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SOCIETIES,

FOR MUSICAL

CHORUS CHOIRS. &c.,

IN 8 LISTS. LIST 7.

Secular Music, Glees, Choruses, &c., in Separate Form.

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Danby. 6

6

Old May Morning...

On the Sea....

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.Auderton. 6
...Stevens. 6

Ave Verum (Jesus, word of God).. Mozart. 6
Awake! Eolian Lyre......

Ave Maria (Trio, female voices)...“Lorely."

America (My country 'tis of thee) }

God save the Queen

Blow, blow, thou Winter Wind......Stevens. 8
Columbia the Gem of the Ocean. Red, White

and Blue....

Come, let us be merry and gay....... Young.
Come. fairest Nymph.....
Curfew..

Crabbed Age and Youth.......

College Songs (Gaudeamus and Integer Vitæ) 6
Charity (Trio for female voices)..... Rossini. 12
Daughter of Error..
..Bishop. 6

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One gentle heart..

....

.Novello. 6 Mendelssohn. 8 Callcott. 6 "Matilda." 6 "Sicilian Vespers." 8

......

favorite operas of

VON WEBER, ROSSINI, BELLINI, DONIZETTI,

MEYERBEER, AND OTHERS.

Price of each piece, 25 cts., or $2 per doz.
1 Joy, Joy, Freedom to-day. Chorus.
Gipsy's Warning
Away, away, the morning. Cho.. Masaniello
2A rosy crown we twine. Solo and Cho.
Der Freyschutz
3 Crowned with the tempest. Sol.&Ch. Ernani
4 Hail to thee, Liberty. Chorus .. Semiramide
5 Like a fairy creature. Solo & Chorus.

8

......Benedict
Gilmore. 10

9

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Il Turco in Italia

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Threatening death to traitor. Chorus.
Siege of Rochelle
7 The Fox jumped over. Quint. Guy Mannering
These moments entrancing. Chorus,
L'Elisir d' Amore
The night is advancing.Ch.Il Turco in Italia
How bright and fair. Cho........ William Tell
In light tripping measure. Ch. Guy Mannering
The Chough and Crow......Guy Mannering
O, hail us, ye free. Chorus..
Ernani
When the morning sweetly. Chorus.
L' Italiana in Algieri
When life in its beauty. Solo and Cho.
La Donna del Lago
Phantom Chorus..
Gently fall the dews of eve.......Il Guiramento
.La Sonnambula
All by the shady greenwood tree Maid of Judah

15

O for the Wings of a Dove!.....Mendelssohn. 10
Pilgrim Chorus....
..“Lombardi.” 10 12
Presage of Spring Primrose....Mendelssohn. 6
Psalm 150th (Praise ye the Lord..Randegger. 15 14
13
Raid (The).....
Bishop. 6
Red Cross Knight.
...Callcott. 10
Remembrance..
.Mendelssohn. 6
Rest, Spirit, rest.
.Rooke. 6
See the Chariot at hand..
Horsley. 6
Shady Groves for love....
Van Bree. 8 19
Soldiers' Chorus...
Song of the Lark....
Spring Greeting

Spirit Immortal...

Flowrets close at eve, my love.................. Abt. 6 Star of descending night..

Great Apollo, strike the Lyre..

Gallant and gayly....

Gypsy life......

Good night, beloved.

6

Sweet and low.....
Swiss People's Song...

...

{Lightersparkling ocean. Bianco e rerundo

16 Hark again the thrilling horn..........Cinderella 17 Come with the Gipsy bride.. Bohemian Girl When the summer rain.... L' Elisir d' Amore Could I hush a father's sigh. Bohemian Girl Land of the trumpet and the spear.

18 {

"Faust." 10 20

.Mendelssohn. 6.

...Gade. 15

“Attila." 6

Anna Bolena

Pour out your sparkling treasure.

Robert le Diable

MEMBERS OF SOCIETIES

..Emerson. 8 will find excellent material for. Solo (Concert)

.Barnby. 6

.Kucken. 6

Webbc.
..Horsley. 6
.Schumann. 12
Sleep while the soft evening breezes. Bishop. 6
Pinsuti. 6
Sing we and chant it........
Silent night......

