Musical Correspondence.



actual prohibition in the 16th century, to take any standard Italian, French, German, and English dic as an electire, if not obligatory, branch of the highactive musical part in its services, , -as I have al. tionaries and biographies of musical art,

er course of study in ladies' colleges. From actual ready menttoned,

,-a feminine saint was adopted as And who cannot recall, from the descriptions of personal experience, I do not hesitate to pronounce patroness of music, and especially of church music. older persons, or from memory, the accomplish: it equal—merely as a mental discipline-to mathe. The life of Saint Cecilia, though narrated in the ments of more recent artists ? Who has not heard | matics, while it enriches the mind to a far higher Golden Legend, is, however, partly mythical. We or heard of the rich voiced Mrs. Wood, the fascina. degree, and is far more likely to prove of practical know that the lady 90 familiar to all lovers of art ting Malibran, the impassioned Madame Devrient- benefit to women in after life, than the study of tho and poetry as Saint Cecilia, really existed and died of whom it has been said that "she never sang an other science. & martyr; but it is uncertain whether Rome or Sic inferior song in public during her whole life,” the ily was the scene of her death, and the date of that charming Sontag and Patti, the intellectual Madame event varies in the narrations of various authorities. Lind, the exquisite Madame Nilsson ? In regard to her musical attainments, we only know Madame George Sand, in her art-novel “Consuewith any certainty, that she was in the habit of 10," has drawn. with that poetic charm and persnasweetly singing pious songs. If we search still far. sive force of style that belong to her supremely, the ther back in what I may term the primeval epoch ideal character of a pure and noble artist woman, CHICAGO, DEC 23, 1876. Since my previous communiof musical art, we find the Greek poetess Sappho lo too deeply imbued by lofty enthusiasm for her fine cation quite a number of musical events require attenhave been credited as the inventress of the so-called vocation, to barter its true principles for transitory tion. First of these is the concert of the Beethoven mixolydian mode in music, an 1 also of a (then) new success, social flatšery, or pecuniary advantage. Society given in McCormick hall, Dec. 14. The promusical instrument, the pectis or magadis.' And This character has been in some measure realized in gramme was: Miriam, the prophetess, who went out dancing and the persons of two ladies yet living, Madame Viar

1. “Toggenburg," a cycle of ballads (for solo singing, the tinbrel in her hand, who can say that dot-Garcia, the singer, sister of Malibran, and Mad.

voices and chorus)....... . Rheinherger her song of triumph was not her owu composi. ame Clara Schumann, the pianist, and widow of the 2. Romanza for 'Cello...


Mr. Eichhelm. tion ! composer Schumann.

"Landing of the Pilgrims" (Chorus)..F. W. Root But, to advance to the early days of modern mu That many of the famons songstresses of past 4. "Ah! Rendimi qnel Cor" sics-banished from active musical participation in days were capable of interpreting the works of com

Miss Ella A. White. the church service, woman's practical career as a

5. Concerto for Pianoforte (in G minor). (with posers in an almost independently creative manner,

Quintet accompaniment).. Mendelssohn public artiste only began with the invention of the the scores of old operas prove. In many of these

Mrs. L. H. Watson. opera, about A. D. 1600. It was not until her su the melody is reduced to a mere thread, in order to 6. “Comala,"—(Dramatic Poein).

...... Gado

Solo voices and Chorus. periority as an actress and singer had been undeni. give the songstress perfect liberty in varying the ably and triumphantly established on the stage, theme according to the passion and action of the This programme was noticeable for its novelties; for that she reconquered her mnsical share in the relig. poetry she was to interpret. But it is impossible such were all the numbers except the ofth; and in this ions service. And what great distinction in such a for the most ardent disciple of woman's progress to respect it does great credit to the director, Mr. Wolfposition woman has won for herself during the past point to snch a galaxy of celebrities among female sohn. It wns, however, too long, and especially placed 200 years! Volumes have been written on those composers, as may be placed, without losing their Gade's heantiful cantata at a disadvantage by bringing opera singers, many of whose very names, as they brilliancy, beside the names that add lustre to it so late in the evening, it lacking but about ten minecho through the pages of history, are in themselves womanhond in other branches of art, and in literat utes of ten o'clock when the Comala was begun. romance and poetry, recalling as they do, the gifts, ure. In musical composition we cannot boast stars Strictly speaking, the performances at such concerts charms, accomplishments, charities, virtues, errors, of such distinction as Mrs. Browning, Heloise, Mrs. as this, and those of the Apollo club, do not form a adventures, and caprices of their possessors,

Lewes, Mrs. Siddons, Mdme. Sand, Rosa Bonheur, proper subject of criticism, since they are not public, but I shall only allude to a very few of these ladies ; Aspasia, Miss Cushman, Mdme. de Staël, Miss given before the associate members only; berides. In the and one of the first mentioned in history we find to Bronte. Dora d'Istria, Miss Thompson, the nan Rng. present case they were the work of amateurs. Neverhave been Vittoria Archilei, a highly accomplished witha, Fernan Caballero, and all the rest. The list theless they may be discussed from an educational musician at the court of Florence in 1600, and who of feminine composers is a brief one, and most of stand-point, in which case some consideration of the took part in the first Italian opera that was com its members are now living. There was the prin- quality of the performance comes in, becau-e the qualiposed and represented in public. Faustina Bordoni, cess Amalia, of Prussia, sister of Frederick the ty of the interpretation has so much to do with renderborn in 1700, wife of the famong composer Hasse, Great, who composed operas and cantatas; Leo. ing the works intelligible and thereby instructive. was one of the greatest artists that ever lived; med. poldine Blahetka (daughter of a professor of mathe

Hence, while I may not feel free to speak of the solo als were struck in her name, and societies estab. niatics in Vienna), who published inore than 70 singing on this occasion as I would it the singers were lished in her honor. Her rival, Regina Mingotti, pianoforte pieces and songs, some of which were whose portrait now stands in the Dresden Gallery greatly admired by Beethoven ; Josephine Lang: merits of the chorus work, and the judgment of the con:

professionals, I am at least at liberty to consider the delighted the historian, Dr. Burney, by her fresh- the friend of Mendelssohn, who composed a number ductor in assigning solo parts to singers unable to deal ness of voice at a very advanced old age, as well as of charming songs ; Madame Farrenc, whose inspi. with them properly. by her power of conversing with equal in ration and science attained masculine proportions ; five languages. Madame Mara, the favorite singer Mrs. Fanny Hensel, sister of Mendelssohn; Louise

The chorus on this occasion numbered something less of Frederick the Great and of Marie Antoinette, en. Puget, whose vocal romances lately enjoyed an enor.

