing himself to be
an artist of rare sensibility; but he, like Mr.
Whitney, seemed a little fatigued. Those two
little gems,
the "
Quartet of Angels," Cast
Thy Burden upon the Lord," and the terzetto

66

The "Magnificat" was given, as nearly all
Bach's principal vocal works must be given
by Robert Franz. The invaluable labors of

and Handel are entirely unlike the unfortunate
attempts to modernize the older masters which
we are occasionally called upon to lament.
Bach left but the merest sketch of an accom-
paniment for his great vocal compositions,
supplying a few parts for flutes, hautboys,
strings, and now and then one or two other
instruments, together with the monotonous

must be the exquisite alto and tenor duet, and
the alto solo, with obbligato accompaniment,
for two flutes. Both these are gems of purest
ray serene in Bach's most characteristic vein.
But it is hardly fair to particularize where ev-
The choruses are all
erything is so noble.
marvels of polyphonic harmony, and they cul-
minate in an outburst of grandeur on the words
"Gloria Patri," which have hardly a parallel

"Lift Thine Eyes," were charmingly sung, and continuo, and a figured bass which he filled up in sacred music. Then the work closes with a

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the double quartet, For He shall give his Angels"-intrusted to a little choir of 15 persons

-was executed almost without a fault.

There is no doubt now that the festival will meet all the expectations of its most sanguine friends. The expense of the whole affair is about $40,000, and the receipts already amount to $30,000, with the certainty of an enormous increase to-morrow, when the Ninth Symphony is to be given. There will be no need to touch the guarantee fund. There is serious talk of a similar festival next year at Chicago, and I think it is highly probable that before long there will be a great musical gathering every year in one of the cities of this region, Cincinnati, Chicago, and perhaps Indianapolis, taking turn in the good work, The whole country is

scores

extemporaneously on the organ. The secret of
and beauty of outline died with him, and Franz
clothing these skeleton
with life
discovered it only after long and patient study.
He has harmonized the whole in the polyphon-
ic style of which Bach is the great model, and
has added instruments to the orchestra with
such taste, moderation, and clear insight into
the composer's intentions that one could almost
believe the improved score to be entirely the
work of Bach himself. He retains the organ,
though of course it no longer asserts itself so
prominently in the accompaniment as it had to
do in the composer's time, when the orchestra
had not yet been developed. Bach wrote parts
for 2 flutes, 2 hautboys, 2 oboi d'amore, 3 trum-
pets, tympani, 1st and 2d violins, viola, and
bass strings (the continuo); to these Franz adds

There was the first. They all went on superbly, and I repetition of the opening chorus. no weakness in any of these choruses except must say that the work gave me more delight than anything I have heard for many a day.

THE NINTH SYMPHONY.

(From the Cincinnati Gazette.)

It was evident that the audience had a bad attack

of Ninth Sympho-mania. So soon as the clanging there was a hurrying to and fro in the crowded aisles, and a crush through the doors leading into the hall fearfully destructive to silk hats, ladies' dresses, and human tempers. It took quite a long time for the fortunate owners of reserved seats to regain possession of them, but after this was done, a hush, an unnatural silence came over the immense

of the bell announced the end of the intermission,

assemblage which spoke well for the character of

the audience. The impressions of two years ago in some cases, and the conviction that the inner sanctuary of the divine art was to be entered, exerted a power over all which held them in almost breathless silence. Not a bar of the music was lost; the tremulous whisper of the strings in the massive first movement, the bated accents of the first violins as they dropped the strangely suggestive figure which imparts to the movement its chief characteristic, all were borne to the furthermost recesses of the hall. How so many people stood throughout each long movement without shifting in their positions is almost a mystery. We had been led by a study of the first movement to expect some sign of weariness or ennui long before its completion, but the reality was gratifying-disappointment. All their senses seemed to have flocked into their ears, and they hung upon each sound as though it was a voice from the spirit world proclaiming to them things upon which depended life and death, Superlatives are idle in attempting to describe the work of the orchestra; it was simply perfect. Every note in the delirious whirl of the Scherzo as well as the in tricacies of the extraordinary variations of the Adagio and Andante themes,dropped from the strings with a crisp clearness and brilliancy which almost shut out the belief that fifteen first violins and not one were executing the music. It was certainly the most extraordinary revelation of artistic and mechanical perfection ever experienced in this city. Naturally enough there was no great outburst of enthusiasm after the performance of the first movement. The realistic [?] manner in which its apparent design and meaning are portrayed make it almost tedious to all save those who are far enough initiated into the mysteries of the musical art to become engrossed with its wonderful internal structure and development. It depicts more powerfully, than anything in music within our recollection, a continuous, desperate struggle for something which appears to be unattainable.

