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MUSICAL SOCIETIES, CHORUS CHOIRS,

FOR

&c.,

IN 8 LISTS.

LIST 7.

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

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May Song....

Mendelssohn. 8
Mighty Jehovah.

"I Martiri." 8
Mighty Jehovah..

... Bellini. 8 Mountain land.....

Emerson. 8 A collection of Trios, Quartetts and Choruses, from the

favorite operas of STANDARD GLEES AND CHORUSES, March of the men of Harlech. .Barnby. 6

VON WEBER, ROSSINI, BELLINI, DONIZETTI, FOR MIXED VOICES,

Morn unbars the Gates..... Hosmer. 6 (NOTE.-The words and music of many of the pieces in

MEYERBEER, AND OTHERS. this set aro by American authors, and having been

Moore's celebrated songs, for four voices:copyrighted, cannot be used without perThe Last Rose of Summer.

Prico of each ploce, 23 cta., or $2 per don mission of the publishers.) Believe me if all those endearing young

1 Joy, Joy, Freedom to-day. Chorus.

8 A Finland Love Song..

Gipsy's Warning
Charms.
.Ililes. 6
The Harp that once thro' Tara's Halls.

Away, away, the morning. Cho.. Masaniello Alpine Echo.....

Emerson. 6
Morning Prayer

2 A rosy crown we twine. Solo and Cho.
As it fell npon a Day.
Vornington. 8
Mendelssohn. 6

Der Freyrchutz Autumn Song..

3 Crowned with the tempest. Sol.&Ch. Ernani Mendelssohn. 8

Now the roll of the Drum...“Fille du Reg't. 8 4 Hail to thee, Liberty. Chorus .. Semiramide Angel of Peace (Keller's American IIymn).. 10 Now the day is over.

8 5 Like a fairy creature. Solo & Chorus. Anvil Chorus.... .........Il Trovatore.” 6

O hush thee my Baby!..
Sullivan. 8

Il Turco in Italia Ave Verum (Jesus, word of God).... Mozart. 6 Oh, my love's like the red rose...... Garrett. 6

Softly treading, silence keep. Chorus.

il Crociato in Egitto Awake! Æolian Lyre..... ...Danby. 6 Old May Morning...

6 ..Novello. 6

Threatening death to traitor. Chorus. Ave Maria (Trio, femalo voices)... "Lorely.6

On the Sea.....
Mendelssohn. 8

Siege of Rochelle Gode ricre Mi cuentry 'tis of thee)} 6 Once upon my cheek...

... Callcott. 6

7 The Fox jumped over. Quint. Guy Mannering One gentle heart....

Matilda." 6

These moments entrancing: Chorus. 8

Ľ Elisir d' Amore Blow, blow, thou Winter Wind...... Stevens. 8

On this day of joy........Sicilian Vespers.". 8 Columbia tho Gem of the Ocean. Red, White

The night is advancing.Ch.Il Turco in Italia Our Victorious Banner..

Benedict

How bright and fair. °Сho.... William Tell and Blue...

6
God save our Union..

9 In light tripping measure. Ch. Guy Mannering Come, let us be merry and gay. Young. 8 O Paradise.....

The Chough and Crow......Guy Mannering

8 Come, fairest Nymph..... Mornington. 6

100, hail us, ye free. Chorus.... Ernani O Praise the Mighty God......

10 11. When the morning sweetly. Chorus. Cursow...

Auderton. 6
O for the Wings of a Dove!..... Mendelssohn. 10

L'italiana in Algieri Crabbed Age and Youth............ Stevens. 6 Pilgrim Chorus.....

Lombardi.10 12 When life in its beauty. Solo and Cho. College Songs (Gaudeamus and Integer Vitæ) 6 Presage of Spring Primrose....Mendelssohn. 8 13 Gently fall the dows of eve... 11 Guiramento

La Donna del Lago Charity (Trio for female voices). .... Rossini. 12 Psalm 150th (Praise ye the Lord.. Randegger. 15 14 Phantom Chorus, La Sonnambula Daughter of Error..

.Bishop. 6
Raid (The)....

Bishop. 6 All by the shady greenwood tree Maid of Judah Flowers..

.Zimmermann. 12
Red Cross Knight.

Callcott. 10
Far away the Camp Fire......"Guiramento." 6
Remembrance...

10 'Hark again the thrilling horn.. ..Cinderella

Mendelssohn. 6 Far, far, o'er Lill and Dell.

