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WHOLE No. 887.


VOL. XXXV. No, 1.



the eye.

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Michel Angelo Buonarotti.

A beaven of larger zone

questions. Every composer of eminence will Not theirs, but his—was thrown

soon have his Thematic Catalogue. Dr. Lud[Born March 6th, 1475.*]

O'er old and wonted themes ;

wig von Köchel has achieved the good work The fires within his soul

for Mozart-how completely, some of us are

Glowed like an aureole This is a rugged face

thankful to know; an anonymous writer has Of him who won a place Around the prophets old and sibyls of his dreams.

attended to Schumann; Weber has been thorAbove all kings and lords;

Thus, self contained and bold,

oughly “done” by F. W. Jahns; and painstakWhose various skill and power

His glowing thoughts he told

ing Herr Nottebolm has looked after BeethoLeft Italy a dower

On canvas or on stone.

Nor is this all that Herr Nottebohm has No numbers can compute, no tongue translate in He needed not to seek

accomplished in the same line; the firm of words.

His themes from Jew or Greek;

Friedrich Schreiber, in Vienna, is now offering, Patient to train and school

His soul enlarged their forms, his style was all his as the latest result of his patience, a thoroughly

Own, His genius to the rule

good catalogue of Schubert. Together with Art's sternest laws required,

Enpobled by his hand,

every amateur who is interested in Schubert, Yet, by no custom chained,

Florence and Rome shall stand

we hail the new work with pleasure and conHis daring hand disdained

Stamped with the signet-ring

gratulate Herr Nottebohm upon the manner in The academic forms by tamer souls admired.

He wore, where kings obeyed

which he has discharged a very difficult task. The laws the artists made.

The great essentials of such a book are accuraIn his interior light Awoke those shapes of might, Art was his world, and he was Art's anointed king. cy and completeness: and when it is remem

bered that these qualities have to appear in Once known, that never die;

So stood this Angelo

connection with hundreds of compositions Forms of Titanic birth,

Four hundred years ago ; The elder brood of earth,

(many scattered about in MS.), and thousands

So grandly still he stands That fill the mind more grandly than they charm

of editions, the high merit of success need not Mid lesser worlds of Art,

be demonstrated. With regard to the accuracy

Colossal and apart, Yet, when the master chose,

Like Memnon breathing songs across the desert of the Catalogue, it is, of course, impossible to sands.

Independent. Ideal graces rose

judge confidently as respects every detail, but

we have tested the book in many ways, and it Like flowers on gnarled boughs.

has passed the ordeal triumphantly. That For he was nursed and fed

A Schubert Catalogue.*

there are no flaws in its completeness would be At Beauty's fountain-head,

too much to assert. And to the goddess pledged his earliest, warmest (From the Musical Times.")

Herr Nottebohm, for ex

ample, leaves unnoticed the few bars of melody “Not unfrequently,” says Carlyle, in the which were all that Schubert wrote of the Entranced in thoughts whose vast

“Preliminary” of his Sartor Resartus, “the Scherzo in the eighth (B minor) symphony: Imaginations passed

Germans have been blamed for an unprofitable But, generally speaking, the book may be styled Into his facile hand, diligence; as if they struck into devious courses

an exbaustive one; in proof whereof take the By adverse fate unfoiled,

where nothing was to be had but the toil of a particulars furnished about Die Schöne Müllerin. Through long, long years he toiled

rough journey: as if, forsaking the gold mines Besides the details usual to thematic catalogues, Undimmed the eyes that saw, unworn the brain that of finance, and that political slaughter of fat Herr Nattebohm gives us the result of his laplanned.

oxen whereby a man himself grows fat, they bors in tracing those famous songs through all

were apt to run goose-hunting into regions of their (German) editions and forins, nearly three A soul the Church's bars,

bilberries and crowberries, and be swallowed closely-printed pages being devoted to the ediThe State's disastrous wars

up at last into remote peat bogs. . . . Surely tions alone. The arrangements fill five and Kept closer to his youth, Though rough the winds and sharp,

the plain rule is, let each considerate person | a-half pages more, the character of the transTher could not bend or warp

have his own way and see what it will lead to. cription being specified, and also the author, His soul's ideal forms of beauty and of truth.

For not this man and that man, but all men publislrer, place of publication, and price.

make up mankind, and their united tasks the When a compiler shows industry such as this, Like some cathedral spire

task of mankind. How often have we seen are disposed to trust him, snd accept his That takes the earliest fire

some such adventurous, and perhaps much cen work. Of morn, he towered sublime

sured wanderer light on some out-lying, O'er names and fames of mark, Whose lights to his were dark. neglected, yet vitally momentous province, the