Gently fall the Dews,&c. (female voices) Verdi. 10
Greeting from Ireland to America..Stewart. 10
God of Israel..

Hail Columbia....

Hail! smiling morn..........

Rossini, 8

6

Spofforth. 6

Hail! merry, merry, Christmas...... Young. 6
Happy and light...... 'Bohemian Girl," 6
Hark! Apollo strikes the Lyre.......Bishop. 8
Hark! each Spartan IIound..
Hark! the Lark..

66

6

...Cooke. 6

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Singing, in

Operatic Pearls.

eratic Songs, or in

..Morley. 6a volume containing nearly all the favorite OpBarnby. 6 6 ....Hatton. 15

Kücken. 6

...Silas. 8

66 (female voices).

Tramp Chorus...
Tyrolese Song of freedom..
Thy praises, Autumn........

Hark! 'tis the Lells, and come let us sing... 6 The Sea hath its pearls..

Here, in cool Gret...

.Mornington. 6 Victoria, Victoria...

...Leslie. 6 Eichberg. 12 12 ..Bishop. 10 ...Lippitt. 6 .Macfarren. 10 Pinsuti. 10 "Fra Diavolo."

...

...

6

Highlands (The)........ "La Dame Blanche." 6 Where the Bee sucks. .......... Arne and Jackson. 8
How sweet the Moonlight............ Leslie. 6 With Hawk and Hound..
What Phrase, sad and soft..

Ilunting Song and resting place. Mendelssohn. 8 When Allen-a-Dale went a-hunting.
In the Forest......

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Shower of Pearls,

the best (and almost all the good) Vocal Duets. or in:

THE WORLD OF SONG.

GEMS OF SACRED SONG.
GEMS OF SCOTTISH SONG.

GEMS OF ENGLISH SONG.

GEMS OF GERMAN SONG.

WREATH OF GEMS.

SILVER CHORD.

MUSICAL TREASURE, and

MOORE'S IRISH MELODIES.

The above books are all uniform in style and binding, have each from 200 to 250 pages, full sheet music size, and contain almost all the really popular aud success. ful songs in existence.

Price of each Volume: In Boards $2.50; Cloth $3;
Gilt $4. Mailed, post-free, for the above prices.

OLIVER DITSON & CO., CHAS. H. DITSON & CO., J. E. DITSON & CO., LYON & HEALY,

BOSTON.

711 BROADWAY, N. Y.

[Successors to LEE & WALKER.]
PHILADELPHIA,

CHICAGO,

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MUSIC STOCK FOR SALE.

ESSRS. DITSON & CO., call attention of the

Mrade to the stock of Music, formerly the property

of the bankrupt firm of W. H. BONER & Co., PHILADELPHIA. It comprises some 200 feet of Music-in fine order, and well lettered, and folioed-and is one of the most complete and attractive stocks ever offered for sale. It can be seen at our Philadelphia Branch Store, No. 922 Chestnut Street, and will be disposed of at a bargain.

OLIVER DITSON & CO.

New England Conservatory of Music.

ix distinguished_Artists added to its eminent faculty; SJ. H. ORTH, W. H. SHERWOOD, A. W. FOOTE, W. J. WINCH, S. B. WHITNEY and N. CYR, making 52 instructors; 15,000 students in ten years; $15 pays för 95 lessons. Fall term opens WITH INCREASED ADVANTAGES. For

circulars apply to

924

E. TOURJEE.

Music Hall, Boston.

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AT PITTSFIELD, MASS. The subscriber announces that his Music School, in connection with Maplewood Institute for young ladies, in Pittsfield, will open on Wednesday, Oct. 18th, with a board of Professors, Teachers and Lecturers, of recognized ability and reputation. The course of study includes all branches of musical theory, history and practice. Terms moderate. Special attention paid, and special rates offered, to those who desire to become teachers. For particulars, circulars, etc., address until June 10th,

BENJ. C. BLODGETT, Principal,
Pittsfield, Mass.

After this time, until date of opening of the school, 916-6m Rev. C. U. SPEAR, Prin. Maplewood Inst.

...

VOL. XXXVI. No. 21.