than two hundred, the parts being quite well balanced. chanted Europe for nearly fifty years; at the age mous popularity in France, and won a large fortune The accompaniments were at first a pianoforte, and afof seventy she still sang in public, though the pow. for their composer: Mdme, Schnmann aud Mdme.terwards (in Comala) a quintet and piano. In point of er of her voice had vastly declined; some years af. Garcia, who have composed some fine works, though attack, intonation, shading, and contrast the chorus terwards, the great poet Goethe wrote a poem in few; Madame Dolby in England; Virginia Gabriel, work was of a very indifferent quality. The voices were honor of her birthday. Caterina Gabrielli, the pu: the balladist; Elise Polko, who, carefully educated not well together, the tone was not elastic, and the genpil of Metastasio, excited her audiences to alternato as a singer, lost her voice prematurely, then wrole eral effect was monotonous. At the same time the voices frenzies of admiration and anger, with her voice, for many years a number of novelettes, and now ap. were good, and there was no reason why efficient rebeauty, caprices and adventures. When Catharine pears before the world as a song composer; and a hearsals would not have prepared an effective performof Russia complained to the singer that her emolu few other ladies.

ance. On the whole, I confess that a feeling of sadness ments were far higher than those of the Field Mar.

But women have only lately realized the depth comes over me when I think of it. For the work done shals of the Empire, Madame Gabrielli replied, and strength of the science of mueic, and what long by this society has beon of considerable value to the “Then your Majesty must try to make the Field years of severe mental discipline and scientific train. musical taste of the town, and it is melancholy that now, Marshals sing !" Madame Catalani, born in 1779, ing are necessary in order to master the art of com.

when they have rivals in the field, young, energetic, and possessed a trumpet-like power of voice; in London position. This is not much to the dishonor of their capable, they should not rise to the new demands this she received twelve hundred dollars for singing the

courage and patience, indeed, for a comparatively competition lays upon them. I would be glad to proph. solo in “God save the King,” and twelve thousand small number of musical students among the other ocy smooth things, but really I cannot, and so I beg to dollars for assisting at one musical festival. Mrs. sex in America are willing to devote themselves to say that unless the Beethoven Society of Chicago can Billington, a blooming English woman, far removed such self-sacrificing study'; too many who do com attain to a higher standard of choral work they must in physical and mental characteristics from the pop mence it become discouraged when they begin to content themselves with a second-class position. ularly received idea of a sorceress, was accused by understand the amount of labor required, and the The sólo work was une qual. In the “Toggenburg" the superstitious Neapolitans of causing the erup: thorough training necessary to insure perfect devel. tion of Mount Vesuvius in 1794, by her wonderfulopment to their talent for composition, and lasting stein and Mrs. J. Balfour, both of whom sang admira.

the bass and alto parts were taken by Mr. Carl Bergvocal powers, and the excitement they produced in fame to its results. Mathematics, acoustics, psy. bly, although the voice of the former is not quite what Naples. M. Thiers has translated the autobiogra-chology, languages, as well as general literary ac

it was twenty years ago. The soprano, however, Mrs. phy of Mrs. Billington into the French language. quirements, the practice and technicalities of sever. Another gifted and beautiful singer, Agnes Schebest, published an interesting autobiography ("Aus mastered by the aspirant in com position, and grad. I understand) in a very beautiful manner. The air ital instruments, and the science of music, must all be Bond, was inadequate to the part. Miss Ella White

sang her arias from Rossi (one of the old Italian Rossi's, dem Lehen einer Künstlerin,”) about twenty years vally, through the application and assimilation of ago. Mrs. Sheridan, too (the wife of the drama long years of stndy, become the “second nature" of

self is musical and pleasing. The string accompaniment tist), whose personal beauty and thrilling voice

was arranged by Mr. H. Clarence Eddy. Of Mrs. Wat. his mind. It may be some encouragement to the have beeo celebrated by poets and painters, was sincere student to know that the grandest original son's plano playing I have formerly spoken. She lacks also rernarkable for her poetic talent. of Miss Ste idea of a Handel or a Mozart demanded as perfect the repose indispensable to a public performer. phens, the ballad singer, it was said that her power working out, as fine polishing, as the smallest fan

Considerable exception might be taken to the tempng over the hearts of others arose from the depth of cy that ever issued from the brain of a ballad writ

in Comala, the chorus of spirits, for instance, being very her own feeling, and the warmth and sensitiveness And why should not women of sufficient intel. much too slow. In consequence of the feeble contrasts with which this informed her charming voice. lectual and especial ability to warrant the possibil. and the heavy, inelastic, tone of the chorus, this perforinMiss Stephens afterwards married the Earl of ity of their obtaining honorable distinction, make ance loses much of its proper educational value. Essex. If I am not mistaken, the countess is still an effort, and, discarding the absurd idea that com On several occasions when I have expressed myself living.

position is an affeir of instinct, study to compose for privately to the foregoing effect, I have been met with I might long continue to enumerate such instan- immortality also ? There is surely a feminine side the suggestion that it is worth more to the musical taste ces of genius and success in public songstresses ; of composition, as of every other art. And I would of the town to have new and important works even inbut any musical student can search for them in the suggest the adoption of the science of composition differently rendered, than to have a few short choruses



2. Concerto. 3. Comala.

sang even to perfection. The point of this lies in the crowded. The performance on the whole was one the contralto solos. Her rich and sympathetic application of it, which is to the short choruses “per of the best. Certainly the great chorus has seldom, voice, and her large, evenly sustained, expressive fectly" performed by the Apollo Club. But in my opin if ever, done its work so well. The choruses, union the alternative is not properly presented. There was

delivery, appeared to excellent advantage in “O no reason, for instance, why on this occasion the Beetho- der Conductor ZERRAHN, aided by the organist of thon that tellest ” and in " He was despised," the ven Society should have attempted to do so much new the Society, Mr. B. J. Lang, at the piano, had been latter being given in a chaste and unaffected man. work. They have in their repertory a number of rery rehearsed with zealous care and even with enthusi- ner, without any of that sentimental overdoing of fine works, and if they had done “Comala” well, and

Some of the most difficult and hitherto baf. expression which has been too common in that filled out the programme with two or three numbers ta. ken from the “Walpurgis Night,” or Beethoven's Mass Aling choruses went with a certainty, a smoothness song, and without that man-nish quality in the deep in C, or any of the other works they have given, the ed. and distinctness which we have hardly known be tones so offensive in many of the powerful contral. ucational value of the programme wonld, in my opinion, fore. Such were: “His yoke is easy.” “Their tos. Mr. Wu. J. Winch sang the more pathetic have been increased. Buppose, for instance, the pro sound is gone out,” and “Let us break their bonds tenor solos with great refinement and true feeling, gramme had been only this:

asunder.” Generally the attack was prompt and and with a sweet quality of tone. And in the ener. 1. Spinning Chorns from “Flying Dutchman." Female Voices.