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It is a mass of musical tones put in violent agitation by the power of a will too weak to accomplish that which it attempts-to evolve order out of chaAmid the pregnant trembling of the second violins and violoncellos the reeds diseover a germ of melody, a sweet and promising strain; but hardly does it appear before it is seized by the serried ranks of brass and strings and plunged into the

foamless abyss.

The whole movement is made up of these strug gles; promising beginnings, a brief development, and a disastrous, despairing end. When its last minor chord is hurled out by all the instruments, no feeling of satisfaction or even of relief comes over the mind of the listener. He must needs wait for

thrill seemed to run through the listening thou- musical appreciation, yet one can hardly give too sands. There is something inexplicable in the pow- much credit to this beautiful and enthusiastic city er of the simple theme to which Beethoven has for the noble work which it has done in such a dared to set the beautiful words of Schiller's ode. noble manner. It is to the high honor of the FestiIt appears to be too trivial to be in keeping with val Committee and of Theodore Thomas that they the grandeur of the sentiments which the words ex- did choose works like the "Song of Triumph" and press, yet its power is irresistible. Perhaps, how- Bach's "Magnificat," which are as yet far above the ever, the most effective part is the chorale set to apprehension of the public; and it is to the honor of the words: the people that, though they did not pretend to relIhr stuerzt wieder, Millionen, Ahnest du den Schap-ish all these things, they never allowed their interest fer, Welt? or, as the words are tamely translated: to flag in the slightest degree. The aesthetic devel"Then, ye millions, kneel and praying, fear the opment of such a population as this will go on with Maker of the world.” a rapidity which must soon astonish the world. Fortunately, there is a circle of highly-cultivated and public-spirited people in Cincinnati, who are making a much better use of their money and time than the corresponding social circle in New York.

Its solema grandeur is overwhelming. One of its beautiful effects, however, we find is destroyed, as is the entire beautiful ode, by the translation. The setting of the line is as follows:

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The literal translation of the German line is "Ye fall down," and it will be observed that Beethoven in the realistic spirit which pervades the whole symphony [?] has suited the music to the action descred. The melody and harmony, not only of the chorus but also of the accompanying instruments, flutes, clarionets, violas and violoncellos, describe the fall, and the effect is heightened by the sudden hush and staccato rendering of the last notes, and then opening in the harmony. In the English version this excellent effect is entirely lost, since the line in itself describes no action as the original does.

The chorus attacked the difficult music with a

spirit which served to carry it through to a successful end. The sopranos especially showed a deal of In the severe strain of holding high A pluck. through thirteen bars they did not faiter, and even succeeded in making the nuances in other high pas sages very gracefully. As the conclusion of the part approached, however, the severe strain which the voices of those who sang had undergone told upon them, and there was a falling off in fire, strength, and precision. All the massive choral passages were grandly rendered. There is hardly any work in all the range of vocal music so tyrannous to the voice as the solo parts of this symphony. Mrs. Smith, Miss Cary, and Messrs. Winch and Remmertz did them justice, however. Only once did Mr. Winch's smooth, sweet voice falter after a strain of musical difficulty even in the Ninth Symphony. Mrs. Smith's voice scaled the lofty heights with the clearness which it always possesses, and held them with its old power.

As a whole, though the performance was excellent and eminently satisfactory, it did not equal that of two years ago. Then the chorus sang as though it was composed of people who were more than human. The applause last night was not such a spon

the giddy mazes of the Scherzo to obliterate the vague, restless impression made and left on the mind of the vain longings and efforts of the first movement. The influence extended by the Scherzo is widely different. The mind is taken captive and whirled off into the world of pleasure. He can not pause; the power that bears him onward is irresistible, he is powerless as against it. It cannot be said to prepare him for the movement which follows the Adagio with its celestial voices, but it does place him in a mood which enables him to appreci-taneous and overwhelming outburst of enthusiasm ate and receive its benign influences. In fact, try as we may, we cannot connect the first three movements until the key is not only furnished, but the unification itself accomplished in the choral finale. It is this fact, so plainly apparent, which has prompted the critics to deny that the work has any unity in design. Of the transporting beauties of the Adagio and Andante themes, and their wondrous variations and treatment, what shall we say? Are they not typical of the highest beauty, the purest and most lasting joys? Can any one listen to them without feeling his soul expanding with love toward all the world? Are they at all unmeaning or ambiguous? Let those answer who have been swayed by their influence. Both of these movements were received with bursts of honest applause such as well they deserved, for a more finished performance perhaps never was heard.