17 Come with the Gipsy bride.. Bohemian Girl ....... Spanish. 6 Rest, Spirit, rest.

.. Rooke. 6 Fairest daughter of the year.

S When the summer rain.. L'Elisir d' Amore ... Danby. 6

18 Seo tho Chariot at hand..... ..Horsley, 6 Could I hush a father's sigh. Bohemian Girl Farewell to the Forest... ..Mendelssohn. 6

Shady Groves for love...

Van Bree. 8

19 'Land of the trumpet and the spear. Festival Hymn..... .Buck. 10 Soldiers' Chorus...

Anna

Bolena Faust." 10

20 Pour out your sparkling treasure. Freedom, God, and Right.

Barnby. 6
Song of the Lark...... ..Mendelssohn. 6.

Robert le Diable
Foresters...
Bishop. 6 Spring Greeting

..Gade. 15
Fairy Song.

.Zimmermann. 10
Spirit Immortal....

.“ Attila." B NENBERS OF SOCIETIES Flowrets close at eve, my lore..... Abt. 6

Star of descending night.. Emerson. 8i will find excellent material for. Solo (Concert) Great Apollo, strike tho Lyre.. Il'ebbc. 6

Sweet and low....
...Barnby. 6

Singing, in
Gallant and gayly....

.Ilorsley. 6
Swiss People's Song....

..Kucken. 6
Gypsy life....

Schumann. 12

Sleep while the soft evening breezes. Bishop. 6
Good night, beloved.....

Pinsuli. 6
Sing we and cbant it..

Morley. 6 a volume containing nearly all the favorite Op Gently fall the Dews,&c.(female voices) Verdi. 10 Silent pight.......

.Barnby. 6

eratic Songs, or in Greeting from Ireland to America. . Stewart. 10 Star Spangled Banner.

* 6 God of Israel.. . Rossini. 8 Tho Belfry Tower.

.Hatton. 15 Hail Columbia.... 6

the best (and almost all the good) Vocal Duets. The chosen one.

Kücken. 6

or in: Haill smiling morn.

Spo forth. 6
The Owl....

... Silas. 8
Hail! merry, merry, Christmas....
Young. 6 The Primrose

.Leslie. 6

THE WORLD OF SONG, Happy and light..... ... Bohemian Girl," 0

To thee, o Country:

Eichberg. 12

GEMS OF SACRED SONG. Hark! Apollo strikes tho Lyre.......Bishop. 8

(female voices).

12

GEMS OF SCOTTISH SONG. Hark! each Spartan llound.....

6 Tramp Chorus..

Bishop. 10 Hark! the Lark.... ...Cooke. 6 Tyrolese Song of freedom.

.Lippitt. 6 GEMS OF ENGLISH SONG. Thy praises, Autumn..

.Macfarten. 10 Hark! 'tis the Lells, and como let us sing... 6

GEMS OF GERMAN SONG, The Sea hath its pearls..

.. Þinsuti. 10 Here, in cool Gret.. ...Mornington. Victoria, Victoria...

** Fra Diavolo." 6 WREATH OF GEMS. Highlands (The)...... "La Dame Blanche.” 6 Where the Beo sucks..v.. Arne and Jackson. 8 With Hawk and Hound..

SILVER CHORD. llow swcct the Moonlight............Leslie. 6

Bishop. 6
What Phrase, sad and soft.

MUSICAL TREASURE, and
Ilunting Song and resting place. Mendelssohn. 8 When Allen-a-Dale went a-liunting. Pearsall. 12
In the Forcst.....
6 When wearied Wretches..... .Bishop. - 6

MOORE'S IRISH MELODIES. In this hour of softened slumber....Pinsuli. 8 When Evening's Twilight..

Hatton. 6 The above books are all uniform in style and binding, Keller's American Ilymn.....

Paine. 10 have each from 200 to 250 pages, full sheet morie: Bize,
Whitiier's Centennial Hymn.
10
Welcome to all Nations...

... Keller.. 10 and contain alipost all the really popular aud success. Lady, rise, sweet morn.. Smart. 12 Youthful pleasure

ful songs in existence,

.Bishop. 6 Price of each Volume: In Boards $2.50; Cloth *3; Last Wild Roso of thé Season.. Macfarren. 8 You stole my love.....

.Macfarren. 6 Gilt $4. Malled, post-free, for the above prices.

{

Operatic Pearls.

Shower of Pearls,

66

PUBLISHED BY OLIVER DITSON & CO., CHAS. H. DITSON & CO., J. E. DITSON & CO., LYON & HEALY, BOSTON. 711 BROADWAY, N, Y. [Successors to LEE & WALKER.)