decided, the balance of parts good, the ensemble getic and trying “Thou shalt dash them” he was

rich and musical, and the effect grand or beautiful remarkably successful; except that the high A on Here would have been a performance quite long

as the composition required. There was moreover “dash,” in his strenuous effort to give it all possible enough, lasting fully an hour and a half, yet (if the cho an important improvement in the treatment of the emphasis, was rather robbed of tone, Mr. M. W. ruses had been well drilled) thoroughly enjoyable: and orchestral accompaniment. The phrasing and bow. WHITNEY was in grand voice, and rendered the bass if the rendering of Comala had really risen to the dignity ing of the violins, and all the strings, which hither. solos very impressively. By the way, the quartets : of an interpretation (through fine chorus shading, elas

to has followed an absurd tradition,-in short a “Since by man came death,” etc., were song a cs. ticity of tone, broad contraste, proper tempos, and competent solos) the effect upon the taste of the audience

coarse and careless habit of playing nearly every pella, qnite without accompaniment, in spite of Yo would have been much greater.

fignre with a hacking staccato, had been carefully zart's score,—a questionable innovation, we incline I have pursued these remarks at some length because conformed by the conductor to the evident intentions to think. the same dlemma of good music and indifferent per- of Handel's score ; so that we no longer heard the formance, or indifferent music and good performance,

And now tho Mandel and Haydn Society have begun seems to present itsell in every such case. Whereas, incongruous and stilted separate accent on each note

rehearsal for their Triennial Festival, of four days, in properly speaking, no conductor is reduced to 80 fatal accompanying the leg.ito of the voices,

May. There will be tour evening Oratorio performances an alternative. For whatever may be the limitation of And here is the pla to speak of the additional (Thursday to Sunday inclusive), and two afternoon Conhis resources, there exists somewhere music adapted to accompaniments which Robert Franz has furnished

certs. Among the works mentioned for performance his case; and a fine performance is merely a question of

are: “ Israel in Egypt," Beethoven's "Mount of Olives," competent drill, provided, of course, the management to several numbers of the work which Mozart had

Mendelssohn's “95th Psalm," and a portion of Bach's has the nerve to weed out incompent or carelers singers. omitted to complete in the admirable manner in

Christmas Oratorio. In the present case there is no lack of resources. It is which he had fitted the rest of the oratorio for pubonly a lack of nerve, or something, in the direction. lic performance. It can hardly be supposed that

Concerts The Kellogg English Opera is now giving a two weeks

the mass of the audience, not technically musical, season here. The list was: Trovatore, The “Marriage of

HARVARD MUSICAL ASSOCIATION. The fourth SymFigaro,” The “ Flying Dutchman,” The “Bohemian noticed particularly wherein the passages in ques. phony Concert, (Tuesday, Dec. 26), postponed from Girl,” The “Star of the North," Martha, Fra Diavolo, and tion sounded better than before; and yet uncon.

its regular date, and coming the day after Christ a matinée not announced. The papers speak of Miso sciously they must have experienced a fresh pleasKellogg as poor in Trovatore. I attended the “Marriage ure in ther. To musical students and observers

mas, showed but a slight falling off in attendance. of Figaro" and the “Flying Dutchman." The former the improvement must have been palpable. A much The programme, composed entirely of good things went excellently, except a few slips on the part of one richer and warmer coloring was imparted to the which never grow hacknied, unless we except the or two who were new in their parts, and the countess Air: “He shall feed his flock,” by the addition of concluding portion of the last Overture, was es (Mme. Rosewald), who has a hard, unsympathetic voice, two clarinets, two bassoons, and particularly two and is quite incapable of the part. The Count was Mr. horns, though this had been suggested heretofore at:

follows:Carleton, who sang his part very well, but there is some. thing too stiff in his manner. Mrs. Segnin was charm- | least upon the Organ. In like manner the pair of Concert Overtnre, in A, Op. 7.. ing as usual in Cherubino, and Miss Kellogg's Susanna clarinets and of bassoons filled out the mi idie har.

Piano-forte Concerto, in A minor, Op. 84..Schumann is also a pleasing performance.

Allegro affettuonn-Intermezzo (Andantino mony, so long left to the Organ, with excellent cf. of the “ Dutchman” I cannot speak so favorally. The fect in a considerable number of the choruse3, arias,

grazioso.- Allegro vivace.

William H. Sherwood. story-well, it is moral, at any rate, and that is something and the more graphic recitatives, as Thne saith the Lord, And I will shake," etc.

Pastoral Symphony (No. 6)...

.. Beethoven in a libretto. The orchestra contained no more than

And several
Song—" Adelaide

...Beethoven thirty pieces on the first performance, and on the repetimes the fine contrapuntal art of Franz was beanti

William J. Winch. tition not so many. The first violins were but four.

Jubilee Overture..... Where, oh where, were the Hebrew children” who fully manifested in the answering phrases, imita

.Weber should have been paying for a larger orchestra for tions, wbich he has given to those middle instruWagner's sake? The singing was not badly done. Miss ments, or instrumental voices, keeping up the poly; besides the general distraction and demoralization

The orchestra labored under other disadvantages Kellogg is quite incapable of such a part as that of Sen-phonic continuity. Who can doubt that Handel ta. On the present occasion she used a treinolo continually, and, unless my ear deceived me, sang a shade be. himself did that when he presided at his organ? A

of the holidays. Misfortunes never come single. low the pitch in many places. The part of Vanderdeck- number of the shorter recitatives, heretofore left The rehearsals, too few at best, had to be held in en was taken by Mr. Carleton, and his part and Mr.

with only a figured Lass, have been written out by a different hall from that of the final performance; Turner's Pilot were the best things of the whole.