In arranging his materials, Herr Nottebohm hidden treasures of which he first discovered, did not attempt the impossible task of settling Facing the east, he caught a glow beyond his time. and kept proclaiming till the general eye and the order in which Schubert's works were Whether he drew or sung,

effort were directed thither, and the conquest written. Wherever the date of composition Or wrought in stone, or hung was completed; thereby, in these his seemingly

car be ascertained it is given, but the Opus The Pantheon in the air;

so aimless rambles, planting new standards, number guides in making up the first section Whether he gave to Rome

founding new habitable colonies, in the im- of the book. The compositions included in Her Sistine walls or dome,

measurable circumambient realms of Nothing this section, which is devoted to those with an Or laid the ponderous beams, or lightly wound the ness and Night.” Thus (with a very moderate Opus number only, are 173, beginning with the stair;

expenditure of capital letters) does the Sage of “Erl King;” and ending with six songs for Whether he planned defense

Chelsea vindicate Diogenes Teufelsdröck, J. voice and pianoforte. This opening and closOn Tuscan battlements,

U. D., &c., his researches into the philosophy ing must strike everybody who examines the Fired with the patriot's zeal,

of clothes, and his six bags of "miscellaneous | list as significant. Turning over page after Where San Miniato's glow

paper-masses.” Some such championship might page, we find little save song after song; and Smiled down upon the foe, have appeared necessary when another German

even when a break first occurs, it is made by a Till Treason won the gates that mocked the inva- began to burrow for the details required to

set of waltzes (Op. 9). At Op. 15 we come der's steel;

make up the first Thematic Catalogue of a great upon the fantasia for pianoforte in C major, Whether in lonely nights, composer's works, and patiently to hunt down

after which songs and waltzes begin again, till With poesy's delights

all the Protean forms which the ingenuity of Op. 26 introduces the music to Rosamunde. He cheered his solitude ;

arrangers and transcribers had caused those Presently chamber music makes its appearance,

works to assume. In sculptured sonnets wrought Was the game worth the but the ratio of important works to compara

How His firm and graceful thought,

candle? Who would buy the book? To what tive trifles is not greatly increased. Like marble altars in some dark and mystic wood; use could it be put commensurable with the eloquent is this fact, especially when looked at

trouble involved ê So might lookers-on have in connection with Herr Nottebohm's third Still, proudly poised, he stepped

queried, not without a touch of scorn; but the section, which catalogues the compositions The way his visions swept, patient German worked on, and the result was

without Opus number, published after the comAnd scorned the narrower view; He touched with glory all

that he founded a distinct and increasing class poser's death. Here we start with the ninth That pope or cardinal. of musical literature, the value of which nobody and eighth symphonies, going on with the

quartets in D minor and major, the pianoforte With lower aims than his, allotted him to do.

*" Thematisches Verzeichniss der im Druck erschienen- sonata in A minor, and those in C minor, A

Werke von Franz Schubert." Herausgegeben von G. and B flat. After these come four masses, the * Read at a celebration of Angelo's 400th birthday by Nottebolm. Wien: Friedrich Schreiber (Vormals C. A. the N. E. Women's Club, Boston, March 6th, 1875. Spina.

cantata, Lazarus, and a host of works nearly



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posthuimoim arance. A Twulver Schubert's isna I being antagonistic to the imputable laws of destematica

Their religious fanaticism and A writer of songs and | Nature, -he seeks and implores superhuman unbending persistency would not permit an waltzes in life: in death, he appears among the agency to grant him that which it cannot. ultimate reconciliation, after a misguided grandest of tone poets. Pity him we must, for Faust then appeals to another source, to the such a spirit as bis, though he labored on re Demon, who willingly offers his services; he The idea of Ormuzd and Ahriman, of angels gardless of present renown, could have done no

accepts his guidance. The good principle then, and demons, which form such prominent feaother than long after that recognition which having in view the salvation of every soul,

tures in the legend of Faust, is also found in is, next to its own self-consciousness, the comes in direct antagonism with the 'bad the legends of other nationalities--thus, sweetest reward of genius. But the moral to principle. The ultimate victory remains with instance, in the Bohemian legend of the Freibe drawn from Herr Nottebohm's Catalogue the good principle, as the Demon can never schütz made use of by. Von Weber; but in brings comfort after all. The good cannot be satisfy a great and noble nature, He may other respects it has little or nothing identical repressed. That which has in it a spark of the momentarily intoxicate a Faust while leading with the Faust islea; Max is thoroughly pasdivine fire will some day kindle the admiration him through all the labyrinths of error, but sive, --Agathe and Casper act for him, while of the world.

that which he offers him is but earthly goods we witness the conflict between heaven and The second section embraces the multitude and not that after which a Faust strives. Only hell about a man, who was at best but an imof Lialer published by Diabelli under the title: through the humiliation of his pride, his meek becile. l'ranz Schubert's nachgelassene murikuliche Dicht- submission to the fixed boundaries of knowl The Spanish legend of Don Juan, on account ungen Fier Gesang und Pianofortein all fifty edge, does he at last find redemption. The of its adaptability, has often been employed sets. But to many who avail themselves of this Angel conquers, and leads him to where his prior to Mozart's time by both poets and musiwelcome volume, one of its most interesting spirit, too great for earthly barriers, finds peace cians; and notably among the latter was the divisions will be that which brings the whole and contentment.