CHICAGO, PHILADELPHIA,

I Paper of Art and Literature.

WHOLE No. 933.

BOSTON, SATURDAY, JAN. 20, 1877.

VOL. XXXVI. No. 21.

Album for Organists.

Yew Music for feb.

85

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Song of the Sea For Bass Voice. Bb. 4. * to d. (Bass Staff.)

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Most of the pieces below mentioned have a trated Title. G. 3. c to D. Launder. 40 Advertisements will be inserted at the following rates :

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Gloria.
Farmer fear him...

Saltarella; 7, Polonaise; 8, Andante
O praise the Mighty Come, ye blessed Chil-
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....Emerson The day is past., .. Emerson

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Secular.
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35

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...... Southard

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905
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A Chorus from the Mount of Olives. (4pages)
A Service Postlude.......

nish their publications to Western Dealers, af

by Hesse. (2 Indeed, although a dictionary, it is a very

net Boston Prices, A

.by Andre. (2 readable book, and one will naturally continue

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Prelude.. to turn over the leaves with continued interest,

.by Collin. 12 A Communion (2

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ca, together with a choice stock of Foreign Price in Boards $4.00 · Price in Cloth $5.00 . OLIVER DITSON & Co., Boston. Music

1794-37

66

66

WHOLE No. 933.

BOSTON, SATURDAY, JAN. 20, 1877.

VOL. XXXVI. No. 21.

A Haydo Memorial

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 (From the Neue Zeitschrift für Musik.)

example of German thoroughness and patient C. F. Pohl proves himself, in his “ Haydn," to Among the impressions received in the davs 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 underta. pleasure-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, or doubtful shrug of the shoulders. To them, valuable monography, entitled “Mozart and a Mozart, or a Beethoven ? In this respect we

Pohl's task may appear a superfluous one, and Haydn in London," and, moreover, the writer's 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 mod. by way of appendix to their respective compara ed. Fortunately, however, there is another his work is one highly to be approved. inf. of

sentative of a period in art long since surmount- el after which Pohl appears to be constructing 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 he 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 bis 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 beaven "La 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 In carrying on the "chronicle” of events, our youthful minds with awe.

he had formed the closest friendship-enacted forming a continuous chain of all the more imYears of riper development brought with before him, passing away like a wondrous portant moments in his hero's life, our author them the exercise, on our part, of a clearer

and dream; and was it not

still reserved

for him to gains, at the proper time and place, a rallying more critical judgment. "If,' in the light of witness the glowing sunrise of a new day in point, from whence he may indulge a view this, those first biographies began to look some

Beethoven, whose precursor in many respects upon much that is interesting in the general

he had himself been ? But even supposing all history, social and artistic, of Vienna, without what primitive and out of date, still less could these associations of Haydn's with the musical straying tou far from his primary object. For we be satisfied with the so-called Artist-Biog-way-makers of the past century to have never did not Haydn cling to Vienna like the child raphies of a Heribert Rau, which had been, in-existed—if, indeed, such a man as Haydn had to the bosom of its mother? Was there not a friend as likely to gratify our thirst for inform never been, living merely in the imagination of constant freindly intercourse between the two,

his portrayer--the work now before us would sufficient to justify the conclusion that anything ation on the subject. The literary fireworks still justly claim our admiration, inasmuch as which, in matters of art or public life, affected with which this author delights to surround it affords an example of how to proceed in or the ancient Kaiserstadt, would not be passed his heroes, Mozart and Beethoven, dazzled our der to make the personality of a man become a by unnoticed by the other! He who, in this eyes but for a short time, to be soon recognized reality to the reader, and of the minute care re- part of the book, would be inclined to see a then, at last, we were reminded of better guides quired in studying countless minor circumstan- mere freak of the librarian, a passion for

stirces which may, in some manner, bave influenced ring up the dust of some questionable antiquion our path—in search of Mozart we found ot- the life in question. To write a genuine artist- ties, would do wrong to the author, and at the to Jahn; in search of Beethoven, Marx, Under biography is, in truth, a most difficult task, same time overlook the gain thus accruing, not kindled; how eager we grew to study their provided the author does not place himself on only to musical but to general culture, in the

å level with the compilers of many-volumed elucidation of facts concerning the social hisworks; what new aspects opened up before