New Music for Feb.

VOCAL.

Song of the Sea. For Bass Voice. Bb. 4.
fto d. (Bass Staff.)
Eayrs. 40
Don't forget to Write me, Darling. Illus-
trated Title. G. 3. c to D. Launder. 40
A Song to lay at the Feet of my Love.
F 3. c to F.
Gabriel. 40
Pinsuti. 40

Pyke. 30

Ocean Voices. D. 4. c to E,
The Path by the Brook-side. Song and
Chorus. Bb. 8. f to F.
Far o'er the Western Hills. Even'g Hymn.
Solos and Q't. D. 4. a to a. Johnston. 35
Only a Glance. C. 3. c to F.
Woolf. 35

60 Only Speak Kindly to Me. Lith. Title.
Song and Cho. A. 3. E to F.

85

7. Two Canons. Choral Theme.
of 8. Variations. Sicilian Hymn,.... .... Thayer. 60
46 9. Fugue in C Major....
Haupt.
"10. Variations. Auld Lang Syne... Thayer. 60
The above are for one performer.
The following are for two performers.
No.11. Variations. Sicilian Hymn.. Thayer. $100

.........

12. Fantastie. D Minor.
Hesse. 1 25
"13. Festintrade. (Festival Overture). Volckmar. 1 25
"14. Variations. Nuremburg..... Thayer. 1 00
"15. Variations. Auld Lang Syne....... Thayer. 100

EMERSON'S

Pyke. 40
Vining. 40
I'se Going Home. Song and Cho. F. 3.
c to F.
Lee. 30
Corina. Song and Cho. D. 4. d to g. Keene. 35
Sun of my Soul. Quartet. Gb. 4. d to g.
Havens. 35
C. 3. c to E.
Vincent. 35

I Know my Love Loves me. D. 5. c to g.

The Warrior and the Maiden.

In the Sweet Long Ago. Song and Chorus.
Bb. 3. d to E.

Pyke. 30

Chorus Book. What Song shall it be? For Baritone or Con

Price $1.25 per copy. Per Doz. $12.

The attention of conductors and members of

Musical Societies is directed to this fine book.
In reading the titles below, you will notice that
most of the choruses make here their first ap-
pearance. All are selected and arranged by L.
O. Emerson, who has shown his usual good taste
and judgment.

Sacred.
Rossini
Mighty Jehovah..... Bellini Inflammatus.....
God of Israel. ...Rossini Father by whose Almighty
O for the Wings. Mendels'n Power...
Handel
O magnify the Lord.. Carter God's mercy on them that
Gloria.
Farmer
fear him........Carter
O praise the Mighty
Come, ye blessed Chil-
God...... Emerson dren............Emerson
The day is past....Emerson

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4. In the Free Air. 3. Happy Play. 5. Evening Rest. 6. Spring Tidings. Twelve Easy Pieces for Violin (1st Position) and Piano. By Eichberg, each, 40 1, Canzonetta; 2, Nocturne; 3, Hongroise; 4, Wild Rose; 5, Gavotte; 6, Saltarella; 7, Polonaise; 8, Andante and Rondino; 9, Thema and Var; 10, Menuetto; 11, Fairy Legend; 12, March. Aida. "Beyer's Repertoire." 3. Schubert. 30 Awake, the Night.. Donizetti Blow, Winter Wind. Stevens Impromptu. Op. 142. Ab. 4. When Robin Redbreast. The Sea hath its Pearls. The Happy Return. (L'heureux Retour.) Caprice Brilliant. For 4 Hands. Eb. 4. Fairy Song..... Zimmerman Rainy Day.. Emerson Hast thou left thy blue Sherwood. 1.00 Brightly the Morning. Von Weber Variations on Sicilian Hymn. 2 PerformHie thee, Shallop...Kücken ers on the Organ. 1.00 Sleep Well........Bradbury Anvil Chorus.."Trovatore" Star of descending Night. Emerson

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MR. JOHN ORTH, recently returned from Europe A Collection of Music for the use of Choirs,

after five years study with the best Masters-Liszt, Kullak, Lebest, Deppe, and others, will receive a limited number of pupils on the Piano.

