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learned the "Prometheus;" for their execution of the work under his sympathetic hand was one of the most glorious successes of the festival. The tone was magnificent; the shading and expression were extremely nice; the ever-changing nuances, from which Liszt's music derives so much of its effect, were observed with perfection; the singing was equally admirable for technical precision and for fine intelligence. The solo parts were all excellently rendered by Mrs. Smith, Miss Cary, Mr. Winch, Mr. Bischoff, Mr. Remmertz, and Mr. Whitney.

The first part of the concert, of course, was directed by Mr. Thomas in person. I have said that it offered nothing actually novel, but perhaps I am wrong. The great Schubert Symphony was a novelty in one sense; for such a performance of it has probably never been heard in this country, and I do not believe a better one is possible anywhere. It fairly blazed with splendor, and the tremendous finale was given with a magnificence which roused the whole house so that at the close the audience rose in their places and cheered. The music of the "Walkuere," which I supposed to be almost unknown in Cincinnati, was also presented with unusual brilliancy, and made a very strong impression. It was better sung and better played than I ever heard it in New York, Mr. Remmertz being at his very best, while the increase in the orchestra added much more to the effect than I should have expected.

The attendance to-night was overwhelming nearly as great, in fact, as it was last night, and the festival broke up in the midst of an indescribable scene of enthusiasm, singers and audience all hurrahing together, and loud shouts for Thomas rising

above the din.

Keyed-Stringed Instruments of Music.

SIR ROBERT STEWART'S LECTURES AT Dublin
UNIVERSITY.*
III.

*Reported in the London Musical Standard.
Last week, I alluded to the difficulty in account-

ing for the "virginal" being so named, that instrument having been in use before the reign of the Royal Virgin who founded this ancient university. The tuning of the virginal had been alluded to in a wall inscription or "proverb" at the manor house of Leckingfield, Yorkshire, which dated from the time of Henry VII. :—

A slack string is a Virginal, it soundeth not aright,
It doth abide no wresting, it is so loose and light.

The derivation of the "clavichord" was readily traced to " clavis," a key (not the tuning key as some had supposed, for this was common to the harp also), and "chordon," a string. An expression con

stantly in use for clavichords and virginals demand

"a

Rogers, of Limerick Cathedral, had kindly contributed a photograph, which was suspended on the adjoining wall, and had over the key-board the inscription

Intactum sileo: percute, dulce cano.

by seals and official signatures, it finished an interesting relic of the ancient guilds of Europe, by which, in feudal times, every art and mystery of trade was fenced about. It began by reciting some twenty or thirty titles of honor belonging to Frederic Augustus, King of Poland. The lecturer would direct the attention of his hearers to this curious

It had been customary to inscribe similar quaint mottoes upon these instruments. Thus the follow-legal instrument of the year 1735, which, framed ing was found on an old virginal:—

I once was living in the woods,
But now I am cut down

By stroke of cruel axe, indeed,
But yet in my renown.

For while I lived I spake nought else
But what the boisterous wind
Compelled my murmuring strains unto.
But dead, I please the mind

And ears of such as hear me sing. So pleasant is my music's ring. The pitch of ancient keyed instruments had been by no means uniform; many spinets were tuned a fifth above, and one, called " Ottavino," even an octave above the customary tuning. There did not seem to have been any standard of pitch like what prevails at present, and some authorities (amongst research the subject ewes a great deal of the light them Mr. Chas. Salaman, to whose taste and skilled thrown upon it of late years), thought the pitch of the 16th and 17th centuries was about a third lower than ours; if so, it was difficult to account for the deep vocal bass parts of those days. The inquiry was, in truth, surrounded by difficulties. Some years ago, when passing a few days with Sir Frederic Ouseley, at Tenbury, he (the lecturer) had remarked that Sir Frederic's harpsichord was about strument with two rows of keys, they could see two a third below the correct pitch. Of this, a fine inphotographed views which the distinguished Oxford professor had kindly contributed for these lectures. It had been made in 1773 by B. Shudi, predecessor of the eminent firm of Messrs. Broadwood, who had presented it to Sir F. Ouseley. The harpsichord was, in fact, only a large spinet; the latter had but one string to each note, while "harpsicors" (the old appellation of the harpsichord) had two, three, He (Sir R. Stewart) had last week

and even more.

With a

explained to them the way the tone of the spinet was produced, each string being twanged with a quill, and hence the name spinet, from spina, a "thorn" or "point." Even F. Couperin, one of the greatest composers and players upon these instruments, had complained of their monotony. view to remedy this the plectra had been formed of brass, steel, ivory, and leather of various sorts, while the various rows of "jacks" so fitted were brought into play by stops like the organ, or by levers worked by the performer's knee. But with all these contrivances, which were called 1st and 2nd

unison, octave stop, lute, mandolin, flageolet, oboe or violin, there was really not touch difference in

the tone produced, which continued to be just what Dr. Burney had caustically described it-viz., "A scratch with a sound at the end of it." It was,

ed some notice. One of these was constantly de-
scribed as "a pair," not that there was any bi-form
construction in either, but that it was the practice
thus to call many things in the ordinary social life doubtless, in allusion to these fancied imitations of
of England at the time. Thus they spoke of "
various instruments that an essayist in No. 153 of
The Tatler had described the harpsichord as
66 a
pair of organs "not (said Sir Robert Stewart) like
that large instrument in yonder gallery, with its
consort (or concert, as the word was spelled in mod-
ern days) in itself." They were fortunate in having
choir organ standing out in front, nor like the organ
in the College Chapel. These may, indeed, be called old instrument, which probably had cost £100 or
a real harpsichord to examine that day-a beautiful
"double organs," with their carved and gilded cases
divided into two separate parts. It was not, how-£120 originally, but had been purchased last year
for an absurdly small sum at the sale of Archdeacon

and glazed, and suspended on the wall to his right. was scarcely less worthy of their notice than the more musical instruments (spinet and harpsichord) upon the left. Some interesting details were here given referring to the necessity of keeping harpsi chord lids raised in order to let their tinkling sounds escape, and also to admit of the louvres of the Venetian swell being opened, which was done by a lever worked with the player's knee. In allusion to this custom of raising the lid an anecdote was recorded of a leader of the Covent Garden band having once asked Dr. Arne, (as if in hopes of discovering the secret of his success in Artaxerxes)-" Dr. Arne, when you composed your fine opera, whether did you write it with the lid of your harpsichord up or down?" It became the custom to paint the lids of some instruments elaborately, both within and without. Thus had Salvator Rosa once wagered that he would render a worthless harpsichord valuable; and he had made good his assertion, for the instru ment fetched a thousand scudi from the manner in