Pranz for the quartet of strings, and certainly they and then the first oboist was taken sick, so that his And yet it ought to be set down to the credit of Miss Kellogg and her associates that they hare added another sounded better.

part had to be played by the second (without reopera to the hackneyed list; and while their orchestral

But one thing surprised and puzzled os, of which hearsal), with a mere flute to represent the second. and choral resources were not adequate to do it well, one could at least judge of the subject matter of the music we have since learned the explanation. We listened

- 0 poor are we here in this important little in. itself, and in spite of what I said above I found the cho with the Mozart score in hand ; and in quite a num.

strument! Verily the whole fate of the concerts rus of mariners and pilot's song in the first act remarka- ber of passages of several measures, where Mozart's

has seemed more than once to hang upon an obne. bly good, and there were bits of goodness all along. In instrumentation is full, we heard no sonnd of it.short this music reminds me of what Carlyle says about

Nevertheless there was a spirited and quite effec the talk of Samuel Taylor Coleridge:

only the deep bass murmuring with the voice. tive rendering of the two Overtures: that by Rietz, “ It was not flowing any whither like a river, but These were mostly end paggages, or cadences; and one of the very best of modern compositions of the spreading any whither in inextricable currents and re- it would seem that English tradition has been fol. class of which' Mendelssohn' urnished the models, gurgitations like a lake or sea; terribly deficient in defi- lowed in this modification of Mozart's score. Of one which always comes up fresh and interesting; nite goal or aim ? "

course it sounded nnusually meagre; but we under and the "Jubilee” by Weber, brilliant and bany. The Hershey Music Hall is a small hall holding eight stand that it has been customary until now to carry ant, which we have not heard too often of late, and hundred, just about completed, in the very centre of the

out the instrumental parts to their conclusion on the which made a stately and exhilarating ending to the city (opposite McVicker's Theatre, near State and Madison Sts.) It will within a month contain a fine concert organ.

concert, although, cor.posed as it was for an Eng. organ and altogether it affords an admirable place for small concerts, scientisc lectures, etc. It is occupied hy of superlative excellence, no famous prima donna.

The solos averaged well, if there was no singer lish patriotic occasion, its noisy serving up of “God

Rave the King" for a finale partakes rather of the ven Society. When not wanted for these it is for rent. The Soprano pieces were divided between Mrs. J.

character of clap-trap. The Pastoral Symphony DER FREYRCHUETZ. W. WEston, and a new aspirant, Miss Lilian B.

was at all events refreshing as a sweet summer Norton. The latter has a pure, large, powerful

dream in this bleak and icy season, as if the masvoice, which she has a tendency to 118e (probably in

ter tone-poet had stolen and preserved for us the the over-anxiety of a debutante in that large ball)

very tune out of the heart of summer and the coan. somewhat too powerfully. Her vocal culture, too,

try. Some of the rendering was a little rougher seemed hardly equal to her sympathetic musical

than of late ; but the beautiful Andante "by the BOSTON, JAN. 6, 1877. feeling, her dramatic intensity and good conception.

brookside” and the clearing up after the thunderShe gave “There were Shepherds” and “Rejoice

storm, with the finale, made clear and charming Christmas Oratorio. greatly” with fine effect, and promises to take very

pictures. high renk among our singers in these nobler tasks. Mr. SHERWOOD gave a very sure, strong, decided The Handel and Haydn Society gave its sixty. Mrs. Weston sang “ But thon did'st not leave" and rendering of the wonderful Schumann Concerto. sixth performarice of The Messiah (its 594th Concert “I know that my Redeemer” very sweetly, but There is great strength, and at the same time elas. in 62 seasons) on Sunday evening, Christmas Eve. PAILLIPPS, who made so good an impression in the with rather indistinct enunciation. Miss MATILDE ticity in his touch; on the whole we think we note

a growing tendency to too much strength, to the As usual at that joyful festival, the Music Hall was

opera of Semiramide a year ago, won great favor in degree that musical tone suffers; it is to common


Dwigbt's Journal of Music




with the most modern school of pianists; brillian to hear the beauty of the whole work brought out After listening attentively to this artist's playing, cy, effectiveness, unflagging certainty in carrying more satisfactorily than it was that evening. There I must confess that it strikes me that he has often through long feats of difficulty, seem purchased at is a well established understa nding and quick sym. met with very uncalled for hard treatment at the almost too dear a cost. This artist, however, reads pathy between the instruments. To our taste that hands of critics. I think that, upon the whole, we all intelligently, phrases clearly and misses no Quartet was the best thing of the evening. Of Americans are too prone to set down any personal points. · Nor is there any lack of musical feeling. course the songs do not come into the comparison. peculiarity of manner, gesture, or dress to the score The Intermezzo was interpreted with a poetic, deli. Mr. Osgood was remarkably happy in the two songs of affectation. Every artist must from the nature cate appreciation; and he struck into the rapid Al- by Franz, particularly the joyous “ Im Wald ! im of his position strive to produce some effec:; if the legro vivace, bristling with difficulties, and taxing Wald,” which gave full chance for his best tones ; tistic one, we cry out against clap-trap and charla

effect produced does not strike us as a high or arthe utmost flexibility and strength of most fingers,

and he sang them with the most inspiring of accom tanry, catering to the depraved taste of the masses, with a glorious ease and confidence that triumphed

We do not often think it worth our to the end. Mr. Sherwood plays entirely without peciments, that of Otto DRESEL, who finds a music and what not. notes, and to this habit we cannot help ascribing in in the very tones nf the piano found by very few. while to consider to what order of taste the artist part the too much humoring of tempo in the first Warmly recalled, Mr. Osgood also sang the delicate Is it improbable that an artist should naturally ap

is by his own nature siocerely impelled to appeal. movement. We intended to make the same sug. gestion with regard to Miss Rivé's performance of

Schlummerlied of Franz, to words by Tieck, with its peal to the class of listeners whose ideal in art co. the C-minor Concerto of Beethoven. Is it not bet wonderful low murmuring accompaniment.

incides with his own? It seems to me that Ole Bull ter, safer on the whole, in playing with an orches In place of Mme. Schiller and the Schumann has a rare talent, call it genius if you will, for giv. tra, or in any concerted music, to put one's self on Quintet (which we shall have another time), Mr. place musical sentiment. He is the Felicia Hemans

ing the intensest expression to the most commonan equality with the rest so far as possible, and play Perabo played, with Messrs. Listemann and Hartwith the notes before one ?–Mr. Wince's singing of

of the violin (!) The sentiment itself may be mawk. "Adelaide" was beautifully tender, sympathetic, degen, the Trio in A minor, Op. 155, by Raff, which ish and shallow, its expression overstrained, but it

No man can prochaste, refined. His voice is sweeter and more sen. we like about as well as any of his compositions in may be very genuine for all that. sitive than ever; the accompaniment, too, by Mr. this form; for, though we cannot qnite acquit it of

duce such powerful effects upon his hearers as Ole

Bull often does without having some very genuine DRESEL, was masterly; and there was nothing to

modern extravagances, it is a bold, fiery, original disturb or clog a pure, warm_reproduction of that series of inventions and contrasts,—some of the

link of sympathy between himself and them. Mere perfect love song, except the English words, which movements beautiful; and it lacked nothing in the

clap-trap cannot do such things. As for criticising refused free and easy passage to the last movement execution or the interpretation, both artists playing to express an opinion on what he does not under.

his playing, I do not think that any critic has a right taken at a quick, enthusiastic tempo. If the singer with fire and thoroughly absorbed and happy in it.

stand. be not sufficiently at home in the German language, -Mr. Osgood's voice did not serve him quite so