Mr. Orth can be seen Mondays and Thursdays at New England Conservatory of Music. Address ditto, or at residence, 33 Warren Avenue.

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Conventions, Singing Schools, etc. By L.
O. EMERSON. Price per doz. $12.
For a single copy, $1.33.

This book, when examined and tested, will
furnish its own recommendation, and the admi-
rers of Mr. EMERSON's music, (and they are
numbered by thousands,, will be pleased to re-
unaided effort. It contains, besides the usual
Singing School course, a fine collection of easy
glees or four part songs for the practice of clas-
ses, a great variety of new Metrical Tunes, and
a large number of new Anthems, Motets, Sen-
tences and Chants. With the exception of a
dozen pages, filled with the indispensable" con-
gregational tunes," the whole work is fresh and
new in character.

PUBLISHED BY

OLIVER DITSON & Co.
BOSTON.

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re
THE WORLD OF SONG. Boards $2.50; Cloth $3;
Full gilt $4.
GEMS OF THE DANCE. Boards $2.50; Cloth $3;
BIOGRAPHICAL SKETCHES OF EMINENT MUSI-
Full gilt $4.
CAL COMPOSERS. Price $1.75. By L. B. Ur-
bino.

MUSIC BY MAIL.-Music is sent by mail, the expense being one cent for every ounce, or fraction thereof, about two cents for an ordinary piece of music. Persons at a distance will find the conveyance a saving of time and expense in obtaining supplies. Books can also be sent at double these rates.

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WHOLE NO. 933.

A Haydn Memorial

BOSTON, SATURDAY, JAN. 20, 1877.

(From the Neue Zeitschrift für Musik.)

VOL. XXXVI. No. 21.