which it had been embellished by his pencil. Viscount Powerscourt's harpsichord (of which a photograph hung on the wall close by) had thus been decorated by Vander Meulin, the great Belgian painter, who had celebrated so many of the events of the reign of Louis XIV. He (Sir Robert St wart) had, for the lecture of this day, obtained from a friend a number of fine engraved portraits of this painter, of Queen Elizabeth, of Mary Queen of Scots, of Henry Purcell, and of the unfortunate Marie Antoinette-she, to whom had once belonged this beautiful relic, now in the possession of Lord Powerscourt, had been always musical, and in her youth was associated with Mozart, for when that childmusician slipped upon the polished floor of the palace at Vienna, and fell to the ground, Marie Antoinette stopped, and assisted him to rise, while another young archduchess passed on. Little Mozart was so affected by this kindness on the part of the fu ture Queen of France that he declared to her that he "would marry her" forthwith. A small portion of the wire with which this beautifully painted harpsi chord had been strung was well worth inspection, and had been framed along with the photograph, like that of Sir Frederick Ouseley. It was of uncommon fineness; but when the hammers of the pianoforte came into use, the strings received sneh powerful blows, that fine wire of this sort proved incapable of resisting them, and hence the heavy stringing of modern days. This instrument, made in 1612, had been restored by Pascal Taskin in 1771; not being now in playable order, it had little save Vander Meulin's paintings and the memory of Marie Antoinette to recommend it. The case and legs were all gilded, so that the wood was nowhere visible. It had two rows of keys, four sets of jacks, and ited at South Kensington within the last few years. a compass of 5 octaves, F to F, and had been exhibSir R. Stewart now briefly alluded to the harpsi chord works of Rameau (whose ingenious system of harmony had been fully developed in our day by and the amusing rencontre between him and the Irish musician, Thomas Rosingrave, who compared his playing to ten hundred devils. Rosingrave's father Daniel, had been organist of St. Patrick's Cathedral; concluding with an allusion to Henry had ever produced. Purcell had died before his Purcell, the most original musical genius England time, it was said from the effects of a cold brought on by exposure outside the door of his own house, his wife having refused to admit her truant lord when returning home from some convivial party.

ever, to such instruments our forefathers alluded Agar's effects in St. Stephens-green, and had be. Logier), and to François Couperin, also to Scarlatti,

when they spoke of a payre of organs." The expression merely meant an organ with more pipes than one-a clavichord or virginal, with more strings In Jonson and Heywood, and their contemporaries, we find a " pair of beads," "a pair of chessmen," of "stars," of stairs," of "steps," just as we speak of a "pair of tongs" or a "pair of bel

than one.

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lows." And this is the form of expression employed in the extract from the " Pilgrim's Progress" to which I alluded last week. The family are in Mr. Interpreter's house, and having been shown many curiosities, including "Eve's Apple," "Jacob's Ladder," etc., Prudence takes them into a dining room, where stood a pair of virginals, so she played upon them, and turned what she had showed them into this excellent song." Singular to say, although there was little or no difference between the spinet and virginal, no one ever spoke of " a pair of spinets;" the expression was never employed. He (Sir R. Stewart) would direct their attention to the many beautiful photographs of spinets and virginals which had been lent by the South Kensington authorities; some of these instruments were profusely ornamented with precious stones, one (which had been purchased for £1,200 at the Paris Exhibition) contained 1,928 jewels of various sorts. One spinet was of the date of 1741; of this, the owner, Mr.

longed to Lord Normanton, formerly Archbishop of hands of a gentleman of taste, who, having cleaned Dublin. Fortunately it had now fallen into the the fine mahogany case and rich brass work hinges and very kindly lent it to them to-day. As a proof of the instrument, had requilled a few of the jacks, of producing a good effect upon it, Sir Robert now that music of its own epoch and style was capable played a portion of one of Handel's concertos. also quoted a little poem of Bishop Atterbury (who was accused of favoring the Pretender)—" Lines in

He

praise of a goose quill," and alluding to the harpsi

chord

The quill of the goose is a very slight thing, Yet it feathers the arrow that flies from the string, Makes the bird it belongs to rise high in its flight, And the jack it has oiled against dinner go right, Makes the harpsichord vocal, which else would be mute, And enlivens the sound, the sweet sound of the flute. The harpsichord before them had been built by Ferdinand Weber, a German artist, born 1715, who resided in Mecklenburgh street, Dublin, nearly a century ago. The testimonial given to Herr Weber when quitting the atelier of his German master, Herr Hahlen, was now read in extenso, and caused much amusement, being a most voluminous document, engrossed on parchment. Attested as it was

The musical illustrations included pieces by

Rameau, Couperin, D. Scarlatti, and H. Purcell, per

formed by the lecturer and some of his pupils, and one lady sang with much sweetness a little chanson composed by Queen Marie Antoinette. Sir Robert said that this lecture would conclude his notices of the harpsichord and spinet. Next week the subject of the pianoforte would be entered upon. (To be Continued.)

Three Opera Debutantes.

[From the First Number of " Concordia," the new London Journal of Music and the Sister Arts, May 1, 1875.]

Mice, according to the proverb, amuse themselves in the absence of the cat; and, though there is a

marked difference, especially as regards voice, between a cat and a prima donna, the early gambols of light and heavy sopranos at the Royal Italian Opera have been generally kept up on the understanding, expressed or implied, that they were to come to an end on the arrival of the chief warblers of the establishment. At Her Majesty's Opera, too, allow ances have, before now, had to be made for the débutantes of the first part of the season. Mdlle. Titiens we have always among us, and all the socalled "dramatic parts," both in Italian and German opera, are filled by this artist as by no other. But the light parts are frequently made vehicles for experiments; and the experiments with which we have been favored this season, putting together those at the Royal Italian Opera have been unusually numerous, and, without exception, successful.