If a man tells me that he likes and enjoys

Lilly Dale and The Inst Rose of Summer, I can unthe Italian version is a very fine one, close to the well for the delivery of the exquisite “Stille Liebe'

derstand him well enough; there is a tangible point thought of the original, beautiful in sound, and easi.

of Schumann; that is, it does not lie in his best est of all to sing.

on which our sympathies meet. But when I see a tones; but he sang con amore, and the piano mar.

man pouring out his whole soul over Lily Dale ; Of this week's Concert (Thursday, Jan. 4) we can only vellously sang in the few notes of prelude to the

Schubert bas caught all the ecstacy of an intense as my own are in hearing the adagio in

when I find that Lily Dale arouses feelings in him give just now the programme:

Shakespeare's “ Lark" song, and it was given to us. Symphony No. 4, in B flat, Gade ; Rec., and Arla,

Beethoven's great B-flat sonata, and that he can "Non più di fiori," from Mozart's “ La Clemenza di Mr. Sherwood gave a strong and earnest rendering

work himself up to such a delirium of anguish that Tito" (Madame LUISA CAPPIANI); Overture to “Atha. of Chopin's noble Nocturne in C minor, Op. 48, be.

he is well nigh ready to " die of a rose in aromatic lia," Mendelssohn.-Andante and Finale from Schu.

sides a rather dry but brilliant Octave study by beri : Grand Duo,

Op. 140, arranged for Orchestra by, Joachim ; Bongs with Piano-Forte: a.

pain," then I feel that I do not understand him, I Kullak.—The Sextet by Beethoven although it is “ The Violet,"

cannot conceive in what relation he stands to music Moxart, 6. “Ungeduld," Schubert; Overture to “Eg registered as Op. 816, sounds like one of his very mont, Beethoden. early works, much in the vein of Mozart, simple in general, I cannot imagine any point of æsthetic

sympathy that we have in common, and npon which The Sixth Concert will come after a four weeks' interand paive, yet very fresh and charming. The two

I can rest the lever of an argument. Our ideas on val, on Feb. 1, when Miss NITA GAETANO's lovely voico horns have a task which is no child's play and ad

conjugal affection and floriculture may very likely will be heard, and Mendelssohn's “ Italian ” Symphony. | mirably were they played by Mr. Belz and Mr.

be the same, but when we come to the Art of Mu. Schumann; their rich, warm, golden quality of

sic, we no longer talk the same language. What I SANDERS THEATRE, CAMBRIDGE. The second Con-'| tone was of itself enough to charm the senses

can admire in Ole Bull is the beautiful and sympathetic

quality of the tone he draws from his instrument. It is cert was of Chamber Music (Thursday evening, Dec. throughout several movements, so long as the com

not brilliant, it is hardly a manly, powerful tone, but it

is sweet as honey. Ar an executant, I can see nothing 21). It was a very stormy night, but the thes: position as a whole was sound and honest

The third Concert will take place on Wednesday oven-

in him above other excellent violinists; he plays with a tre was all light and beauty-sunshine of the soul; ing, Jan. 17, with this programme :

loose bow and a flat bridge, which gives him great facile in that genial sphere of Art all outside was forgot

ities for double and treble-stopping, but the one thing

Trio for Piano, Violin, and Violoncello, in B fat, that makes him a really phenomenal item in the list of ten. A chapter of accidents kept the friendly audi. Op. 97, Beethoven, Messrs. PERABO, LISTEMANN, and violinists is his intensity-mark the word-his intensity ence waiting for some time. In the first place, Mmo. HARTDEGEN; Songs, “Withered Flowers," "Whith of feeling in playing. Miss Fanny Kellogg was received SCHILLER's illness was announced, and the appear.

;" Schubert, Miss CLARA' DORIA; Romanza and with marked favor by the audience and sang an air from

Scherzo for Piano and Violoncello, Paine, Messrs. Adam's Giraldo extremely well. Her voice is a light so. ance of two excellent pianists, Messrs. PERABO and

PERABO and HARTDEG EN; Violin Solo Mr. B. LISTE.

prano of pleasant quality and considerable flexib lity, SHERWOOD in her place. Then it leaked out that MANN; Songs, “Matin Song," Paine. "Swiss Song," though of no great distinction of timbre. Her torte is the violoncellist, while entering the vestibule, had

Frans, M188 DORIA; Plano Bolo, Nocturne, Rubin evidently ballad singing and I know few singers who

stein, Sketch, Mendelssohn, Mr. ERNST PERABO: Bep can surpass her in this brarch. Mr. William H. Sherslipped upon the icy step and broken his instru.

tet, Op. 20, Beethoven, BOSTON PHILHARMONIC CLUB, wood showed himself the true artist he is. and was warm. ment; another had to be procured from an ama

In the fourth Concert Mme. SCHILLER will play the

ly applauded for his tine playing of Liszt's transcription teur; finally the LISTEMANN Party, rather than wait

of the Tannhauser March. His playing of the Rubinstein great Schumann Quintet with the Philharmonic Club,

Serenade and the Chopin Etude struck me as even more longer, began their Mozart Quartet without music and, for a solo, Tausig's arrangement of Weber's “Invi

effective, as the Mu ic Hall is far too large for the Liszt stands,-a want supplied before the second move tation to the Dance.

piece to make much effect in, but the selection. did not ment. The programme, as printed, was the follow.

seem to be so much to the taste of the audience. Mr. ing:

MR. Peck's Two CONCERTS drew large audiences

Freygang played a very brilliant Harp-Fantasia of his

own arrangement, on theme from Halevy's Jewess, most 1. Quartet for Violins, etc., in O...


to the Music Hall, with OLE BULL for principal at admirably. The Swedish Ladies Quartette were charr. Adagio-Allegro-Andante cantabile-Minu

ing as ever, and showed in Schumann's Wassermann that etto-Allegro molto. traction, on Thursday evening and Saturday after

they are fully up to higher musical tasks than Folk-song Messrs. B. Listemann, F. Listemann, A. Belz, noon of last week. There were the Swedish Ladies singing. and A. Hartdegen.

The Saturday afternoon concert was fully as largely 2. Songs: a. “ Evening;” b. “The Woods '... Franz

also, and the Philharmonic Club, and Miss Fanny attended as that on Thursday evening. Ole Bull again Mr. George L. Osgood. KELLOGG, who sang finely in music of a highly flor.

delighted his many admirers by his extraordinary play: 3. Quintet for Piano and Strings, in E flat major,

ing, which was even more intense, extravagant and id and exacting character; and there was to have Op. 44... Schumann

fantastic than before. I would gladly say something Allegro brillante-In Modo d'una Marcia

been Miss Julia Rivé, but that interesting young about his compositions (the concerto in E, the Mountains -Scherzo-Allegro ma non troppo.

artist is seriously ill, they say, at home in Cincin of Norway, which he played on Thursday evening, and Madame Madeline Schiller and Messrs. B Liste. nati; and her place was supplied by Mr. W. H.