will have created a work which will do honor personality. This was the plan adopted by to the German name, and be one more lasting | Otto Jahn in his masterly work on Mozart, and example of German thoroughness and patient C. F. Pohl proves himself, in his "Haydn," to Among the impressions received in the days yet enthusiastic research. To many an idle be his worthy pupil and follower. Jahn himof our youth, who does not remember with prattler in art matters, it is true, the name of self, at whose instance Herr Pohl had undertapleasure-provided a sense of reverence for our Haydn may call to mind little more than the ken the task. knew, no doubt, well that the great tone-poets have been early instilled in- "good old Papa," with his bob-tail wig, whose latter would be peculiarly fitted to carry it out. to the mind-the keen enjoyment derived from music will at best provoke only a pitiful smile He had already given ample proof of this in his the first acquaintance with the life of a Haydn, Pohl's task may appear a superfluous one, and Haydn in London," and, moreover, the writer's or doubtful shrug of the shoulders. To them, valuable monography, entitled "Mozart and a Mozart, or a Beethoven? In this respect we were then much indebted to the Holle edition it will possibly be a matter of surprise to them residence in Vienna, his official position there of these three classics, which included a bio- that anyone should have been found ready to of archivist, seemed to point to him as the fugraphical sketch of each of the three masters bestow so much labor and zeal upon the repre- ture biographer of the great master. The modby way of appendix to their respective compo- sentative of a period in art long since surmount-el after which Pohl appears to be constructing sitions. However much the outward appeared. Fortunately, however, there is another his work is one highly to be approved of. If his aim is to represent the life and doings of ance of these publications, both in style of portion of the public who, if only out of mere print and quality of paper, might have left to gratitude, take the liveliest interest in anything Haydn in such a manner as to enlist for it the be desired, the contents were eagerly devoured connected with Haydn, and long for an ex- sympathies and attention of even a non-musical by us, and pleased us all the more if amply in-haustive picture of his life. For was it not he public; if he is convinced that his place is to terspersed with little anecdotes, minor incid- who, as Herr Pohl aptly remarks, formed the deal not with Haydn alone, but with the whole ents, etc. Although far from being models of connecting link between our great musical he period in which he lived, so far as it affected biography, according to our modern notions, roes of the last century; who took his first his artistic development, as well as with the these sketches were, nevertheless, valuable to youthful steps into fame just at the time when local and personal circumstances in which he us at that time, inasmuch as they undertook, the career of Sebastian Bach had come to a moved; he will have all those on his side whose with pleasing eloquence, to direct our atten- close; who experienced under his very eyes the good opinion is worth having, and who will antion to these three stars of the first magni- first reforms of Gluck, his triumphs and de- ticipate the best results from the practical exetude in the musical heaven ". -a phrase which, cease after glorious achievements? Again, cution of so excellent a plan. much worn as it now appears, was wont to fill was not the entire life of Mozart-with whom our youthful minds with awe. he had formed the closest friendship-enacted before him, passing away like a wondrous Years of riper development brought with them the exercise, on our part, of a clearer and dream; and was it not still reserved for him to more critical judgment. If, in the light of witness the glowing sunrise of a new day in Beethoven, whose precursor in many respects this, those first biographies began to look some- he had himself been? But even supposing all what primitive and out of date, still less could these associations of Haydn's with the musical we be satisfied with the so-called Artist-Biogway-makers of the past century to have never raphies of a Heribert Rau, which had been, in- existed-if, indeed, such a man as Haydn had judiciously enough, recommended to us by a never been, living merely in the imagination of friend as likely to gratify our thirst for inform- his portrayer-the work now before us would ation on the subject. The literary fireworks still justly claim our admiration, inasmuch as with which this author delights to surround it affords an example of how to proceed in orhis heroes, Mozart and Beethoven, dazzled our der to make the personality of a man become a eyes but for a short time, to be soon recognized reality to the reader, and of the minute care rethen, at last, we were reminded of better guides quired in studying countless minor circumstances which may, in some manner, have influenced on our path-in search of Mozart we found Ot- the life in question. To write a genuine artistto Jahn; in search of Beethoven, Marx. Under biography is, in truth, a most difficult task, kindled; how eager we grew to study their provided the author does not place himself on a level with the compilers of many-volumed works; what new aspects opened up before “art-novels,” wherein the writers' iamgination our view! Then, for the first time, the truth claims full elbow-room, and positive truth is became revealed to us, that by the side of uni- pushed into a corner. Among such authors, versal and literary history there is also an art however, who, possessing the necessary scienhistory, and that it requires at least as much tific knowledge of their subject, approach it to understand a Beethoven or a Mozart as it with earnestness of purpose and in full condoes to appreciate a Goethe or to fathom the sciousness of the responsibility of their undercharacter of a Wallenstein. Mozart and Beet-taking, different ways have been adopted by hoven having in these literary works found the which to reach the desired goal. Some aim only representations worthy of their genius, chiefly at the realization of a complete picture that of Haydn alone was still wanting in order of the artist's outward life and experience; and to complete, in biographical literature also, the in this respect all our admiration is due to the great trio which, in the enumeration of Ger- glittering, fresh-colored picture of the life of man Grand-masters of musical art, we instinc-C. M. von Weber, from the pen of his son. tively name in one breath. It is therefore with particular gratification that we hail the appearance of a Joseph Haydn," by C. F. Pohl, of Vienna (published by Sacco's Nachfolger, at Berlin), a work which, in reference to the two others mentioned above, would seem to be entitled to the claim, in Schiller's words

as mere tricks of the romance writer. It was

such direction, how soon was our enthusiasm

"Ich sei, gewährt mir die Bitte,
In eurem Bunde der Dritte!"

In his new work C. F. Pohl has not only rendered a great service to the memory of Haydn; he has also commenced to fill up a gap so long keenly felt by all. And unless the succeeding volumes-whose appearance is promised at intervals not too far apart-should fall short of the certainly high-strained expecta tions which this first instalment has raised, he

Others again lay more stress upon the inner
life, following the artist into the mysterious
features of his outward career are touched upon;
working of his genius, while only the leading
and in this form of biography Marx unques-
tionably manifests his mastery. There can be
no doubt, however, that the best and most re-
liable method-because at the same time the
most exhaustive and thoroughgoing-would
be that which succeeded in combining the ad-
vantages of both modes of procedure; which
united to the keen eye of the historian a true
artistic feeling, not merely showing us the man
in the vicissitudes of his life, nor explaining to
us what he was only from his works, but doing
the one without leaving the other undone; in
short, giving a clear conception of the whole