The débutantes of the present season are all remarkable for their youth; and, by a friendly understanding between the two rival managers, it seems to have been arranged that the youngest among them should come before the public first. From the abundant statistical information published in connexion with Mdlle. Zaré Thalberg, Mdlle. Elena Varesi, and Mdlle. Anna Belocca, it appears that the united ages of these three ladies amount to 57 or 58. Mdlle. Thalberg, the most juvenile of the new-comers, carries her certificate of birth in her countenance-perhaps, also, in her charmingly fresh voice, but not in her style of singing, which is already formed. It seems strange that a child of not quite seventeen should come out, without any preliminary trial, in a part which one associates with so many vocalists of the bighest distinction; and it is gratifying to see that when so many rights are denied to women, that of appearing at the age of sixteen in the character of Zerlina and delighting an audience of upwards of two thousand persons in one of the first operatic theatres in the world still belongs to them. We have heard doubts expressed as to the prudence of Mdlle. Thalberg's advisers in allowing her, child as she is, to appear in public when she would be better employed in continuing her studies away from the excitement of the stage, and from the risk of straining her young voice by singing in an immense theatre. If, however, Mdlle. Thalberg is able to stand this excitement and this supposed strain, she cannot do better than persevere, without more interruption than will, from time to time, as a matter of course occur, in the ca reer for which she has already proved herself so well fitted, and in which a high place is evidently reserved for her. It is only on the stage that the art of acting can be learned, and it can scarcely be learned too soon. According to some authorities Mdlle. Thalberg never stood before the footlights until a fortnight ago, when for the first time in public she sang the part of Zerlina. Others of equal weight assure us that Mdlle. Thalberg has been in the habit of acting from the time when she first began to walk. All that really concerns us in the matter is the fact that she is, at this moment, a charming little actress, whether the histrionic talent she undoubtedly possesses has been slowly developed, or whether it displayed itself suddenly the other evening at one unpremeditated burst.

After all, though it may be a little out of the ordinary way, there is nothing unprecedented in the fact of a girl of seventeen appearing with success in the character of Zerlina. Young women of genius come of age earlier than others; and at least two of the most popular prima donras of the present day, Mdlle. Titiens and Madame Patti, were on the stage and singing with brilliant success when they were no older than Mdlle. Thalberg is now. It will be interesting to see in what character Mdlle. Thalberg will next appear. A pretty girl with a beautiful voice, a talent for singing and some knowledge of the stage can always get on well enough in the simple, melodious part of Zerlina, which is so singable that it, so to say, sings itself, How would the interesting débutante acquit herself in the character of Amina or of Dinorah-both of which are said to be in the repertory of her intentions? Here it will oceur to many, that although there are great advantages there are also some disadvantages for a young prima donna in joining a company so strong in artists of the highest merit as that of the Royal Italian Opera. The part of Amina, for instance, at this establishment, belongs to Mdlle. Albani, that of Dinorah to Madame Patti; and if any part suitable to Mdlle. Thalberg be named, which can be claimed neither by Madame Patti nor by Mdlle. Albani, it will probably be found to belong to Mdlle. Marimon. Already, we fancy, the nights on which Mdlle. Thalberg can be allowed to appear as Zerlina are numbered. Even the most absolute of "absolute

prima donnas" is not, it seems, privileged to main-
tain exclusive rights in a part unless she can and
does, present herself in person to exercise them. As
long as Madame Patti remains away Mdlle. Thalberg
may continue to play the part of Zerlina. But as
Zerlina happens to be one of Madame Patti's most
popular, as it is also one of her most charming im
personations, it is difficult to believe that she will
be asked to give it up to a beginner-even to a be-
ginner who has begun so well as Mdlle. Thalberg
has done. When the Marriage of Figaro is next
brought out at the Royal Italian Opera, why should
not the present Zerlina appear as Cherubino?
Our second débutante is Mdlle. Varesi, who has
already been heard in two different characters, first,
in that of Gilda, secondly in that of Lucia. Mdlle.
Varesi is, like Mdlle. Thalberg, of good musical
parentage; and there was a certain appropriateness
in the daughter of the original Rigoletto appearing
as Gilda. Twenty is the number of years assigned
by the most accredited musical historiographers to
Mdlle. Varesi. Her voice is of about that age; but
by her execution we should take Mdlle. Varesi to
be older than Mdlle. Thalberg by a good deal more
than three years. However, as Mdlle. Thalberg
has been heard only in Zerlina's simple airs, it
would not be altogether fair to assume her inability
to sing in a style which she has hitherto not at-
tempted. Indeed Mdlle. Varesi did not prove her-
self to be the consummate vocalist she in fact is
until, after singing twice as Gilda, she undertook
for her third appearance in England the part of Lu-
cia. Mdlle. Varesi is not the possessor of one of
those full rich voices which impress the great body
of the public. But she has a voice and a style which
will be appreciated by musicians and by educated
amateurs; and the brilliancy of her singing in the
mad scene of Lucia excited an enthusiasm which
need not be undervalued because it scarcely extend-
ed beyond the stalls and boxes. Malle. Varesi's
voice is pure and penetrating; somewhat thin, but
remarkably clear, and never, in the highest regions,
either uncertain or shrill. Without being either a
Bosio or a Persiani, she sang Gilda's graceful and
expressive music with something of Bosio's charm,
and in Lucia's difficult scena displayed such flexibil-
ity of voice and such skill as reminded many of
Persiani's so-called "agility." Even if it were nec-
essary it would not be possible to divide the great
mass of sopranos into "light and agile," on the one
hand, "athletic and robust on the other. But ad-
mitting such a classification Mdlle. Varesi could only
be placed in the first of the two groups.

will play the part of Zerlina until the arrival of Madame Adelina Patti. Mdlle. Varesi may be expected to appear as Lucia until the return of Madame Nilsson. But no artist will come to Her Majesty's Theatre who can possibly be substituted for Mdlle. Bellocca in the character of Rosina.

M. Taine on Beethoven.

(From the "Life and Opinions of M. Frederic Thomas Graindorge, Doctor of Philosophy of the University of Jena, special partner in the house of Graindorge & Co., Oils and Salt Pork, Cincinnati, U. S. A.")