The Vision and Sneterbesog, which he played on Saturmann, F. Listemann, A. Belz, and A. Hart

day,) if I could only get some clue to what he means by degen.

SHERWOOD, who seems over prepared for all emer. them. I have heard them called melodious, and am wil.

gencies. Ole Bull still holds the crowd as over; Jing to believe that some persons may be edified by 1. Songs: a. “Silent Love". Schumann and the same things which many others do, the

them, but to me they are drearily incomprehensible, d. “Hark! hark! the lark". ..Bchubert

perfect musical (or unmusical) Saharas, wanting even in 2. Plano Solo, " Invitation to the Dance," arranged same arts and tricks of the violin, the same hack

the piquancy of striking ugliness. Mr. Sherwood played by Tausig.

Von Weber

nied cadences, seem finer to the crowd when done the facinating Flying Dutchman Spinning Song very Madame Madeline Schiller. by him. To ns the remarkable thing is that as an

brilliantly, together with Schumann's Bird as Prophet, 3. Sextet for Two Horns and Strings, in E flat,

and a taking little caprice of his own. Mr. Freygarg artist, as a virtuoso, he is still precisely. what and Op. 81, o.. Beethoven

played Parish Aloars's Ka Mandoline with such a grace (Two movements.)

where he was when he first came to this country that he had to play something more to satisfy the au. Adagio-Rondo, Allegro. over thirty years ago, and does precisely the same

dience." Miss Fannie Kellogg sang" the Polonaise from Messrs. A. Belz, C. Schumann, B. Listemann, F. things, plays precisely the saine music, and with as

Mignon with much brilliancy, and appeared to even betListemann, E. Weiner, and A, Hartdegen.

ter advantage in Taubert's bewitching Echo Song. The intense an interest apparently as if it were the pres Swedish lailies were again charming. Would that we If we had any doubts about the acoustic excel. ent moment's inspiration. There is a certain Norse heard more of such good part singing by female voices. Jence of the room on listening to the orchestra be romance about his life and whole appearance, which

In both concerts the Philharmonic Club played admir.

ably, but the audience did not seem in the mood to fore, they entirely vanished from our mind upon doubtless accounts for a great part of the charm. listen to good chamber music amid so many bewildering this last occasion. Never have we heard the violin His “ Carnival” is indeed the funniest of all the “ attractions," and we fear that unless the sympathy of or the pianoforte render a more pure and lovely funny versions of it; they all grew on one tree, of all true mineic lovers and their own artistic self-respect quality of tone in any room than both did here. Paganini's planting.

lent body of artists met with but little reward. But let The tone of Mr. Listemann's leading violin in the Of him, and of the concerts generally, Mr. W.F. Us not be cynical because chamber music is out of place

at such concerts. Let us rather congratulate Mr. Peck Quartet by Mozart,-a dear old favorite-was well Apthorp writes as follows in the Courier of Sunnigh perfect; and it would be too much to expect day:

upon the success of his concerts, which have given great pleasure to a large number of persons.


Special Notices.

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faultless execution of Corelli's Suite in D, on Monday,

and her leading of Beethoven's (somewhat Mozart-like) CRYSTAL PALACE. Last week Mr. Sullivan took the

Serenade for violin, viola, and violoncello, in the same place of honor:key, with Mr. Zerbini and Signor Piatti (“the inimita

DESCRIPTIVE LIST OF THE 1. Overture to the Tragedy of Struensee.. Meyerbeer ble,'') as associates, on Saturday. Never has this accom2. Romanza, “Donna Gentil" ("* Il Mercante di

plished lady more emphatically asserted her claim to the L A T E S T Venezia")....... ...Mercadante

M U S I O , Mr. Wadmore.

title of “Queen-violinist" than during the series of per3. Violin Solo,“ Chaconne and Variations"...Bach formances just terminated. The pianists on the occa

Pablished by oliver Ditron & Co, Herr Wilhelmj.

... Sullivan 4, Cantata, “ On Shore and Sea

sions referred to were Mr. Charles Hallé and Malle.
Anna Meblig,

each selecting one of Beethoven's sonatas
Madame Lemmens-Sherrington, Mr. Wadmore,
as solo-Mr. Hallé giving the rarely introduced F sharp

Vooal, with Piano Acoompanimont. and the Crystal Palace Choir.

major (Op. 78), Mulie. Mehlig choosing the more famil8. Violin Solo, “ Air Hongrois"


iar C sharp minor (Op. 27), which somebody, without the Only Speak Kindly to Me. Lith. Title. Herr Wilhelmj.

consent or knowledge of the great inusician, did him the 6. Cavatina, " Della Rosa il bel vermiglio" ("Bifavor to christen " Mondschein" ( Mounlight."). Such

Song and Cho. A. 3. E to F. Pyke. 40 anca e Faliero'').....

fantastic designations were never to the taste of Beetho.

" Say yon II forgive me forever,
Madame Lemmens-Sherrington.
ven. There was a novelty, by the way, on Saturday, in

And will speak kindly to me." 7. Overture, ". Leonora. No.3"..


the shape of a Sonata in E flat, for planoforte and vioConduc:or......... AUGUST MANNS.

Fine title page, and very pleasing song. lin, by Herr Rheinberger, played "for the first" (it is to Mr. Sullivan's cantata, composed, as will probably be

be hoped the only) time at the Popular concerts." The I Know my Love Loves me. D. 3. c to g.

unlted talents of Mr. Hallé and Mad. Neruda could do rendembered, for the opening of the International Exhilittle towards making 8) vapidly pretentious a composi.

Vining. 40 bition of 141, took the place in the programme usually tion interesting. What can Young Germany be

"Sweet was the singing of the bird, filled by a symphony. Pieces “ written to order" rank about? It will never make head against Franz Liszt &

0, full of love the tone." Co., with the aid of such long and dreary works as are One of the best of concert songs. seldom among a composer's best productions; we may, now poured forth. How different the Sonata in B Mat. therefore, perhaps be pardoned for whatever lack of in. for pianoforte and violoncello, of Mendelssohn, played l’se Going Home. Song and Cho. F. 3. terest we may be guilty of feeling for this work. The at the afternoon concert by Malle. Meblig and Signor

c to F.