In carrying on the "chronicle" of events, forming a continuous chain of all the more important moments in his hero's life, our author gains, at the proper time and place, a rallying point, from whence he may indulge a view upon much that is interesting in the general history, social and artistic, of Vienna, without straying too far from his primary object. For did not Haydn cling to Vienna like the child to the bosom of its mother? Was there not a constant freindly intercourse between the two, sufficient to justify the conclusion that anything which, in matters of art or public life, affected the ancient Kaiserstadt, would not be passed by unnoticed by the other He who, in this part of the book, would be inclined to see a mere freak of the librarian, a passion for stirring up the dust of some questionable antiquities, would do wrong to the author, and at the same time overlook the gain thus accruing, not only to musical but to general culture, in the elucidation of facts concerning the social history of the time. It is scarcely necessary to remark, considering the well-known conscientiousness of Pohl and his habits of librarian, that he has made full use of the printed mateal relating to Haydn, omitting not a single literary source which might in any way further his object; a glance at the text and the numerous accompanying notes will at once dissipate any lingering doubts on this point. The collecting of an abundance of facts is, however, one thing, and the correct interpretation of their value and bearings is another. By the aid of a careful combination and blending of such facts, the biographer is enabled to set right wrongly formed conclusions, to admit a ray of light into much that hitherto had been fore, the scrutiny exercised by Pohl in examdoubtful or obscure. While admiring, thereining literary landmarks, and testing their validity as evidence, we must fairly be amazed at the zeal manifested by him in the discovery of fresh sources and in their due application. On pages 15 and 17 of the preface, all the ways and means are enumerated by which he has obtained this end, branching out into a general expression of the author's sense of obligation to all those persons, private and official, who had in one way or another rendered assistance to him. We venture to assert that, speaking en gros, no keeper of archives is to be found, in Austria or Germany, to whom minute ques

.