But now the Finale was reached and the expectant hush grew awfully impressive. Mr. Thomas appeared to be completely under some strange magnetic influence; we never saw him direct with such earnestness or heard so prompt and significant a response. The souls of the players appeared to be infused into the 'cellos and basses as they declaimed the recitatives which bridge the chasm between purely instrumental and vocal music, and when Mr. Remmertz, with his powerful voice, took up the strain first given out by the ambitious instruments, and clothed it with the words of Beethoven, a sympathetic

as that which is still fresh in our memories. True, there was a storm of applause and a thunder of "bravos," and calls for Thomas and Singer, but it sounded more like a token of appreciation for the excellent work done, and the plucky manner in which difficulties had been vanquished, rather than a display of wild enthusiasm. Perhaps it was because to very many of those present the work had lost its novelty, and they were, therefore, better prepared to listen with critical ear than when every

bar was a musical revelation. But when Mr. Thomas appeared and forced Mr. Singer to mount the

platform with him, the joyous tumult with which the two were greeted was extraordinary. Hats and handkerchiefs were waved, and the volume of sound almost threatened to lift off the roof.

CLOSING DAY.

[From a Staff Correspondent of the New York Tribune.] CINCINNATI, MAY 14. The festival closed this evening, and Cincinnati will long remember it as a bright chapter in the history of Western culture. It has accomplished more [?] than any previous musical celebration in America, and though it can hardly be denied that the principal selections have been rather above the comprehension of the majority of the audiences, and that the public zeal has been inspired sometimes by local pride much more than by

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.Liszt ....Liszt

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Solo voices, chorus, and orchestra. The only novelty in this fine programme least to a New-Yorker-is in the second part. Liszt's symphonic poem of" Prometheus " is known by our audiences, but the vocal music which he wrote for Herder's poem on the same subject is as yet a sealed book to us in its complete form, though the Liederkranz has sung some extracts from it. gramme calls it a cantata; but it is not a cantata; it is a series of musical illustrations of the poem, mostly choruses with a few solo passages interspersed, intended to accompany a recitation of the text, as Schumann's music was written to accompany and relieve a reading of Byron's "Manfred." Nor is there any connection between the vocal composition and the symphonic poem except the identity of subject. They were written many years apart; but their collocation is of course natural and logical, and the earlier work serves very properly and effectively as an overture to the later one. To those who know Liszt only by his instrumental works, the sweetness of this melodious vocal composition will be a great surprise. The most delicate vein of poetry runs all through it, imparting to the whole an appearance of grace and refinement quite as remarkable as its strong dramatic character. The poetic basis is always conspicuous in Liszt's songs and choruses; but here the union between the melody and the poem seems to be particularly close. One beautiful conception follows another with the most rapid step, but each is perfect and distinct. The divinities of the ocean and the nymphs of the grove, the blithe reapers and the jovial cultivators of the vine, the spirits of the Under World, and the muses on Olympus, all have their appropriate and clearly discriminated numbers, and all move before us like the living figures in a drama. The soprano and alto solos are short; in fact are little more than fragments of sweet melodic phrases. The male solostwo tenors and two basses-are more important, and in the latter part of the work are intrusted with a noble quartet. It is in the varying and always fascinating choruses, however, that the principal charm of the composition lies. The orchestra not only embroiders the vocal parts with a rich and delicate ornament, but combines with them to form a compact and carefully planned texture, and carries on so beautifully the spirit, if not the musical motives, of the symphonic poem which has been adopted as the introduction, that we can hardly realize that we listen to two independent compositions.

The performance of the entire Prometheus music was directed by Mr. Otto Singer, and when he took his place at the desk there was a curious scene. It seems that nearly all the chorus singers had small bouquets concealed about their persons, and Mr. Singer's appearance was the signal for a rain of flowers, which was prolonged for some time. They soon gave abundant reason for their partiality toward the accomplished musician under whom they

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