Lee. 30 Piatti! It must sumce to add that the vocalist on Monopening and closing choruses are the best numbers; in day was the clever Mrs. Osgood, the same position being

"I'se a coming,-r'n be dar." the latter a very pleasing theme, which was the chief occupied on Saturday by our promising young baritone, A pretty plantation song, subject of the former, reappears in the orchestra with

Mr. George Fox, Mr. Fox introduced a charming sung Corina. Song and Cho. D. 4. d to g. Keene. 35

called good effect. Most people will probably agree at the with an obbliga'o part tor the violoncello, played by the “Adieu then, Corinal no more will I linger present moment with the sentiment of the final chorus, author, and a pianoforte accompaniment entrusted to For a smile that my fond heart claimed as its own." even if they do not always quite understand what the

Sir Julius Benedict. The concerts announced for to-day
and Monday evening will bring the pre-Christmas series

Bung by a celebrated Baritone, and is of high poet means, owing to the somewhat peculiar method he to an end. They could hardly have been better of their

character, poetry and music alike beautiful. has of expressing himself; it is certain his meaning is kind; and so long as Mr. Chappell persists in shaking Sun of my Soul. Quartet. Gb. 4. d to g. pacifc:

dust off Haydn's quartets (more than forty of the eighty-
three have already been produced at St. James's Hall),

Harens, 35 Sink and scatter, clouds of war, he may allow “Young Germany” to lift up its voice

u Abide with me from morn till eve, Sun of peace, sbine full and far! witnout peril, whenever he finds it advisable. “Papa

For without thee I cannot live." Haydn "is “ ein' feste Burg" upon which lovers of gen One of Havens' " 5 Sacred Quartets," and is an Blest the prince whose people's choice

uine, healthy music may always rely for safety. It has adaptation of a favorite hymn to new music. Bids the land in peace rejoice;

been justly said that when the name of Haydn comes to Blest the land whose prince is wise, be withdrawn from the programmes of classical con

The Warrior and the Maiden. C. 3. c to E. Peaceful progress to devise; certs, “the epitaph of music may be written."

Vincent. 35 Closed the brazen gates of Mars,

“ The warrior crossed the ocean's foam Peace her golden gates unbars;

STERNDALE BENNETT'S TOMB. “Cherubino " writes For the stormy scenes of war." Let the pations hear her callin Figaro :

A heavtiful “Troubadour Song," words by “Enter, welcome, one and all!" By the way, the tiny inscription upon Purcell's grave

Mrs. Hemans. But to return to a few of the remarkable points of the music. The recitative sung by the lady soloist, announ

in Westminster Abbey has been re-cut, but it is placed In the Sweet Long Ago. Song and Chorus. cing that_" From Spring tiine on to Summer draws the in the place of dishonor on the floor, and the authori Bb. 3. d to E.

Pyke. 30 year, And still they come not; still we watch and weep," lies state that no room can possibly be found for the is prefaced by a very pretty and lively introduction:"it

“When the brighest ot visions float by then pictures the approach of the long-expected feet of smallest tablet to mark the remains of Sterndale Ben

In a magical dream, to and fro."
Genoese sailors, returning from warfare with the Moors; nett, which lie within a few feet of Purcell. Yet oppo, Golden words, and a sweet melody.
signals are tired, with becoming regularity, but alas ! her site the grave of the great English musician is an enor.
Jover's ship is missing, her love “is lost or slain !" mous and recently erected inscription--six feet square,

Instrumontal. Without, however, waiting longer than was necessary to at least-marking the grave of a noble lady of whom few take breath after coming to this painful conclusion, she have ever even heard, and which inscription is, it is bold- Los Naiads, Valse Caprice. A. 4. Tarmstor. 60 enters upon a measured. syminetrical song, expressing. ly stated in its text, erected by her descendant and in. among other things, her conviction that evermore" her

An elegant waltz, which is also a fine instructive heritor, one of the canons of the Abbey. Sterndale voice will “be sad" " along the shore." One can but Bennett needs no inscription; his works are his most

piece, with runs, arpegglos and trills. admire ber sudden resolution and heroic self-command; fitting monument. But it seems almost a burlesque of School Life Waltzes. Eb. unless. Indeed, she had a presentiment all the while that


Post. 40 propriety to refuse a few inches of room to Sterndale it would somehow come right in the end. The instru. Bennett, and to give several feet to a lady who happens

A good name for a pleasing waltz. mental “ Moresque," and the chorus of Moors following: to have left a canon some money. we are not in a position to discuss. having never studied

Dixie's Land March. C. 3. Wiegand. 30 Moorish music; but we should think it probable that Mr. Sullivan is right if he imagines that coarse, and apBACH IN ENGLAND. The ladies and gentlemen who

A light march or quiok atep, introducing the

well-known lively melody. parently, senseless ugliness are among its characterís sang in Bach's Mass in B minor in the spring have tics. Oddly enough, it would seem that their barbarous formed themselves into a society under the name of the Gavotte. 4. C.

Seeligsohn. 50 scale (if, as we suppose, the composer has studied the question) bears a strong resemblance to what, if we mig

" Bach Choir" (in commemoration of the introduction A sort of classic dance movement of ronsider. take not, Dr. Stainer calls the modern and most beauti.

of that great work into England). The Bach Choir, in. able brightness and dignity. The left hand has ful form of the minor scale. What was the matter with

creased in number from that of last year, has recently its full share of the difficulty. the love duet that precedes the final chorus? There did begun to practice; and the committee, consisting of the not appear to be any fault in the performance, but it cersame noblemen and gentlemen who promoted the per

Fontainebleau. Valse Fanfare. C. 4. tainly conveyed to us anything, or nothing, rather than formance of the mass last year, have resolved to givo

Lamothe. 75 the expression of the words "Here on the heart of my two or three concerts during the early spring, which

Being a “ Fanfare" of course it imitates the love let ine lie, Here in my joy, let me live, let me diel' will be devoted to the performance of the mass and oth

fourish of military music. Or is it that, having becoine saturated with the earnest, er selected choral works of importance little known in

Very bright and

taking. passionate love of such mn as Schumann, Wagner, Raff,

this country. we have no taste left for a calmer and more refined ex

The Two Larks. (Les deux Alouettes.) pression of the same feeling? It is difficult to come to

Impromptų. A. 5. Leschetizky. 60 just conclusions in such matters, and we must fain con CHOPIX'S LETTERS. The Augsburger Zeitung publishtent ourselves with adding that the soloists, orchestra,

Played by Madame Essipot, prohably because and chorus, all acquitted themselves in a manner wor

es an interesting communication from Dresden. It ap it is so graceful, as it is not so dificult as most thy of the work, or--if that is not praise enough-we pears that a mass of correspondence, consisting of some concert pieces. may, perhaps, be allowed to add, if even a greater one. three hundred letters, and written by Chopin, or ad Der Hidalgo. Op. 204. D. 3.