great Christopher Gluck himself

, who wrote of the master's compositions under the eye in This Faust idea was naturally nurtured and the music to the ballet of “Don Juan." But orderly battalions. After reviewing page after developed by the Germanic race, in consequence how incomplete the Faust. idea is in the page of orchestral, chamber, and concerted of their reflective disposition, although it legend of Don Juan may be inferred by the music of various kinds, we come finally upon required a genius like Goethe to bring it to a positions occupied by the women who appear the army of songs and vocal pieces, only to look consummation. If we examine the Faust therein. From the hero they receive treatdown their ranks with a sense of utter bewil. legends of other races, especially those of the ment which, to say the least, is regardless and derment as we remember that the author of all French and Spanish, we find in them the same

almost brutal, while they seem to exist wholly as these things died at thirty-one. The fecundity human basis clothed in appropriate form, but

a testimony of his profligacy. Elvira and Žerof Schubert was monstrous, and, in view of it, neither race produced a Goethe to perfect it; line also represent womanhood such as is found his early death seems the most natural of events. although it did serve them as'a subject of many by the thousand, while in the Faust of GerHe, if ever man did, accomplisbed the work important art-creations. Robert of Normandy, many, womanhood is represented as the highest that was appointed bim. For this let us be surnamed the Devil, and Don Juan of Seville, type of moral beauty, at the same time forming thankful, and not for this alone. The grati- are the Fausts of France and Spain. In both the most important poetic element, such as tude of amateurs who love Schubert is due to characters is visible that vaulting ambition Goethe's portrayal of Marguerite. the plodding, unwearied industry of the Ger- after human greatness, that stepping out of the

Don Juan, Robert the Devil, and Tannhäuman savant from whom the book before us has circumscribed limits of man, --consequently ser, are the most prominent variations of the

Herr Nottebohm could never be charged that same conflict between the good principle Faust idea that have attained any success in

goose hunting," or with exploring “re and the bad. The Norman legend has its musical representation, and in truth are better gions of bilberries and crowberries,” but, to Robert born from a noble and pious woman and adapted for artistic treatment than Faust himcontinue the words of Carlyle, he has lighted the incorporated “parts of that power which self, because they are less spiritualized. The on an outlying and neglected province, the ever creates the bad and ever the good.” Here positiveness, abstraction and deep reflection of treasures of which are now common property. it at once becomes evident, that from Robert's Faust contradicts the whole nature of music, Schubert Owes him much on that account. birth, there already existed in his breast two therefore cannot receive the proper musical We owe bim more.

J. B. souls, one endeavoring to subdue the other. expression, while the more incomplete funda

These two souls find their incarnation in his mental idea can, because music speaks in an The Faust Legend in Opera. surrounding persons, Alice and Bertram. But indefinite language. The Faust of the compo(From the Albany Sunday Press.)

Robert is a French Norman, consequently his ser Spoor is consequently not the Faust of
ideal is of another form than that of the German Goethe; he is but another Don Juan, trans-

Faust. He finds it possible to satisfy his desire planted to German soil, and like him even a Of all exciting legends none is of such high after infinitude in the ultimately attainable lesser embodiment of the Faust idea than Robimportance or gives us a deeper insight into happiness of the finite.

ert the Devil and Tannhäuser, -even he cannot the internal workings of the soul than the The character of Robert is likewise analogous find rede on. legend of Faust. While others, in their to that of the accompanying Demon, therefore It may be said, that since Mozart's time none fundamental ideas move within the pale of a immensely different from that of Mephisto- have attempted to express the Faust idea musidistiuct nationality, and thence representing pheles. Faust is a profound thinker, a man cally with any degree of success; and it was the true reflection of the character of its people, of unbounded knowledge, - his devil conse Mozart's great genius alone that led him to the legend of Faust contains the embodiment quently must be scholastic, sophistical. grasp part of its spirit and convey it with tolera. of a universal and purely human idea. We Robert of Normandy is also a sort of knightly ble perfection. As for the Faust of Gounod, it therefore find it among most of the European bero, a more sensual man, and affected some is, perhaps, unnecessary to mention that it is but nationalities, although more or less modified, what by the peculiar romanticism of the middle

an abortive creation and a burlesque upon according to the peculiarities of every distinct ages; his infernal companion accordingly, is Goethe's sublime poem. people, yet in its fundamental idea unchanged. but another of those sbadowy formations, like To the ancients the Faust idea was of course the well-known Northern Phantom, without

Operatic Companies. unknown, because they lacked the worldly horns, hoofs or tail, yet withal an agreeable ()pera companies having failed to make money views founded on Christianity. They were and good-natured fellow. For a Robert, a for the past two seasons in this country, it was genonly acquainted with the immediate motive of Bertram sufficed—a Mephistopheles he would erally supposed that the poor attendance upon these the Faust legend: the conflict of Light with not have understood.

inusical performances was due to the hard times

with which we have been afflicted. Such a conclu. Darkness, Angels with Demons. Only in their

An analagous being to Robert the Devil we hcaven-towering Titans could we possibly also find in Germany in the legend of Tann- that it is asserted that the present season abroad

sion, however, seems scarcely warrantable now find an embodied analogous idea, and there häuser. In him we find the same striving after has also terminated unfavorably for both singers only in its crudest outlines. Through the infinitude that appears in Faust, though in a and managers.

