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passed it. It is but just to call attention to the note only partially successful. The composer has done upon this symphony contained in Saturday's pro- his best with the opportunities furnished him by his gramme, and signed "G"-not only as a masterly literary fellow-laborer, though he must, at times, analysis, but historically no less than analytically have found his task very uphill work. He has, interesting. We can remember on no previous ocnevertheless, written a score which contains some casion a more evenly balanced and generally admi- excellent music, interesting, characteristic, and rable performance of overture, concerto, and sym- original. The greatest danger with which the op phony. Mdme. Arabella Goddard, who, not for era had to contend was the first act, which is spun the first time by many, took the pianoforte part in out by the librettist to a fearful length, and must the concerto, was "recalled," and applauded with have imposed a terrible strain upon the composer. genuine enthusiasm; and Mr. Manns was similarly It is monotonous and wearisome, despite two very complimented after the scherzo and finale of the sym-good specimens of the composer's style, the chorus, phony-which last, by the way, offered satisfactory "Nichts als Schelten alle Tage" ("Nothing ev'ry proofs of the steady advance towards excellence re- day but scolding,") and the concerted piece: "Bei cently observable in the performances of the Crys- Nacht die Ruhe so zu stören, Man kann sein eignes tal Palace choir. It is also but just to add that the Wort nicht hören ("All night one's rest is rudely very difficult solo voice parts in the finale have not broken, One cannot hear a word that's spoken.") often been intrusted to artists more careful and in- The pruning knife is here sadly needed, and should telligent than Mdmes. Blanche Cole and Antoinette be liberally employed. Luckily, the overture had Sterling, Messrs. Edward Lloyd and H. A. Pope. put the audience in a good humor. The second act To give them all the effect contemplated is barely cannot boast of such pieces as those just named in possible, for in his later works, especially in this the first act, but then it is much shorter and, taken symphony and the great Missa Solennis in D (No. all in all, more pleasing, The third act is superior 2), Beethoven, in consequence, probably, of the into both the preceding acts, and sparkles with musi firmity which was the bane of nearly half his life, cal beauties of no mean order. In the fourth act, a took little heed of the ordinary capabilities of the comic quartet between Katharina, Petruchio, Gru human organ for the emission of musical sounds. mio, and the Tailor is especially worthy of mention, How in earlier days the great musician could write as is also Katharina's song, and the succeeding lovefor the voice is well shown in " Adelaide," which im- duet. The great fault of Herr Götz is that he has mortalized the poet Matthison, who, but for the musi- treated his subject too much in the style of grand cian Beethoven, might long since have been forgot opera. He wants lightness. He is too fond of emThis queen of love songs was published at ploying all the resources of the orchestra, which Vienna-four years before the Prometheus music, frequently quite overpowers the voices of the singthe first orchestral symphony (C major), and the ers. Then, too, he is, perhaps, a little too musicianoratorio, Christus am Oelberge (The Mount of Olly to please the great masses-though that, I may ires); so that it took us thus further back into the be told, is a fault in the right direction. With all youth of a composer for whose maturity so much its short comings, however, Der Widerspenstigen remained in store. Though there is something of Zähmung is a welcome addition to the list of German the impassioned expression of Mozart in this canta- comic operas. ta (for "cantata" it is originally styled), it is in other respects as unlike Mozart, and as purely Beethoven as conceivable. Mr. Edward Lloyd was the fortunate artist to whom "Adelaide" was entrusted on so important an occasion-the more fortunate in being able to sing it with such true ex pression, and to be appreciated as he was by his bearers. By the way, the pianoforte accompani. ment was well played, the accompanist-in the case of " Adelaide," an agent entitled to some consideration-being Mr. R. Beringer, whose name should have been mentioned in the bills. The songs confided to Mad. Antoinette Sterling were "Wonne der Wehmuth," one of three Lieder to Goethe's text, composed in 1810, and "Nene Liebe, neues Leben" (also to Goethe's words, "Herz, mein Herz,") belonging to a set of six published in the same year. Mad. Blanche Cole also gave the solos in the cavatina (with chorus)—“ Praise of Music." A better or a more comprehensive selection from Beethoven's works could not easily have been made, so as to fit in with the inevitably narrow compass of a single programme.

ten.

The Crystal Palace Concerts are to be resumed on the 3rd of February, when, in commemoration of Mendelssohn's birthday (1809), the programme is to be exclusively devoted to his compositionsamong the rest being the violin concerto, to be played by Herr Joseph Joachim, and a slow movement from one of the unpublished symphonies. Why not the entire symphony, with the date of its production attached ?—Times.

Berlin.-New Comic Opera-Miss
Minnie Hauk.

Herr Götz's four-act comic opera, Der Widerspenstigen Zähmung, has at length been produced at the Royal Opera house, and achieved what in the opinion of competent judges will prove a lasting success, a very large portion of which, by the way, it will owe to the admirable manner in which the part of the heroine was sustained by that great favorite, Miss Minnie Hauk.