Lange. 6) Herr Wilhelmi's marvellous performance of Bach's dressed to him by Liazt, Berlioz, Thalberg, and many Chaconne, in which the violin becomes a miniature or. other celebrities, have just been discovered. It had long

“ Der Hidalgo" is a song by Schumann, here chestra, was thoroughly appreciated by the musical part been supposed they were lost or destroyed. It now ap

finely transcribed and varied. May be a little more of the audience; and his delightful manner of singing pears they were preserved by the composer's sister, who

dimcult than (3) to some players, but fits easily melodies on his instrument was especially conspicuous in came from Warsaw to Paris, for the purpose of tending

to the fingers. his rendering of Ernst's Hungarian airs. He was twice him during his last illness. The collection has been pur: Lohengrin. Fantaisie Brillante. Eb. 5. recalled at its conclusion. chased, we are informed, by a musical publisher in the

Leybach. 1.00 The programmes of the music performed during the

Saxon capital, for the sum of 13,000 fraies, and a Gerrest of the week contain works of the highest import

man translation is to appear very shortly. Why not the Airs from Wagner's opera, and is worked up ance; the Pastoral symphony was announced for Mon. letters in their original shape as well?

with Leybach's exquisite skill and taste. day last: Schubert's unfinished symphony and Beethoyen's fifth concerto for Wednesday, and Spohr's Power

M'aimes tu ? Fantaisie Romance. G. 4. of Sound for Friday, each-to hear performed under Mr. HANOVER. The great attraction at the third Subscrip

Dulcken. 40 Mann's lead-worthy of a longer pilgrimage than to Syd. tion Concert was Herr Joachim. The Theatre was

Throughout, we hear the melody of a charming enham.

crammed. He played Beethoven's Violin Concerto (with song, with various harunonic additions and orna

orchestral accoinpaniment); a Notturno," with orches monts.
POPULAR CONCERTS. The Graphic of Dec. 9, says: tra (of his own composition); a “Sarabande und Tam-
Mr. Arthur Chappell has been furnishing his patrons adding, in compliance with the strongly-expressed desire

by Leclatr; and various "Ungarische Tänze," Nosegay Polka. (Il ramillette.) Eb. 3.

Barrejon. 30 with more quartets by Haydn. The programme of Sat. of the public to hear something more from him, a Ga

Very bright and piquant polka. urday afternoon included the quartet in F minor, begin. votte," by J. S. Bach. The enthusiasm he excited rose

to fever-beat. ning with the ingenious set of variations upon an original theme; that of Monday night comprised another in

ABBREVIATIONS.-Degroes of difficulty are marked E flat inajor, of a very different character, but equally interesting. On both occasions Mad. Norman-Neruda SPEAKING of Liszt, Schumann once said of him, with from 1 to 7. The key is denoted by a capital letter, as C,

ks the lowest and the played first violin, in the graceful, unaffected style which a mixture of adıniration and irony: “ He is as brilliant Bb, etc. A large Roman letter ma

highest note it on the staff, small Roman letters if below Investo her readings of Haydn and Mozart with a charm as a flash of lighting; he bursts on you like the crash of or above the staf. Thus: * C. 8. c to E," means " Key so undefinable. That the Danish artist also excels in the thunder; and he leaves behind him a strong smell of of C, Fifth degree, lowest letter c on the added line beo music of other sohools was suficiently attested by the sulphur.”.

low, highest letter, E on the 4th space."













Description of the New Method.

Richardson's New Method.

structed with the greatest care, brought out in elegant style, and

fully advertised. It however, had but moderate success, and tho Very few pupils will study from beginning to end of the exer

author was soon satisfied that it was quite defective. . Taking counsel, cises, studies, and 'amusements." They constitute a vast amount of

therefore, of musicians familiar with the needs of American touchora material of the best quality. The teacher will, at his discretion,

and scholars, he abandoned the “School," and.compiled. introduce outside pieces, for variety, and extra studies for extension of practice. But everything is founded on “Richardson, ” to which the learner will again and again return, until the course is completed. The new book at once took it's place in the front rank, and has

"Richardson's New Method" has clear, distinct, legible print. always, in sales, been in advance of any other, having been, in fact,

“Richardson's New Method" has plates to illustrate the positions of & marvellous success. the hands and fingers.

It should never be confoundeil with the "Modern School," which “Richardson's New Method" has been revised and re-revised until is an older and an imperfect book, sợ conceded to be by its author, the errors in print, etc. are quite eliminated.

and greatly inferior to the “New Method." “Richardson's New Method” has been enlarged from time to time, The lamented and diligent compiler lived only long enough to by the addition of :

complete his labors, and to see the commencement of its prosperity. 1st, Tables of the Major and Minor Scales.

Tens and hundreds of thousands of copies have since been issued, and 2nd. By 68 valuable maxims" or "rules" by Robert Schumann. have been eagerly received. both by teachers and pupils; and, with the

3rd. By similar "rules" "hints" and "remarks" by a number prosent reduced price, perhaps a still greater circulation is before it. of the most celebrated players, the first, Bach; the last, Thalberg. 4th. By a compact treatise on Harmony, forming a useful “short's.


Patient Piano teachers do not need to be informed, that from 5th. By the genial, instructive letters, written by the celebrated

the 3rd. or 4th. to the 12th, or 15th. week, with a new pupil is Czerny, for the benefit of his "young lady pupils.” “Richardson's New Method” now contains 260 large pages,

the driest, most wearisome, most discouraging period in the wholo all well occupied with useful matter.

course. Many pupils turn back at this point, and never return to the "weary keys." Children, especially, need a great deal of coaxing

till they are safely through this somewbat narrow "yalley of tears." History of the New Method.

The following short instruction books do not interfere with

"Richardson." They may be helps to a beginner. Their pretty In the year 184— an unassuming young man began, in Boston, to

airs lighten one's toil for a time, and, at the end of a few weeks, study the art of playing and teaching the Pianoforte. The young

tbe larger book may, under the best auspices, bo commonced. gentleman was a diligent and apt scholar, and showed special interest in finger training; constructing at one time (at the teacher's sugges

Bellak's Analytical Method. tion,) a little "finger gymnasium" for rapid development of the

Bourds $100. Papor 15 ct. muscles used in playing. After a few months spent in this way, young Decidedly easy, and full of charming airs. Richardson began to teach, but speedily found he had yet something

Clarke's ($) Dollar Instructor for Pianoforte. to learn. In a short time we bear of him in Germany, under the instruction of the great pianist, Dreyshock. After some years of

By Mr. Wm. H. Clarke, author of “Clarke's New Method for study, the now accomplished musician returned to Boston, where his Reed Organs.” This is a brief and easy book, with music that may active temperament found vent in two directions.

be played on the piano or the Reed Organ. He opened an elegant Music Store.

Winner's New School for Piano. 75 ots. He began to put together an instruction book.

A little book in popular style, with a large number of popuThe instruction book was the “Modern School,” which was con. lar airs,


(Successors to LKR & WALKER, I


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