"art-novels," wherein the writers' iamgination tory of the time. It is scarcely necessary to our view! Then, for the first time, the truth claims full 'elbow-room, and positive truth is remark, considering the well-known conscienbecame revealed to us, that by the side of uni; pushed into a corner. Among such authors, tiousness of Pohl and bis habits of librarian, versal and literary history, there is also an art however, who, possessing the necessary scien- that he has made

full use of the printed matehistory, and that it requires at least as much tific knowledge of their subject, approach it al relating to Haydn, omitting not a single litto understand a Beethoven or a Mozart as it with earnestness of purpose and in full con erary source which might in any way further does to appreciate a Goethe or to fathom the sciousness of the responsibility of their under his object; a glance at the text and the numercharacter of a Wallenstein. Mozart and Beet- taking, different ways have been adopted by ous accompanying notes will at once dissipate hoven having in these literary works found the which to reach the desired goal. Some aim any lingering doubts on this point. The colonly representations worthy of their genius, chiefly at the realization of a complete picture lecting of an abundance of facts is, however, that of Haydn alone was still wanting in order of the artist's outward life and experience; and one thing, and the correct interpretation of to complete, in biographical literature also, the in this respect all our admiration is due to the their value and bearings is another.

By the great trio which, in the enumeration of Ger- glittering, fresh-colored picture of the life of aid of a careful combination and blending of man Grand-masters of musical art, we instinc- c. M. von Weber, from the pen of his son. such facts, the biographer is enabled to set tively name in one breath. Itis therefore with others again lay 'more stress upon the inner right wrong!y formed conclusions, to admit * particular gratification that we bail the appear: life, following the artist into the mysterious ray of light into

ach that hitherto had been ance of a “Joseph Haydn,” by C. F.

Pohl, of working of his genius, while only the leading doubtful or obscure. While admiring, thereVienna (published by Sacco's Nachfolger, at features of his outward career are touched upon; fore, the scrutiny exercised by Pobl in examBerlin), a work which, in reference to the two and in this form of biography Marx unques- ining literary landmarks, and testing their vaothers mentioned above, would seem to be en tionably manifests his mastery. There can be lidity as evidence, we must fairly be amazed at titled to the claim, in Schiller's words

no doubt, however, that the best and most re- the zeal manifested by him in the discovery of " Ich sei, gewährt mir die Bitte,

liable method—because at the same time the fresh sources and in their due application. On In eurem Bunde der Dritte!"

most exhaustive and thoroughgoing-would pagoş 15 and 17 of the preface, all the ways In his new work C. F. Pobl has not only be that which succeeded in combining the ad- and means are enumerated by which he has obrendered a great service to the memory of vantages of both modes of procedure; which tained this end, branching out into a general Haydn; he has also commenced to fill up a gap united to the keen eye of the historian a true expression of the author's sense of obligation so long keenly felt by all. And unless the suc artistic feeling, not merely showing us the man to all those persons, private and official, who ceeding volumes—whose appearance is prom

in the vicissitudes of his life, nor explaining to had in one way or another rendered assistance ised at intervals not too far apart—should fall

us what he was only from his works, but doing to him. We venture to assert that, speaking short of the certainly high-strained expecta

the one without leaving the other undone; in en gros, no keeper of archives is to be found, tions which this first instalment has raised, he short, giving a clear conception of the whole 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, if lic 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 bis music frequently crowned by success; no collector of seven in number, contain matter of varied in bas 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 Satur

temporaries 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 Cherubioi had long reignedrecords had been hitherto closed against all the conductor of a princely orchestra was exinspection, the descendant of the great Mæce- pected to perform, and our admiration for the memorable performance of the Ninth Symphony of

ety, when (in 1862) Hector Berlioz superintended a 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 mo to 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 sympho volume. 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 com. tic dryness. The author's poetic and syin. For the musical addenda the biographer de prehension of Beethoven, who greatly influenced pathetic nature reveals itself in more than one instance; and in those cases where, in spite of extracted from the Symphony composed in other known conductor, at home or abroad, and the serves our especial gratitude. The recitatioe ihem both, was essential. These have been played

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, le allows some scope to imagination, sitions he has made use of the instrumental With regard to Beethoven himselt, 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 developed 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 vio on Saturday, which, beginning with the overtare be no doubt that, given a susceptible, open- loncello the office of supporting the melody phony," included the pianoforte concerto in E flat, eyed 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, howthus justifying the conclusion that, su rrounded

was admirably suited for the intended purpose. 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 • Creation " would not have become that which appendix, the biographer gives us the genealog- been termed-absurdly enough, seeing that, as the

ven's “ first, second, and third styles," as they have a mild, graceful, smiling country had designat- ical tree of the Haydn family, the difficulties development of the master's creative power ad. ed him to be by anticipation.