Troops have disbanded, and the doctrine of Christianity, which destroyed their much lesser degree, yet his intellectual charac- lyric stage may well be said to be in a bankrupt belief in a blind ruling destiny, and elevated ter is far above that of the French hero. Tann-condition. In Berlin the Imperial Opera is declared man to a higher and nobler existence, was häuser, like Robert, seeks his delight in a a bad speculation; the director could not afford to every latent desire awakened to seek after that gratification of the senses ; angels and demons pay the regular prima donna salary, and Madame infinitude, which, because of the circumscribed also stand near bim, only the love through Lucca, not believing that a half loaf is better than and solely to the finite directed bodily and which he gets redeemed is a more ideal love

no bread,” declined to appear, as did also other spiritual organization of man, must ever to him than that of Robert's. Tannhäuser again

members of the company. The Imperial Opera at remain the nnattainable.

reflects correctly the spirit of his age, of the Vienna has fared little better, the director having The keen and undismayed striving after a

announced a deficit of 750,000 francs. At Cairo and Trobadour. All he speaks, thinks and acts, universality of knowledge, the endeavoring finds expression in the poetry of that age and stand purse-bearers to the royal houses of song, and

St. Petersburg the Czar and Khedive respectively of the human mind to unfathom the inmost especially in that of Heinrich Von Osterdingen, depths of Nature, and the discontent with from whom Richard Wagner borrowed many deficiencies of the bad term.

consequently have been called upon to make up the

At other places on that which is attain ible--all this is peculiar to points and transferred them to his hero. Again the continent the season has been disastrous, and the Faust of every nation. It is thus he falls it is a distinguishing characteristic of the Ger- the opera hou: es are reported closed. Only in in conflict with himself: it originates in him a

man and French character, that the moral Paris does opera appear to have thrived, and there conflict with the good and bad principle; spirit of the people can reconcile itself even the new opera house and the extreme musical proangels and demons follow him, and because

with a Faust or Robert, while the Spaniard chivities of the people contribute to make it an exhis desires must ever remain unfulfilled,

permits his Faust, the Don Juan, to go to ceptional case.




These facts are significant. But to what do they late in life, but not to late for the probability of

Bach in Soho. point ? Evidently something is wrong with the years of enjoyment springing from faithtul discharge opera or the public: Maretzek was not crushed of high duties, the most learned of English musicians

(From the Guardian.") financially last year without cause; neither did finds himself in rank, as in acqnirement, at the head Considering how English in temperament was Strakosch lose heavily this season except for reasons of his profession. Than he who is at once Cam the great Bach, it is strange that English church that may be discovered. The trouble seems to be bridge Professor and Principal of the Royal Acade musicians have been so long in learning to appreciin the expense of singers to the managers and of my of Music, there can be no greater. Mr.