tions concerning Haydn have not been ad- after the death of the aged Werner, of sole kind. With the increasing taste of the general pubdressed; no music-cultivating Austrian monas- Capellmeister.* This first book, therefore, iflic for instrumental music of the highest order tery can be named in whose libraries Pobl has we commence our reckoning with the great- Beethoven has had more to do than any other comnot, directly or indirectly, iustituted inquiries grandfather, embraces the period lying between poser. He has been, indeed, the most eloquent of after original manuscripts of his hero, not un- the years 1683 and 1765. The supplements, teachers. The growing appreciation of his music frequently crowned by success; no collector of seven in number, contain matter of varied in- has led to further inquiry, justifying the frequent autographs, the fortunate possessor of Haydn terest. The most valuable appears to be the introduction of works by other masters, his contreasures, has succeeded in hiding such relics, autobiographical sketch of Joseph Haydn, and audiences as are accustomed to assemble on Saturtemporaries and successors, before such large mixed however jealously guarded, from the searching next in interest, the enumeration of all the im- days at the Crystal Palace, and, twice a week, at St. eye of the determined discoverer. In addition portant events in matters artistic enacted in James's Hall, attracted by the quartets, sonatas, to this, the confidence with which Prince Vienna during the years 1740-1766. The list etc., prepared by Mr. Arthur Chappell, whose Nicholas Esterhazy, of Galantha, honored the of theoretical works, etc., found among Popular Concerts, no longer exclusively “Monday biographer was, unquestionably, a matter of Haydn's books after his death, merits attention Popular," but "Saturday Popular" as well, owe not the greatest advantage to him in the further- in so far as it tends to show that genius even less of their vogue to Beethoven. With Weber, ance of his undertaking. Considering the sig- like his never disdains to learn of others, in or- Spohr, Mendelssohn, Sterndale Bennett, etc., the nificance of this truly noble family for Haydn der to obtain a ready command over faculties old Philharmonic Society, which did so much for and for art in general, it was a matter of para- which otherwise might remain slumbering with- Beethoven, and for which Beethoven did still more. mount necessity to look upon the archives of in. Glancing over the "Decree of Appoint- had already made a select and privileged public at Eisenstadt as the primary source of many au- ment" as Capellmeister, we are startled by the the now defunct Hanover Square Rooms—where thentic documents. Although these family multitude of offices which a hundred years ago sufficiently familiar. The New Philharmonic Soci Haydn, Mozart, and Cherubini had long reignedrecords had been hitherto closed against all the conductor of a princely orchestra was ex-ety, when (in 1852) Hector Berlioz superintended a inspection, the descendant of the great Moce-pected to perform, and our admiration for the memorable performance of the Ninth Symphony of nas of artists has now thrown open the doors man who held that post increases when we con- Beethoven, at Exeter Hall, first disturbed this moto the Haydn biographer, in every way facili- sider that, far from groaning under the load of nopoly, by appealing to a larger public; and, later tating his inquiry. Herr Pohl has been amply so many official duties, he, on the contrary, on, the Musical Society of London, with Mr. Alfred rewarded in his search there by many an agree- manifested an almost incredible creative activ-Mellon as conductor, set up another formidable op able surprise, and resting upon such reliable, ity, maintaining throughout a delightful seren- position on similar grounds. In speaking of the precious material, he wrote the present first ity of mind, which pervades his works in the Crystal Palace, we refer especially to the symphovolume. Favoring the positive element through- most refreshing manner, and which-to such a nies and overtures of Schubert and Schumann, to out, he yet manages to steer clear of all pedan- degree-is to be met with in no other artist. the adequate appreciation of which a thorough comtic dryness. The author's poetic and sym- For the musical addenda the biographer de- prehension of Beethoven, who greatly influenced pathetic nature reveals itself in more than one serves our especial gratitude. The recitativo them both, was essential. These have been played instance; and in those cases where, in spite of extracted from the Symphony composed in other known conductor, at home or abroad, and the oftener under Mr. August Manns than under any minute investigation, positive proof for certain 1761 comes upon us as a surprise, seeing that public are fast becoming as intimately acquainted phases in Haydn's life had not been forth in no other of his numerous symphonic compo- with them as with those of their great prototype. coming, he allows some scope to imagination, sitions he has made use of the instrumental With regard to Beethoven himself, it would be without, however, losing himself in the region recitativo, and we had hitherto looked upon enough to say that on more than one occasion the of the impossible or the improbable. Herr Beethoven, in his "Ninth," as the innovator nine orchestral symphonies have been included in a Pohl does well to attach no mean importance in this direction. The Adagio in E flat, select- single series of Crystal Palace Concerts, but for the to the influence exercised upon the develop-ed from a Symphony in E of 1763, shows that fact that, if we except the "chamber" pieces and ment of Haydn's mental disposition by the charming simplicity, which seems to remind us other things not lying within their immediate scenes of nature surrounding him. Foolish of a 6-8 Adagio in one of his minor Sonatas in sphere, few compositions by the great master could though it would be to maintain, with certainty, F. In the Andante from the Symphony in B, be named which have not, from time to time, been the action, in an equally strong degree, of the the adagio of which is written for the stringed accorded a place in the programmes. The selection beauties of nature upon all men, yet there can quartet only, the composer assigns to the vioon Saturday, which, beginning with the overture be no doubt that, given a susceptible, open- loncello the office of supporting the melody phony," included the pianoforte concerto in E flat, to Prometheus, and ending with the "Choral Symeyed mind like Haydn's, a counteraction upon throughout in the lower octave, an effect, which the fifth, last, and grandest, besides some songs, the individual would be extremely probable, was much admired at the time, of which, howwas admirably suited for the intended purpose. thus justifying the conclusion that, surrounded ever (not to the detriment of his music), he has The instrumental part afforded examples of Beethoby wild rugged scenery, the composer of the afterwards but rarely availed himself. In an ven's "first, second, and third styles," as they have "Creation" would not have become that which appendix, the biographer gives us the genealog- been termed absurdly enough, seeing that, as the a mild, graceful, smiling country had designat-ical tree of the Haydn family, the difficulties development of the master's creative power aded him to be by anticipation. vanced, one grew naturally out of another, and that virtually the overture to Salvatore Vigano's allegorical ballet, Die Geschöpfe des Prometheus, has as good claim to be accepted for a representative work as the Ninth Symphony itself. However, apart from speculation, the overture was written in the 1st year of the present century, when Beethoven and the symphony, which occupied him for a comwas just thirty, the pianoforte concerto in the 9th, paratively long time (no wonder !), in the 23rd. So that a tolerably good notion was offered of the composer's power throughout the most incessantly creative period of his artistic life, which ended, as every musician knows, or ought to know, in 1827, on the 26th of March, barely short of half a century ago. The Prometheus overture must always be interesting, as probably the first orchestral work by Beethoven that ever won something like wide popserved, through the two-hand pianoforte arrangeularity in England-especially, it should be ob ment so early made known to us. It exhibits in its construction all the symmetry of form by which the overtures of Mozart are distinguished, combined with a something more emphatically proclaiming it the work of Beethoven, and no other. The concerto has been the cheval de bataille of first-class pianists during the last half-century, and is likely to engross the attention for a long period hence of those who are to follow, nothing like It having been written before or since. For this reason it has been nicknamed "The Emperor," at which Beethoven, who held emperors in light esteem-witness his tearing off the superscription, "Napoleon," which, if we may believe the anecdote, till the news of the pen was but an appropriate homage to the illus- hero's assumption of the Imperial dignity, had been trious musician, whose name has figured so conaffixed to his third symphony, afterwards generally spicuously at the Crystal Palace concerts from their known as Sinfonia Eroica-would have stormed not earliest institution, and whose symphonies, over- a little. About the Choral Symphony we need say tures, concertos, etc., have done so much towards nothing. As it was Beethoven's last, so it is in evhelping them to the position they occupy, by unan-ery respect his greatest; and it is difficult to imagimous consent, as the best entertainments of their ine that the projected "No. 10" could have sur