The

I turned over the leaves of the poor, sheep-covered German volume, in which the faithful companion of Beethoven, a true German famulus, a sort of Wagner, pupil of another Faust, has gathered all the details he has heard or seen of his life. These minute details seemed no longer vulgar to me. soul ennobled all its surroundings. I saw, once more, the man in his old great coat, with his battered hat, his broad shoulders, his untrimmed beard, his thick hair on end, walking with naked feet in the morning dew; writing Fidelio, and Christ in the Garden of Olives, on a stump, from which grew out two oak trunks; going straight ahead without noticing the obstacles in his path, or heeding the bad weather; turning in the evening to his disordered chamber, the floor covered with books and music, pell mell, empty bottles, the remains of his breakfast and his press-proofs in a pile in a corner, the mass in re serving for wrapping paper in the kitchen; usually sombre, hypochondriacal, but suddenly startled by attacks of strange gayety, running over the key-board with a formidable grimace; silent, reserved, listening to operas with the immobility of an idol disproportioned in everything, and unable to accommodate himself to life. But I felt, also, that these strange freaks sprang from an overflowing generosity and grandeur of soul. His loveletters, among the phrases of the day, bore these sublime words, "6 My immortal beloved." He lived in the ideal world which Petrarch and Dante described, and his passion took nothing from his austerity. Unable to marry, he remained chaste, and he loved as purely as he wrote. He hated licentious speech, and blamed the Don Giovanni of Mozart, not only because of its Italian manner, but still more because a thing so holy as art should not so prostitute itself as to serve to link together so scandalous a story." He carried the same elevation of soul into the other great interests of life; always Débutante No. 3, Mdlle. de Bellokh by her fami- proud before princes, waiting for them to salute ly name, Mdlle. Bellocca by her chosen stage appel-him first, keeping the same manner before the greatlation, could not be definitively assigned either to the "light and agile" or to the "athletic and robust" division. Singing the music of Rosina with variations which Rossini would scarcely have recognized, but singing everything which she either finds in the part, or imports into it with great brilliancy, she might certainly demand to be received among the "light and agile." But she would probably not remain with them. Does she not, in this very character of Rosina, introduce Maffeo Orsini's Brindisi from Lucrezia Borgia, and does she not sing it with a fulness of tone and an amount of verve which prove her fitness for dramatic parts whenever We will say she may feel inclined to assume them? nothing about the droll effect that ought to be produced by Bartolo's well-watched ward breaking out suddenly into a voluptuous drinking song of which the following is the French original:

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Amis, vive l'orgie!
J'aime la folle nuit;
Et le vin et le bruit,

Et la nappe rougie; &c., &c.

That is certainly a nice song for a very carefully
brought up young girl of fifteen or sixteen; which
we take to have been the age of the unmarried but
eminently marriageable Rosina, regard being had to
the fact that she was a Spanish young lady. Mdlle.
Bellocca, too, sings it as if she meant it; which if
she sings it all, is of course quite right.

We have said that, to judge by her singing of the
Brindisi from Lucrrezia Borgia, Mdlle. Bellocca
must be quite capable of taking dramatic parts with
vigor and effect. Meanwhile she gives direct proof,
by her performance as Rosina, that she possesses in
the highest degree all the necessary qualifications
for playing elegant comedy. That indeed is fully
expressed when it is said that Mdlle. Bellocca's im-
personation of Beaumarchais's lively heroine is
marked by vivacity, distinction and grace. In short,
a more charming Rosina than the one presented to
us by Mdlle. Bellocca could scarcely be named.
And this new Rosina will remain. Mälle. Thalberg

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est; holding the politeness and condescension of the world to be but treason and falsehood, and, like a Rousseau or a Plato, earnestly hoping for a republic which would make citizens and heroes of all mankind. In the innermost depths of his heart, as in a sanctuary, there dwelt an instinct vet more sublime, that of the divine. To his eyes, neither the various arts nor the languages of man gave it expression; music alone in its secret essence had some correspondence to it, and he would not be questioned on the one or the other subject. Just then I read this inscription, which he had copied from a statue of Isis, "I am all that is, that has been, that shall be. No mortal man has lifted my veil." Only the wisdom of the Pharaohs has found a word as august as its thought.

Wilheim played for more than an hour, but I certainly did not look at the clock. He first played two or three complete sonatas, then some parts of symphonies, fragments of sonatas for piano and violin, an air from Fidelio, some other pieces, the name of which I did not know. He bound them together with chords and pauses, as a man who, opening his favorite poet, reads now in the middle, now from the end of the volume, choosing here and there a verse, according to the feeling of the moment. I listened, motionless, with eyes fixed upon the hearth, and I followed, as on a living countenance, the movement of this grand, lifeless spirit; dead only for itself: for us it still lives, and we have it all entire in this pile of blackened paper. How unjust public renown has been to him! He is acknowledged as sovereign in the realms of the gigantic and the sad. There would they set the bounds of his kingdom. His domain they would limit to a desert land, swept by hurricanes, desolate and grand, such a land as that where Dante dwells. The soliitude is his, and no other emperor but he may enter it; but he has other domains than this. All that is richest and in fullest bloom in the abounding fields, all that is softest and most smiling in shaded and flowery vales, all that is freshest and most original in

the early, timid dawn-all these are his also. Only,
amid them all, his soul is not at peace. Joy as well
as grief moves it in its deepest recesses; his sensa-
He is not simply
tions of delight are too intense.
happy, he is ravished with pleasure; his is the
thought of the man who, after a night of anguish,
panting, suffering, looking forward to a still more
painful day, sees all at once some quiet morning
landscape spread before his sight; his hands trem-
ble, a deep sigh of relief escapes from his bosom; all
his bent and crushed forces rise up afresh, and the
spring of his felicity is as irresistible as the fall of
his despair.

There is zest in each of his pleasures; his happiness is poignant, not soft. His allegro movements bound like young colts let loose, stamping upon and crushing the fair meadows where they are at play. His presto movements, still more vehement, more violent, are wild frolics, short and trembling stops, irregular gallops which hammer the keyboard with their resounding tread. At times, in the midst of his insensate joy, the serious and tragic rush in, and without change of movement, with the same fury, his spirit dashes forward as to a combat, intoxicated by the impetuosity of its speed, and with such strange leaps and such variety of fancy, that the spectator pauses, almost terrified by the wild exu berance of this savage nature, by the dizzy fertility of his invention, by the short, crisp movements, the fury of the unfolding rhythm, unexpected, broken and redoubled, beyond power of conception, always expressing, yet never exhausting his thought.

doubt a superlative orchestra, an admirable chorus,
thorough drill and able leadership, excellent solo-
singers, consummate business management, with
trumpets, both of the Wagner and the paper kind,
ad libitum; and there was the esprit de corps of a
whole city roused, and vast enthusiasm. No doubt
there was sincere and wide spread enjoyment, and
music is held in more general respect throughout
the West than it was before. Much of the feast, too,
was in the highest sense artistic, the programmes
containing much of the very best, though mingled
with a greater proportion of the new and strange
and questionable (we do not pretend to say without
worth or merit.)