ate him. For generations he has been looked upon their singing to the public. Strakosth's expendi- Macfarren-apart from the Knighthood which he “ dry," which his vocal music certainly is not, tnre on a performance with his last troupe was from may possibly have to share with a batch of provin- unless the embodiment of deep feeling in every $2500 to $3500 a night. It takes a good house to cial mayors, or the Sheriffs of London and Middle-phase be consistent with the epithet; and held up offset these amounts, and good houses at $3 and $4 sex-has reached the most exalted place open to an as a wonder of contrapuntal complication, when it a seat were an impossibility, considering that money English musician, and the labors of his life have, in would be nearer the truth to describe him as a was scarce and the performances only fair. Malle. this respect, been “crowned.” Very likely no one master of perfectly intelligible and enjoyable elaboAlbani demanded $1000 a night, and was obliged is surprised at his Cambridge success, or unready | ration. Bach was not only very English, but he to close her engagement prematurely because she to deny the possibility of anybody outrunning him was very like an English organist. His fingers could not “ draw” sufficiently to earn it. Nilsson in the race. Mr. Macfarren needs no more splendid clung to the keyboard while impatient preachers and Lucca before her had been accorded equally testimony to his worth than this general acquieschafed to begin their sermons; he had his differences great sums, and she probably argued that by taking cence in his election ; but, at the same time, it is with church officials, and disguised the chorale with less she wouid compromise her professional position. very easy to see how he might have been defeated. extemporary variations, so as to “pnt out” the conSingers, actors and lecturers are apt to forget that For some reason or other, which does no credit to greg ition. On the other hand, again, like church their remuneration must be gauged, not by their the wisdom of Alma Mater, the election of Professors musicians nearer home and nearer our own time, estimate of themselves, but by the desire of the at Cambridge is vested in a miscellaneous body when he found a sphere in which he could indnlge multitude to hear and see them. Thus when the called the Senate. The members of this, no doubt, his musical predilections, he threw himself heartily relations of managers and artists are of mutual ben- learned and highly respectable corporation, are into the work, and had no difficulty in co-operating efit, they are in a healthful state; when otherwise, scattered all over the country-many of them as with congenial minds among the clergy. It was in one or the other is working for less than his or her much severed from the University in thought and his position as organist and director of music at St. rightful compensation, and a dissolution of partner. sympathy as they are by distance, and very few of Thomas's, Leipzig, that this side of his character ship is then imminent. But another party—the them able to discriminate, if they were disposed to came out, and that he not only produced his immorpublic—is necessary to a proper mediation between try, among the claims of candidates to a special tal settings of the Passion, but composed nearly 400 ihese principals, and a successful result of this triple dignity such as the Chair of Music. These non cantatas, or extended anthems, one for every Sunday relation can only ensue when all the parties are resident members are a majority, and a candidate and other festival for five successive years. In a working in harmony and each member finds the as favorably circumstanced in the matter of social recently published biography of the composer* we sociation advantageous. No one party will submit influence, or endowed with personal qualities such to repeated loss, or to a disregard of its wishes for as make men favorites, has only to lay himself out « Previous to this the motets and cantatas were any length of tiine, so that the welfare of all con to secure their votes in order to achieve success. chosen without any regard to their coloring and cerned depends on a proper consideration of each The danger of this result is over for the present, connection with the other portion of the service; other, that the beneficial union may be maintained. but the risk will have to be run whenever the but Bach made it his business to acquaint himself In view of these facts, then, it seems necessary that election-absit omen—is repeated; and its existence with the preacher's texts, and the whole bearing of under the existing operatic diffiulties some com- should be taken into account by those who are de- the day's service, choosing the theme for his cantata promise should be effected. It is unhesitatingly sirous that the best man should win. Of the gen- accordingly. The most general form of these candeclared abroad that concession belongs to the tlemen who came forward as Mr. Macfarren's rivals, tatas was—first, a grand orchestral introduction, singer to whom hitherto everything has been sac-only one, perhaps, intended a serious struggle for after which followed a fine and impressive chorus, rificed-good support, new operas, managerial ben the place." Dr. Wylde evidently meant business, succeeded by 'recitatives, airs, or duets, the whole efit and the good will of the public. It is only and only withdrew at the last moment, when the concluding with a choral, in which all joined. The reasonable that now, their own course having impossibility of success became obvious. We have orchestral accompaniments are remarkably fine, and proved destructive—at least to those upon whom nothing to say against Dr. Wylde's candidature, now quite independent of the voice. Besides the organ, they depend--they should content themselves with that the issue has been determined. A Gresham strings, flutes, hautboys, and trumpets are ema more equitable division of profits. If they have professor has surely the right to try and make him. ployed.” not the wisdom to do this, they ought certainly to be self a Cambridge professor; nor can he be accused It is one of these cantatas or anthems which is allowed to see whether they can live longer without of over-vaulting ambition. The remaining candi now being rendered-perhaps in the manner Bach singing than the public can without hearing them; dates may be divided into two classes ; first, those himself had them rendered in St. Thomas's, Leipzig ; for, delicious tit bits that they are, it is true also who, like Mr. Barnby, desired chiefly to put them certainly in a manner he would have liked to hear they are but luxuries after all.-Sunday Herald. selves en evidence in the matter of a professorship. them rendered on Sunday evenings during Lent

The post is one to which a rising musician may at St. Ann's Church, Soho. We have had in former Cambridge University Musical aspire with perfect fitness, and no rising musician years to describe orchestral services at this church; Professorship.

has a more unquestionable right to connect his name they have been of a more ambitious character hith

with the possibilities of the future in this respect erto; but certainly not more satisfactory. The (From The Times,” March 17.)

than the conductor of the Albert Hall concerts. work chosen this Lent is the cantata “Gottes Zeit The election of a Professor of Music, in the place The second class is made up of those crotchet iste die Allerbeste Zeit,” Englished by the Rev. J. of the late Sir Sterndale Bennett, has resulted in the mongers and ambitious nobodies who are always | Troutbeck, of Westminster Abbey, and published almost unanimous choice of Mr. George Alexander coming to the front when there is an opportunity of at Novello's as “ God's Time is the Best.” As reMacfarren, the eminent composer. Since the decla- catching the public eye.