surmounted in the compilation of which were vanced, one grew naturally out of another, and that The portion of the work which has so far infinitely more real than apparent. According virtually the overture to Salvatore Vigano's allebeen published represents Book I. of the first to an intimation emanating from the publish- gorical ballet

, Die Geschöpfe des Prometheus, has as volume, and is divided into seven chapters. ers, three more volumes will follow this first good claim to be accepted for a representative work In the first of these Herr Pohl makes us ac one at moderate intervals, and are to be

as the Ninth Symphony itself. However, apart quainted with Haydn's ancestors, commencing adorned respectively with portraits of the com

from speculation, the overture was written in the with his great-grandfather; an introduction poser and a fac-simile of his handwriting. The

1st year of the present century, when Beethoven which, having a tragic historical event for its cost of the complete work is estimated at about and the symphony, which occupied him for a com

was just thirty, the pianoforte concerto in the 9th, background, at once arrests our attention.' In M 30 (£1 108.), and considering the variety of paratively long tiine (no wonder !), in the 23rd. the second and third we have vivid pictures of interesting matter it offers, as well as the lib. So that a tolerably good notion was offered of the Joseph's "childhood,” spent under the paren- eral style in which it is being published, the composer's power throughout the most incessantly tal roof at the little market-town of Rohrau, price certainly appears a moderate one. creative period of bis artistic life, which ended, as and of the School at Hainburg." The fourth, In the compilation of the numerous lists of every musician knows, or ought to know, in 1827, headed “At the Chapel-house in Vienna,” de- themes of Haydn's compositions from his earli- on the 26th of March, barely short of half a centascribes the organization of that institution, by er period, Herr Pohl's scrupulous and untiring sy ago. The Prometheus overture must always be which opportunity we also learn something of care becomes again apparent; and although interesting, as probably the first orchestral work by that, in many respects, remarkable man, the some few mistakes in the examples quoted have Beethoven that ever won something like wide popDome-Capellmeister Reutter, while in a sub- crept in here and there, they are of no great served, through the two-band pianoforte arrange

ularity in England-especially, it should be ob division we are told all about Haydn as a importance, and may be easily rectified by any ment so early made known to us. It exhibits in its " singing-boy." His irdustry, his teachers, musician.

construction all the symmetry of form by which the several important court festivities, and, finally,

* A considerable portion of this chapter will be found overtures of Mozart are distinguished, combined the lad's expulsion from the Chapelhouse, are translated in Dwight's Journal of Music (May and June, with a something more emphatically proclaiming it here dealt with. The fifth takes up the Chron- 1876.]

the work of Beethoven, and no other. The concericle," the purport of which, its appropriateness

(To be Continued.]

to has been the cheval de butaille of first-class pianin relation to the particular subject in view,

ists during the last half-century, and is likely to we have already briefly pointed out. With the Crystal Palace Concerts, London.

engross the attention for a long period hence of sixth chapter, entitled “Lehr und Wander

those who are to follow, nothing like it having been jahre,” we enter upon the toilsome years of our The twelfth and concluding performance of the written before or since. For this reason it has been hero's first experience in the school of life, that pre-Christmas season was given on Saturday. It nicknamed “The Emperor," at which Beethoven, important period during which we find him la being the 16th of December, the day of Beethoven's who held emperors in light esteem-witness his boring steadily for the development of his tal-birth (at Bonn, 1770), a programme devoted exclu- tearing off the superscription, “ Napoleon,” which, ents, and anon taking his first youthful flight sively to compositions, vocal and instrumental, from if we may believe the anecdote, till the news of the into regions where he should, ere long, become his pen was but an appropriate homage to the illus- hero's assumption of the Imperial dignity, had Leen

affixed to his third symphony, afterwards generally a discoverer, viz., the stringed Quartet and spicuously at the Crystal Palace concerts from their known as Sinfonia Eroica-would have stormed not the Symphony. In the seventh and last chap- earliest institution, and whose symphonies, over

a little. About the Choral Symphony we need say ter, we see the young musician at Eisenstadt, tures, concertos, etc., have done so much towards nothing. As it was Beethovea's last, so it is in ev. duly installed in the orchestra of Prince Ester helping them to the position they occupy, by unan.

ery respect his greatest; and it is difficult to imag. hazy in the capacity of second, and later on, imous consent, as the best entertainments of their ine that the projected - No. 10" could have sur

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