It is curious to see how these reporters swallow it
all whole. In one sentence they group Bach and
Beethoven in the same constellation with Liszt,
Brahms and Wagner, as if they were stars of equal
magnitude and glory. And one of the influences of
such a festival, among a population rather new to
music, will be, we fear, to fill them with this false
impression that the gods of the new worship have
really and finally taken their places in the same
third heaven, and sit on equal star thrones with the
great before them. For observe, this scheme of pro-
grammes, while it includes great works of Bach,
Beethoven, Mendelssohn, opens with the imposing
Triumphlied by Brahms, and ends with Liszt's
"Prometheus." Its Alpha and Omega, we might say
its keynote, is furnished by the New School. But
have the Titans won Olympus yet?

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It is the peculiarity of this programme that its larger selections are all drawn from composers of a somewhat paler cast, men of genius in a certain half sense it may be, but of mezzo carattere,-Moscheles, Bennett, Hiller; fine musicians, genial composers, not to be neglected, but not great, not magnetic, like Beethoven, or even Schumann, who forms the exception here. But if we must go outside of the circle of the Dii majores, we for our part thank Mr. Lang for turning to these, rather than following the fashion of the times in “giving a chance" to the "new" challengers wherever it may lead. bilees," which he chose to inflict on Boston. Why compare it with them? Has Boston had no other (the learning public, yet a child in music), so thorFestivals? No festivals of the same rank, and on oughly well versed in the music of the great masthe same scale, with this, only less mixed? Yetters, those works of highest genius which are called one telegraphs: “Boston will have to yield the musical palm to Cincinnati; Mendelssohn, Bach, Beethoven and Liszt have taken root on the Ohio and are yielding triumphant fruitage." And one of the local critics writes: "Boston has not yet worked up any single festival in which so many great and difficult works have been produced." Indeed! Let us

Now," said Wilhelm, "listen." And he began the last part of the last sonata, (opus CXI.) It is a phrase of a single line, slow and of infinite sadness, which comes and goes ceaselessly, like a long and protracted sob; beneath it, smothered sounds drag themselves along; each ascent is prolonged beneath those which follow it, and dies silently away, as a cry subsiding in a sigh; so ordered that each new Curiously again, the Western press, in setting burst of suffering has its train of old complaint; and forth the transcendant glory of the enterprise have these are heard through the supreme lamentation, the fading echoes of the early grief. There is noth shown a strange desire to make it appear an alto ing bitter in this complaint; neither anger nor re-gether finer and truer thing than Gilmore's "Juvolt of spirit. The heart from which it sprung, says, not that it is wretched, but that joy is beyond its reach; and finds its peace in resignation. So, some poor wretch, mangled by disaster in the desert, lying in the sand and seeing the sparkling jewels of heaven studding the dome of his last night, is slowly lifted from himself, forgets his own existence, no longer dreams of avoiding the inevitable; the divine calmness of nature pours over him its secret balm, and opening his arms, powerless to raise his crippled body, he stretches them toward the ineffable beauty which sheds its lustre across the mystic universe. Insensibly the tears of suffering make room for those of ecstasy, or, more truly, the two are melted in mingled anguish and delight. At times despair bursts forth, but is quickly followed by a rush of poetic thought, and the saddest modulations are exhaled, wrapped in such wonderful and magnificent chords, that the sublime overflows and covers all with its piercing harmony. At the close, after a grand tumnlt and struggle, the sublime alone remains; the complaint changes to a hymn, which rolls in massive sound, swept on in a stream

see:

The Handel and Haydn Festival of 1874 was but one of half a dozen of nearly or equal magnitude, in years preceding. Now a comparison of this with the Cincinnati Festival, as to the number of great works presented, gives the following result: Cincinnati, for Oratorio, gave Elijah. Boston

Are we

classics," simply because they are of no age,—are we so settled in our taste, that these heaven-stormers, piling Ossa upon Pelion, can expect us to spend all the precious spare time we can save for music, in settling their tremendous claims?

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The Hommage à Hàendel" was very finely played by MR. LANG, with his pupil Miss GRACE SAMPSON. The two middle movements from Schumann's "Florestan and Eusebius" Sonata (the Aria, of exquisite and tender melody, and the rapid frolic Scherzo) were rendered by Mr. Lang, the former humor; and this Scherzo has a jocose Intermezzo with great delicacy and the latter with a bold, free

which warrants it. Bennett's last Sonata did not disappoint us, since we expected only Bennett. It

of triumphant notes. All around the song, above, gave, besides Elijah, Judas Maccabæus, the Messiah, is all refined and elegant, and in a quiet tone without

below, in hurrying crowds, interlaced, enfolded,
there rolls a chorus of acclamation which increases,
swelling as it goes, constantly doubling its dash and
joyousness. The keyboard is no longer equal to the
task; there is no voice which does not take its part
in this festival, the deepest with its thunder, the
highest with its warbles, all gathered together in
one, grand and multiple as that radiant rose which
whose every leaf was a happy soul. A
Dante saw,
song of twenty notes holds in itself all these con-
trary emotions.

Dwight's Journal of Music.

BOSTON, MAY 29, 1875. The Cincinnati Musical Festival. The Cincinnati Thomas Festival was evidently a great success. The reports of each day's proceedings, which we have brought together from various sources, are but fair specimens of the glowing, allaccepting eulogy with which the whole Press has proclaimed it both before and after. The hero-worship knows no bounds; Thomas is set upon a pedestal as one more than mortal.