These characters are gards the sentiment of the words, this little work ration of the vacancy numerous candidates offered found everywhere, and not even the late Sir Peter appears to have been intended as a New Year's Day, themselves for the vacant Chair, but retired upon Laurie could have put them down had he tried. or Advent, lesson on the uncertainty of life: there being informed of the influential support already Some of them are, or have been, representative men. is nothing specially Lenten in its character; though promised to Mr. Macfarren by the residents. Dr. There was a butcher at Tiverton, when Lord Pal- the absence of any highly wrought passages, and a Wylde, the Gresham Professor of Music, remained merston was member for that Devonian burgh, who general quiet and religious sadness, fall in well with in the field as a candidate ; a London committee was always broke a lance with the statesman at election the present Church season, In construction the formed to promote his election, and up to noon time, and was regularly tumbled in the mud, to the cantata or anthem answers pretty closely to the yesterday a contest seemed inevitable. Eventually vast delight of the natives. And there is still, we description we have quoted above of the round of Dr. Wylde withdrew. As a poll had been announced, believe, a Mr. Jones, for whom, at every choice of works which constituted the great German church however, the formality was carried out, The Vice- Lord Mayor and Sheriffs, the livery of London in organist's musical “ Christian Year.” A "sonatina" Chancellor and Proctors attended at the bour pre- Common Hall assembled, look as confidently as for of twenty bars, molto adagio, prefigures the tender viously appointed, and at eight this evening declared east winds in May. Upon such people it is impos. solemnity which pervades the subsequent choral the election to have fallen on Mr. Macfarren. By a sible to think seriously, and the best course is to writing: the principal subject is here assigned to recent Grace of the Senate, the new Professor will get as much fun out of them as possible. For this the flute, an instrument which Bach used largely, receive an annual stipend of £200; and, in addition course some of the recent candidates gave abundant and in more sustained obbligato fashion than is now to examining the exercises for musical degrees, will opportunity, and answered the end of making the the custom. In St. Ann's, a building where music deliver a course of lectures on Music during each world merrier, if not exactly wiser. But the lesson is heard to perfection, the effect of this prelude was academical year.

of the whole matter is one adapted to encourage. all that could be imagined as desirable for the

Virtually inopposed, the best man has gained the expression of its spirit: we never before felt that (From the Musical World, March 20.)

prize, and merit wears, as well as deserves, the flutes could be so entirely ecclesiastical. PALMAM qui meruit ferat. The old “saw," palm.

Mr. Barnby has a full and well-drilled choir; and which so many are disposed to regard as a satire With Mr. Macfarren in the Cambridge Chair of they took the littie, lucid, firm-built first chorus, upon actualities, is but a reflection of the logic of Music, we may confidently expect a good return of

God's own time is the best,” with an air of quiet events. As a rule, he who deserves reward gains labor done. He is not likely to be satisfied with a command over its rendering, which, while it satisit. The honor may be long in coming; may go perfunctory discharge of 'imperative duty, but fied the musician, had the devotional advantage of astray en route, like a mis-delivered letter, "may rather to accomplish more than his bond exacts. preventing any thought of anxiety in the listener as even be delayed till Death steps in, but, sooner or

Henceforth, not only will there be musical lectures to the possibility of failure: the singers, in fact, later, it comes. In this respect, the mill of Frovi at the junior University, but, we may hope, a quick might have been forgotten in the quiet ease of the

execution. A tenor solo, “O Lord, incline us to dence grinds slowly, but grinds with exceeding ened musical life, which shall bring about a higher

consider that our days are numbered,” was sung in fineness, leaving nothing to pass without the impress regard for the art among those who are destined to of divine jnstice. It is needless to dwell upon this exert vast influence in shaping the public opinion of

that true ecclesiastical style which draws no attenfact-one which wise men in all ages bave recor

the country.

Should results like these follow Mr. {tion to the performer by Mr. Chas. Wade; to hear nized, but our reference to it comes appropriately Macfarren's election, the anticipations of not a few whom must go far to disarm those who think that in view of Mr. Macfarren's election as Musical Prò. | will be realized : and, once more, Wisdom will be

*" The Great Tone Poets." By F. Crowest. (London: fessor in the University of Cambridge. Somewhat justified of her children.

R. Bentley and Son).




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all solo singing in church is “ • display.” A fine mits not to enter the sensuous poison of modern exaceer just so has the doppia acciacatura, or the full modern feature of this cantata is the next movement, for all ation, threatening to sap the very life of genuine musical

gruppetto, taken such insidious possession of the the bass voices, “ Set in order thine house, for thou

Wagner themes that, whether in his earlier “Rienshalt die,” accompanied, in piquant contrast, by the

One writer in particular tells us : "The paragraph zi” and “ Flying Dutchman,” or in his later "Tann; flute, with quasi arpeggio passages, staccato ; and evidently meant more than the words said, being a

häuser,” “ Lohengrin,” and “Tristan and Isolde," an under movement of the strings, also staccato. sweeping assertion with such manifestly large inclu

or in the “ Meistersinger," there is the same senti. The next little section of the work is an example of siveness, as seemed entirely out of good taste, and mental, tedious mannerism, robbing his heroes and Bach's skill in the beautiful device of floating a treble betokened a wilful ignorance of the beauties of what heroines alike of all individual character. solo upon a rocking sea of counterpoint in ihe lowwas termed “ modern effect-music.” The italics are

We refer to the following examples, among many er voice parts ; over these latter, singing the words, our own.

others, in verification of this assertion: In the theme " It is the old decree, Man, thou art mortal," enters

Whether the paragraph in question was in good of the mixed chorus, “ Lohengrin,” first act, third presently the voice of a treble chorister, in one of taste is left to the decision of others; but such a

In the introduction to the same opera, theme the master's most piously tender strains, " Yea come, public accusation of wilful ignorance " touches our

in the second act, second scene. Theme in the proLord Jesus, come." the whole forming a gem of re- character as a musician, to which we are compelled cession after church, second act, where in the short ligious musical pathos. The same perfectly undem. to reply. onstrative, but by no means anfeeling style, here