The portion of the work which has so far been published represents Book I. of the first volume, and is divided into seven chapters. In the first of these Herr Pohl makes us acquainted with Haydn's ancestors, commencing with his great-grandfather; an introduction which, having a tragic historical event for its background, at once arrests our attention. In the second and third we have vivid pictures of Joseph's "childhood," spent under the parental roof at the little market-town of Rohrau, and of the "School at Hainburg." The fourth, headed "At the Chapel-house in Vienna," describes the organization of that institution, by which opportunity we also learn something of that, in many respects, remarkable man, the Dome-Capellmeister Reutter, while in a subdivision we are told all about Haydn as a "singing-boy." His industry, his teachers, several important court festivities, and, finally, the lad's expulsion from the Chapelhouse, are here dealt with. The fifth takes up the "Chronicle," the purport of which, its appropriateness in relation to the particular subject in view, we have already briefly pointed out. With the sixth chapter, entitled "Lehr und Wanderjahre," we enter upon the toilsome years of our hero's first experience in the school of life, that important period during which we find him la boring steadily for the development of his talents, and anon taking his first youthful flight into regions where he should, ere long, become a discoverer, viz., the stringed Quartet and the Symphony. In the seventh and last chapter, we see the young musician at Eisenstadt, duly installed in the orchestra of Prince Esterhazy in the capacity of second, and later on,

surmounted in the compilation of which were
infinitely more real than apparent. According
to an intimation emanating from the publish-
ers, three more volumes will follow this first
one at moderate intervals, and are to be
adorned respectively with portraits of the com-
poser and a fac-simile of his handwriting. The
cost of the complete work is estimated at about
M 30 (£1 108.), and considering the variety of
interesting matter it offers, as well as the lib-
eral style in which it is being published, the
price certainly appears a moderate one.

In the compilation of the numerous lists of
themes of Haydn's compositions from his earli-
er period, Herr Pohl's scrupulous and untiring
care becomes again apparent; and although
some few mistakes in the examples quoted have
crept in here and there, they are of no great
importance, and may be easily rectified by any
musician.

A considerable portion of this chapter will be found translated in Dwight's Journal of Music [May and June, 1876.]

[To be Continued.]

Crystal Palace Concerts, London.

The twelfth and concluding performance of the pre-Christmas season was given on Saturday. It being the 16th of December, the day of Beethoven's birth (at Bonn, 1770), a programme devoted exclusively to compositions, vocal and instrumental, from

his

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