There was no

and (for a new work) Mr. Paine's St. Peter,

Of Bach, Cincinnati boasts the Magnificat; here
we had a far greater, and more deeply appreciated
work of Bach, the Matthew Passion. The former is
no doubt great; but hear the critic of the New
York Times:

vorably, and it was coldly received; and, to own
Grand as it is, it failed to impress the audience fa-
the truth, fell flat. It is too severe in style, and, it
must be confessed, rococo, if not antiquated, for a
miscellaneous audience, even at a musical festival.

Of other choral works Cincinnati had: the Brahms
"Hymn of Triumph," scenes from Lohengrin, Liszt's
Prometheus and Mozart's Cantata: "Praise of
Friendship." Here we had the " Spring" from
Haydn's Seasons, Mendelssohn's Christus, and "Hear
my Prayer," besides Mr. Buck's Psalm.

Beethoven's Ninth Symphony was a feature in both festivals, as it had been here in several before; and here the orchestra must have been nearly equal, since it included Thomas's whole force. The other Symphonic works at Cincinnati were Beethoven's No. 7, and the great Schubert in C; to which we offset here: Schumann in B flat, Schubert's Unfin ished." Raff's "Leonore" and Liszt's "Tasso" (pardon the indiscriminate grouping).

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extravagance; in the pastoral first part, he could not acterization in the other scenes; the adagio patetico but succeed; but we felt no peculiar force of charis the sweetest part: the martial movement is not exciting, nor the moto di passione much impassioned -at least, not with the passion of a deep nature. We were glad to hear it for once, if only because of its English fame; and of course it lost nothing in the interpretation. The Hiller Concerto, very capitally played by Mr. Lang, with a sketch of the orchestral accompaniments given on a second piano, by Miss Sampson, confirmed the good impression which the work made in a Symphony Concert; the Rondo finale is a particularly fresh and piquant movement.

MISS ITA WELSH gave such full and tender expression to the song by Mozart, that she had to repeat showing strong dramatic pathos in the one by Ruit; and in all her songs she succeeded admirably, binstein.

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Schumann. Chopin. ...Liszt.

Etude, [Gnomenreigen]... Phantaisiestucke, op. 12, [Grillen.].... Schumann. Maid of Ganges.. .Mendelssohn. Songs. Spring Time.. ... Fesca. Piano-Forte, Paraphrase on a theme from Rigoletto. Liszt.

Mr. Tucker, well known as one of the most accomplished pupils of Mr. Lang, gave ample evidence of steadfast improvement in all these various renderings. He is an earnest student, and quite unaffected; and his great strength, which serves him so well, is accompanied by great self-possession, and is becoming also more refined into a delicacy of style resembling his master's. His execution is indeed quite remarkable, and often brilliant. The Sonata by Brahms, an early work, seemed more a thing of suggestions, and of ambitious aspirations, than a clear, balanced, complete master work.

The songs were sung by DR. LANGMAID, and in his sweetest, most expressive style. The selection, too, was choice; and furthermore enriched by his beautiful singing of that pure and heavenly strain: Du bist die Ruh' (“Thou art the Rest,") of Schubert.

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Mr. Osgood's two opening songs from Mendelssohn were happily chosen and well sung. Those from Schumann, though altogether characteristic, are of the most familiar in our concert rooms, and many of them mere breaths or snatches of melody; that cannot be said, however, of the one marked f, "Allnächtlich im Träume," which has a deep and mystical expression. The singer entered truly into the spirit of each one of them. The four songs by Franz are very fine ones and were beautifully rendered; these, and the preceding, having the advantage of Mr. Dresel's accompaniment. But we should have liked, in such a concert, to have heard one or two of the more bold and striking specimens both of Schumann and of Franz; say, of the latter, the wild and grand “Gewitternacht.”

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exquisitely. This was the last piece we were able to hear, as the concert was unusually long. We could have endured Franz songs for some time longer, but in truth so many piano-forte pieces became wearisome, and that seemed to be the general experience. MR BOSCOVITZ of course played with all his usual finesse and brilliancy; only the number and variety of pieces were too great for one occasion of the kind, and several of them were long; for instance the Ballade by Chopin,-one which we do not remember to have heard before, and which we would have gladly heard with fresh senses.

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Mr. Osgood's Historical Notes appended to this programme were particularly suggestive, and we regret the want of room for them here. In closing them he expresses the hope that "while our four grammes have, of necessity, been limited, they may not have failed to afford the listener an acceptably clear idea of the connecting links in the chain of development of piano-forte and vocal chamber-music, from the medieval masters down to the best composers of modern times. Perhaps they may suggest to those who control the necessary material, historical programmes in the province of quartet, orchestral, and oratorio music.'

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Opening of Central-Park Garden.

NEW YORK, MAY 24. This popular place of resort opened for the season on Monday evening, May 17. The interior has been slightly changed since last year. The corridor at the entrance is made wider; the promenade in the Garden newly laid out and brilliantly illuminated; and various improvements have been made, which will be appreciated by the habitués of the summer-concerts. The Central-Park Garden is now the most popular place of resort in America, and the proprietor will take care that it shall continue to be so. Among the great concert gardens of Europe I do not know of one which combines so many attractive features. In most of the beer-gardens of Germany the music is below the standard which is maintained by Thomas; and in the famous summer concerts in the Champs Elysées at Paris half of the effect of the music is lost because it is played in the open air. It is encouraging to note the increase of attention, and consequently of good manners, on the part of our audiences from year to year. Of course the talker, usually a woman, who sits in the front seats and annoys every one, conductor and orchestra included, is still there; but there is certainly more decorum in the audience, during the performance of the music, this year than ever before. The main body of the auditorium, at such a time, presents an appearance something like a concert hall on the occasion of a symphony soirée. The audience is closely seated, silent and attentive. The tables are banished to the back of the hall and with them the beer-drinking and smoking by tacit understanding, although no rules are laid down by the management in regard to these matters. room it is but a step to the cool garden with its long rows of tables where one can enjoy a cigar while watching an endless procession of gay promenaders filing under the gas lights. The pauses in conversation are filled in with the musical clinkclink of countless glasses and the softened strains of the orchestra. This is the elysium of talkers. The hall is the paradise of listeners.

From the concert

But to return to my subject, which is the opening night. On this occasion the weather was anything but Spring-like It was chilly, damp and disagreeable; overcoats were in order, but let no one suppose that this made any difference. I really believe that a snow storm would not have induced one in that audience to remain at home. The place was filled to its utmost capacity. It was in the nature of an ovation to Thomas, fresh from his triumphs in Cincinnati. The programme was attractive. It contained among other novelties Gounod's Balletmusic to "Romeo and Juliet," written for the Royal Opera House in Vienna.