That Richard Wagner was meant in the quotation cars three times. Theme of the duet of Elsa and

space of six measures the gruppetto mannerism occharacterized the rendering under Mr. Barnby's given must be obvious to all who follow with inter. Ortrud, second act, second scene. The song of El. direction.

est the unmusical tendency of most modern compu sa after the duel, first act, last scene. In the duel Not the least grateful of the several effects in the sitions. We do not exclude from our programme scene, where not the gruppetto but the same tedious anthem, is the occasional entry of the organ alone, Brahms and Raff, as one writer would imply, thus grouping of four notes in constant repetition over after the orchestral instruments have bad possession anticipating our fourth programme. But we do chromatic progressions, which latter we shall find of the ear. This occurs—to mention one of several draw a sharp line between the Wagner musico

to be another sentimental mannerism. We refer places—at the solo, which in turn the alto voice dramatic works and the pure music of Bach, Handel, further to the principal theme of the introduction takes. "Into Thy hands my spirit I commend.” Haydn, Mozart and Beethoven. Wherein does the and overture to" Rienzi," principal theme of Rienzi This beautiful number is most expressively sung by great distinction lie? On the one hand is the ideal in his song to the conspirators, theme of the procesa lady. In the next movement, à bass solo, “ Thou izing of reality.

sion in act 4; also, of the duet in act 5 ; also of the shalt be with me to-day in Paradise," the alto sec

Personality in its purest form proceeds first from

prayer in act5. Theme of the “Tannhaüser" tion of the choir enters, after a while, with snatches experience, from things and facts. Its development, march. Theme of Elizabeth, in Tannhaüser,” act of a choral, overlying, in sustained minims and semi at first, therefore, is in a realistic sense. But from 2, scene 2. Theme of duet between Elizabeth and breves, the more rapid passages of the bass, and, in this soil springs up and blossoms an ideal life. Thus Tannhauser, act 2. Theme of a song of Wolfram's the end, taking exclnsive possession of the field, the Beethoven, in whom culminates a whole series of in the Sängerkrieg, same opera. Wolfram's “ Song solo ceasing. No doubt Bach intended, in starting great talents, demonstrates what direction idealism to the Evening Star,” act 3. Theme of the postlude this choral, to give a cue—the expression must be in art ta kes, when left :o a development wholly of Elizabeth's prayer, act 3, and others. These are pardoned as the only one available—to the congre

unrestrained by personal feeling and hopes; or sel from well-known portions. Another peculiar and gation; and it may well be imagined what a grand fish bitterness against a large portion of mankind.

noticeable feature of these themes is the fact that effect might arise if the congregation could only In Beethoven, whom we select as a spiritual art-type. the gruppetto cannot be left out of them without detake the cue, and, gradually gathering their voices is the individual nature of such an exalted kind that stroying their very essence. together, assume the role designed for them. It is, we feel in the productions of his genius, not a spec This sentimental gruppetto, which is but an perhaps, hardly necessary to say that no one of the ial, one-sided, selfish expression, but the pulse of a

bellishment in previous masters, becomes an indiscongregation at St. Ann's takes up the part.

noble humanity. Only he, who like Beethoven, pensable factor of very many of the most prominent A doxological chorus of vigor and dignity con

bore within himself a whole world, could express a melodic themes of Wagner. Whichever hero or cludes the cantata, the performance of which

world's emotions.” The continuity of thematic and heroine Wagner may introduce to us, we see the throughout was as near perfection as conld well be contrapuntal development; the principle that a

same sentimental face, wherein conventionality in imagined. No church, and no choir, perhaps, could genuine musical motive is a gerin which unfolds place of deep feeling dwells. Shortened forms of be better fitted for a revival of the historical scenes

itself according to certain iunate and vital laws of this same mannerism are used as well. See theme of musical worship for which the work was original musical growth, are axioms upon which rests the

of Wolfram's solo in the septet, act 1, of Tannhaüly written. As one has often wished, at a Handel whole superstructure of music as an art. Let us festival, that IIandel could live again to hear his see then, if the Wagner composition: are test proof. In the theme of the bridal proression in act 3 ; of

ser. Theme of Tannhauser's prize song of Venus such as be must have dreamed of when he scored

Elsa in act 2, scene 2 ; of Ortrud, act 2, scene 4. ner pamphlet on “Judaism in Music,” [See Dwight's

“ Just so does the Jewish composer tumble tothem, so one could but foolishly long for the impos. Journal of Music, diay 22, 1869,) we will make a few sible possibility of the dear old Leipsic organist- quotations: First, to show the tendency of the gether all the diferent forms and styles of all maswho was so mnch more than an organist-being a

ters and periods,” says Wagner in the qnotation Wagnerian spirit; second, to prove more conclu

given above. hearer of one of his own church cantatas, performed sively the tenability of the ground we have assumed. in quiet perfection, as this is, with flutes and viols, We pass over the first portion of the review, where