On Thursday evening, May 20, the famous Coronation Marsch by Svendsen came first on the programme, and was followed by the Three Hungarian Dances by Brahms, which have become quite popular through frequent repetitions, by the Thomas orchestra, during the winter. Next came Beethoven's lovely Romanza in G, op. 40, and Wagner's Tannhäuser Overture, which closed the first part of the list. Part second was entirely taken up with Schubert's Symphony of "heavenly length" (No. 9 in C), which the Orchestra gave in all its beauty, without a blemish in the performance. Such a ren. dering of such a work is an event in a life-time. After the second intermission a Strauss Waltz was played; then Gounod's Ballet Music to "Romeo and Juliet" and Rubinstein's "Triumphal Overture," which ended the programme.

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Among the selections which have been played during the past week are the following: Overture: Wedding of Comacho," Mendelssohn, (first time); Finale, "Prometheus," Beethoven; Selections from Lohengrin, Wagner; Fantasie Caprice, Vieuxtemps; The second Rhapsodie Hon groise, Liszt, (arranged for Orchestra); Overture Masaniello, Auber; Overture, William Tell, Rossini; Kaiser Overture, (first time), Westmayer; Scherzo, "Reformation Symphony," Mendelssohn; Overture and Nocturne, "Midsummer Nights' Dream," Mendelssohn; Allegretto of 8th Symphony, Beethoven; Allegretto of 7th Symphony, Beethoven; Marche Heroique, St Saens, &c., &c. The coming season promises to be one of great interest and pleasure to all lovers of good music. These Concerts will take place every evening during the

summer.

Among the concerts which came at the end of the regular season are two which deserve notice. One is the annual concert of Mr. F. Bergner, April 19, at Steinway's; on which occasion Beethoven's String quartet in F major (Op. 18, No. 1), was finely performed by Messrs. Brandt, Matzka, Schwartz and Bergner. Mr. S. B. Mills played one of Liszt's Rhapsodies; and Master H. Rietzel, a pupil of Mr. Mills, made his debut as a pianist in the first movement of Beethoven's C minor Trio. The little fellow played surprisingly well for one so young, (he is only twelve years old) and gives great promise.

The other concert was given by Mr. R. Goldbeck, the well known pianist and composer. The programme consisted largely of vocal selections from Mr. Goldbeck's compositions. I was prevented from attending this concert but have heard some of the pieces highly praised. A. A. C.

HANDEL IN BERLIN. Speaking of the close of the musical season, the Echo counts up the Oratorios, &c., by Handel which have been performed in Berlin during the present year. A copious list! Towit: Israel in Egypt, by the Singakademie; the Messiah, by Stern's society; Hercules, at the Conservatoire; Acis and Galathea, by the Bach Society; Semele, by the Cecilien-Verein; finally, Samson, by the Schnapf'scher-Verein; and this is not all, for, to bring the season to a worthy close, the Conservatoire has just given Saul. So the music of the great Saxon master gains ground even in Germany, where one would have supposed that it had no more conquests to make.

Recent Attempts at Oratorio in France. A remarkable article on the present state of oratorio in France appears in our Paris contemporary, L'Art Musical, from the pen of M. Léon Escudier. Like all good French writing on such subjects, especially where there is an element of satire, the expressions and delicate turns of irony cannot be fully rendered in a translation; but the following is a gist of the article. The writer says:

Oratorio was great; it was the highest expression of musical religious thought. It is in oratario, more or less extended in form, that the art developed itself. This is an historical fact. At present, in this century of progress, this period of musical meteors, of sublime empiric inventions, oratorio, alas having been over cultivated, is in rapid de

cline. It is so strange, (we should
if we were speaking of an ordinary
be content to say so monstrous,) that
few moments to glancing at it.

sav

"comic " thing; let us we devote a

First, what is oratorio? If I may be permitted to quote an article from my Dictionnaire de Music, a work which cost many years of work and research: "Oratorio is a kind of drama; the subject of which is religious, and which is designed to be performed by singers with orchestral accompaniment. The old composers had only one object to which they could consecrate the inspirations of their genius: religion. So they did not confine themselves to the setting to music the words of the mass, or canticles; a kind of religious drama was imagined. Oratorio, at first, was only a simple allegory, a cantata for several persons, which was executed either at church, or at a theatre, as a concert piece. Eventually, oratorios became more developed, and acquired all the proportions of an actual drama, except the tinsel of costumes and theatrical pomp."

Now we have made no mistake in saying above, that oratorio was great. The musical stage was in its infancy, and for a long time oratorio inspired masterpieces. And this is easily explained when the force that religious sentiment gave to the artistic movement of the renaissance is remembered. It was the first real form of musical art. Oratorio has had a fine career; but now, what has it become? Its last manifestation is entitled "Eve;" a pleasant prank [miévrerie aimable], which displays neither force, nor belief, nor true dramatic sentiment; neither conviction, nor powerful inspiration. Eve" is a graceful grisaille. Several months ago, we had "Marie Magdalene," with the same pleasing flavor, the same absence of power. We have, also, had "Ruth," a wearisome and dull composition, by a musician of great talent; then, "Redemption; then, 'Samson;" without reckoning "Gallia" and "Le Lac de Tibériade," works of the same stamp; remarkable chiefly for their pretension, in which process seeks to hide the absence of inspiration; where the orchestra seems to forget that the human voice is the supreme instrument.

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66

a theatre. When you approach the stage you meet
with failure, because you have false musical ideas,
because you unceasingly fight against the good that
is in you. Then you attempt to apply your petty
processes to oratorio, as you applied them to sym-
phony. But to do this it is necessary to lower your
subject to your own level, and you do not hesitate
to do it.

It is sad, very. It is but a deplorable business
you follow, messieurs. Your labor will bring you
neither glory nor profit; it will add nothing to the
common store; and, believe me, you will meet with
no mercy, you who do not fear to turn the Bible
into small verse and set it to asthmatic melodies.-
Lond. Musical Standard.

"AMERICAN COLLEGE OF MUSIC." The New York Tribune has the following account of the progress of the scheme:

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"Heigho! Heigho! I thought it
Something, something not like this."
Very pretty, Frenchy, semi-comic song.
Sing, Sweet Bird. For Contralto. 5. A to e.
Ganz. 40
A contralto arrangement of a very favorite song.
Old Oaken Bucket. 2. Bb to d. Kialmark. 30
The dear familiar air, nicely arranged with a solo
and chorus.

Golden Locks are Silver Now. 3. Bb to f.

Pratt. 40

Song and Chorus. Fine illustrated picture title, which appropriately ornaments a very popular song.

Foreboding.

5. C minor to e.

Since it first became known to the public that a
proposal was on foot to found and endow in this
city an American College of Music the greatest cu-
riosity has prevailed in all quarters to ascertain all
the facts connected with the subject. The scheme
has reached such a stage that it is expected that in
a short time the College will be actually in exist-
ence. Its founder is a gentleman stated to be worth
about $5,000,000. Of this sum he proposes to devote
about $1,000,000 to start the College. Further
grants will probably come after, as well as endow
ments from other sources. A number of wealthy
and prominent citizens have been called in to assist
in the plan and act as trustees. The names of the
trustees already chosen and who have signified their Happy Moments. Duet. 3. D to f.
willingness to serve are Dr. Elmer, Henry G. Steb-
bins, William Vanderbilt, Marshall O. Roberts,
Alfred Simmison, Charles L. Tiffany, ex-Gov. Mor-
gan, Judge Jewett, Attorney-General Edwards
Pierrepont, and D. Kingsland. These gentlemen
have met and consulted together, but are not yet
properly organized into a board. A few more gen-
tlemen will be added to their number, and the Board
of Trustees, when constituted, will take the building Wait till the Moonlight falls.

Eichberg. 35
"The wild vine crimsons on the old gray stone,
The stars of winter rise."
Words by Celia Thaxter, and finely picture the
days of the drear November, as does Mr. Eich
berg's well-wrought harinony.

into their hands. A bill has been presented to the
Legislature asking that the Park Commissioners be
employed to designate a site for the proposed Col-
lege in Central Park. The bill is already upon its
third reading, and there is said to be every proba
bility of its passage.

But, at the same time, enthusiasts have been giv-arrangements and formations of committees entirely ing us the masterpieces of Händel, Beethoven, Haydn, Bach, Mozart, and Mendelssohn. The crushing of the young school has been complete; and their little anodynes have been carried away by the wind. Of all of them there is nought remaining; not a single work will take its place, in the great popular library, by the side of the oratorios of the masters. The young men, whose sacred compositions we have just mentioned, are learned musicians, who have written some charming things; but sacred music is beyond their conception. And what do they do then? They seek to bring this genre to the level of their own temperament. To achieve this, they stick at nothing-not even a travesty of biblical text, such as we should term profanation, if we were giving a complete criticism of some of the works.

Who, for instance, was this Marie Magdalene; who was this Christ whom M. Massenet has made to sigh so tenderly? We neither recognized the repentant woman, nor the divine Nazarene. Reduced, in fact, to the proportions of opera-comique they are both as insipid as possible. And in this last work-in this "Eve," which we condemn without reserve, without mercy,-what we do remark? Briefly extreme coolness, with which the poet and musician have mutilated a grand poem; equally admired by atheists and fanatics. They have reduced this splendid mystery of the origin of mankind, into a petty amorous nocturn which two lovers might sing to the moon. Is this incapacity or scepticism? No doubt, alas! a little of both.

It is sad, not to say culpable, to have thus understood the admirable faith of the first woman. You have made "Eve" a sort of nervous female; having when the weather is stormy, vague aspirations towards that which she cannot define. My good young men, there was no need to go to the Eden of the Bible for this: a young flower girl, walking in the evening with the shopman of her heart, would have inspired you as well; and her amorous or nervous aspirations would have been much the same thing, To treat in this manner a subject so immense and so respected, is like a child throwing the ink over a masterpiece of the pen.

The site proposed for the building is in the plot of ground between Seventy-ninth and Eighty-fifth-sts., where the new Museum of Art is building, the Lenox Library being close by. The College will be attached to the Museum of Art, and will be in keeping with it in construction and appearance. In addition to the class-rooms for pupils, the building will contain halls and galleries for painting and statuary. Attached to it will be an opera-house. For lady students there will be apartments provided, where they live as at school, paying for their board and lessons. Male students will not be allowed to reside in the college. Payment for lessons, board, &c., will be demanded of all who can afford it. But pupils who show capacity, but are without means, will receive lessons free of charge. This provision is only for the advantage of children of American parentage.

One of the most attractive features of the college will be a floral park, where an artificial temperature may be maintaine 1 for singers, especially during the trying months of March and April. The park will be of considerable extent, and will be filled with flowers, trees, statuary and decorations. Open-air concerts will be given in it.

All questions of allotment of ground for the College are left to the decision of the Park Commissioners. The financial affairs will be entirely in the hands of experienced business men. The gentlemen who have the matter in hand are constantly receiv ing assurances of support from every side. One gentleman who had long cherished the idea of founding just such a college offered $500,000 in the hope of becoming himself the founder. It was finally arranged that the sum should be as a gift to the general fund. Another gentleman only yesterday offered $100,000 as a loan, to be repaid to him as soon as the College would be in such a condition as to be self-supporting. The offer was accepted. But why write oratorios, young men, when faith Within the coming week the trustees will be organand power both fail you? Why, thus, parody the ized into a board. Final action will then be taken. sublime Bible? Why, indeed? Perhaps the an- The building will be begun as soon as the plan shall swer should be something of this sort:-Because, have been decided upon, the plans being open to all not having the power which a symphony demands, architects for competition. The College itself will you make suites d'orchestre; "because being de- be open in the Fall, when some building, to be sevoid of scenic sentiment, you seek to make a concert | lected by the trustees, will be used temporarily.

Deems. 30

"I love to roam on some fair isle, Where nature greets me with a smile." A very graceful and smoothly going duet. Christmas Bells at Sea. 4. Db to d. Sullivan. 30 "Softly pealing, gently stealing, Silv'ry bells in volleys ringing." Beautiful fancy of unseen bells ringing Christmas Chimes at sea.

3. C to e.

Bagnall. 30

"Waking up the dickey birds,
Before the dawn of day."

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