Let us turn again his own words upon him. What and by white-robed choristers, as an edifying adjunct is seen working himself and the reader up to a great bass of Von Weber? No, indeed. It is naught else Wagner, in bitterly relentless and vindictive terms,

next mannerism do we find ? Is it an imitation of

the diatonic progression, so marked a feature in the to worship:

The choir numbers sixty-one voices; the instru- pitch of excitement by enumerating all the bad ments employed are two flutes, two first violins, two points in. Jewish history, raking into brond day progression of this very Jew, Meyerbeer, the only second violins, two violas, two violoncellos, two light all their disagreeable and repulsive qualities : difference being that Meyerbeer uses it comparativedouble basses, and the organ. Mr. J. Coward, jun.,. telling us the Jew is worse than a brute; that he lv seldom, whereas Wagner infuses it into almost is organist, and employs his instrument with rare and commendable abstinence. The church last Sun. forgetting that great “ King of the Jews." from the whole of all his writings. We refer to almost day was crowded to such an extent that standing whom emanates the whole poetry of the Cliristian any page of his operas. Perhaps many may recall room was hardly to be found.

the song of Venus in the second act of " TannhäuJ. C.

religion. Not one good trait, not a single redeem-
ing feature of the Jew and his relations to humanity, the introduction to “ Lohengrin,” as examples.

ser;" the theme of the overture to the same opera ; and to art, is to be found in the whole pamphlet of Pure Music vs. Wagnerism. fifty pages. But having carefully prepared the way

Let us qnote again from the review of the Wag.

ner pamphlet; he says of Mendelssohn, “This In the Transcript of April 9th, appears the follow. by insidiously prejudicing the mind of the read. ing letter by Mr. George L. Osgood, in answer to

er, he suddenly and most ungenerously exclaims, person has shown us that a Jew can have the rich" There are no noble germs in them."

est abundance of specific musical talent, can possess certain critics of the Wagnerite persuasion, who Hlaving demolished all their pretensions to emo

the finest and most liberal education, as well as the have found matter of offence in one of his “ Histori- tion, poetic feeling and art in general, Wagner now

finest sense of honor, withont being able to move us, cal Notes.” We copy it without the sensational comes to the main point. • The Jew has done poth. no: not even once, with that deep heart and soulheading which the Transcript gives it, and for which ing and can do nothing but imitate. Even this im- stirring emotion which we expect of the art, and itation is at the most superficial. His whole life is have felt times without number. when a hero of our

which we know it to be capable of; an emotion we we presume the writer is not responsible.

superficial; hence his compositions are heterogeneTo the Editor of the Transcript : A paragraph ous, cold, indifferent, unnatural, distorted, so that art, so to speak, has opened his mouth to talk to of the historical notes on the programme of the they often give us the same impression as the reci.

And further on, “Where the feeling had to come third historical concert on Friday last has evoked tation of a poem of Goethe in the Jewish jargon.

from from certain well-known musical critics expressions Just as in this jargon the words and construction go Mendelssohn's musical productive power censed.

sonrce than mere sentimentality, which the writer feels called upon to meet. The tumbling over each other in amazing confusion, just the dissolution and capriciousness of our musical paragraph in question is as follows: Here we see, then how vital was the influence of Bach different forms and styles of all masters and periods. style, though perhaps not introduced by him, have

We find the peculiarities of form of all the schools highest point of unmeaning and empty purport.” and Handel upon the whole after period of the art of mu

yet been raised throngh Mendelssohn's means to the sic. Neither of these masters influenced very essentially heaped up in the liveliest chaos.” his own age; but the compositions of later masters assert

And again he tells us Mendelssohn, whose reputavigorously the presence of their genial spirit, and the Let us take these very words of Wagner and ap- tion he so envies, is the consummation of “coldness, boundless grandeur of their genius. In the province of ply them to his own compositions. With what ro indifference, triviality, absurdity.” And yet again, pianoforte and vocal chamber music of which there pro- sult? The characteristics of these same ones whom “Meyerbeer's life has been wasted in catering to a fach especially paramount. Through his son Emanuel, he relentlessly decries, Wagner has made his own, paring, but second-class pnblic."

and to such an extent that they are tedious manto Chopin, and Mendelssohn, Schumann and Rob. Franz nerisms. Just as in the Meyerbeer melodies the in all the Wagner operas the reckoned effect of

But again do we find Wagner following him. Note ruus the line through which the cloetrie current of his oft-occurring modern acciacalura not only over an sharp contrast of extreme high with extreme low Indeed, from Bach to Rob. Franz seems but a step. The interval of the major and minor second, but over pitch ; of the softest pianissiino with the utmost naivelt of the Volkslied and the polyphony of Bach com- any interval at the option of the composer; just as bine to make Rob. Franz: In this genial atmosphere of this peculiarity and its variations are characteris- second act of "Tannhauser" almost the reflection of

fortissimo. Who does not see in the finale of the not breathe. In this sanctum of true souls, the Muse per- tics which we recognize as belonging to Meyerbeer, the tremendous and sudden effect produced under


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