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The libretto is, as its author, Herr Joseph Victor Widmann, announces in the bills, a "free version of Shakespeare's Taming of the Shrew. Everyone knows that, as a rule, the original form of tragedies, dramas, and comedies, has to be greatly modified, before such productions are suitable for operatic purposes. Nobody, therefore, can blame Herr Widmann for omitting several of the original characters, much of the original play, or even for adding something of his own; but everyone must regret that he has not displayed more tact in carrying out the process. His aim was, of course, to produce a good and effective libretto. In this he has been

No pains had been spared in placing the work upon the stage. Great credit is due to the conductor, Herr Radecke, for the way in which the orchestra fulfilled its duty. The chorus, also, had evidently been well trained, and did con amore what they had to do. Herr Beck was an excellent Petruchio, vocally and dramatically. Mdlle. Grossi, as Bianchi; Herr Ernst, as Lucentio; Herr Fricke, as Baptista; Herr Salomon, as Hortensio ; Herr Oberhauser, as Grumio; and Herr Sachse, as the Tailor, were all frequently and deservedly applauded. But the largest share of praise is certainly due to Miss Minnie Hauk, who, as the wayward, self-willed, and subsequently obedient Katharina, presented a picture worthy to rank with the best comic Shakspearian creations on the stage. The audience were charmed, and justly so. Had the character, words and music, been expressly written for her, it could not have suited her better, and to her rendering of it is assuredly due a goodly portion of the excep. tional triumph achieved by the opera. Der Widerspenstigen Zähmung has already been performed in Vienna, Leipsic, Mannheim, and other towns, without anywhere making such a tall" hit as here. But then Minnie Hauk was was not the Katharina.

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The papers speak very highly of this young lady. I will give you a few specimens. Here is one from the Kreuz-Zeitung :—

'The new opera, as performed here, has, in the perFon of Miss Minnie Hauk, a Katharina who, both by the natural freshness and power of her grand voice, and by her unerring sway over all the requirements for fine singing, is equal to her high task. If the tone-form of the opera is to bear any resemblance to its original in Shakspeare's comedy, it can do so only by the help of a fair singer possessing such a thoroughly sound, strong, and, at the same time, flexible voice as that possessed

by Miss Minnie Hauk. How would it be possible to ring

and impetuous nature of the Shrew who is to be tamed?

out with the dull tones of a weakly organ the unsubdued

Miss Hauk's voice is of the metal in which we can cast

Shakspeare's Katharina, whom Petru hio addresses as his golden Kate,' previously to freeing her by a terrible

ordeal from the dross of her bad habits. It was not on

ly as a refined vocal virtuosa, but also as a skilful ac

tress, who points her delineation with intellectual acu

Katharina had to fight for the deliverance of her better

men, that this talented lady satisfied the high expectations people had formed of her. The combat which by her with well-polished and artistic weapons. The innature with herself and her humorous despot was fought born combativeness of the pretty virago, and then the way in which the feelings of her maiden heart rise lovingly towards the man who has succeeded in inspiring her with respect. were two points brought out by the artist with especial force and dramatic effect in the nicely graduated coloring of her tone-picture. In the presence of such great excellence, a critic would beeome a petty carper were he again to censure certain isolated unpleasing tones. We must, we think, make as much allow

ance for those tones in the case of this great singer as we do, in the case of others, for the frequent instances of singing out of tune, of the tremolo, and of the hollow and withered sonnds of fading voices, from all which blemishes Miss Hauk is free. We flatter ourselves with possessing some acquaintance with Shakspeare's writings, and we must say that. of ail the performers, Miss Hauk approached mog nearly the poetic original."

The Tagblatt remarks, among other things:

"The part of the heroine had fallen to the lot of Miss Minnie Hauk, who proved herself as eminent an actress as singer. The bold, self-assertive character of the termagant Kate appears created expressly for her; and, as regards the young lady more especially as a singer, we gladly overlooked on this occasion the little defects of

her vocal method, as well as the laurel wreath, which

was stupidly flung her at the very beginning of the per

formance. That, however, she should succeed in mak

ing so much out of a part musically so ungrateful stamps her, beyond a question, as a great artist. The part is musically ungrateful, because, speaking generally, sudden and violent anger cannot be expressed musically, and, in my own personal opinion. the composer committed a terrible error when he selected a vixen for the principal personage of an opera. The part, moreover, presents colossal difficulties; such ticklish airs as those of Katharina in the fourth act cannot probably be found a second time in the entire range of operatic literature, yet Miss Hauk overcame them most brilliantly. For this let me here give her an especial bravo: Honor where honor is due!"

Dr. Gumprecht informs the readers of the National Zeitung that:

"The part of Katharina is a gem in the repertory of Miss Hauk, who brought out the quarrelsome defiance of the self-willed maiden with the same conviction-bearing skill she exhibited in the submission and fervent affection of the loving wife. With the most praiseworthy care she had thought the part out, even to its smallest characteristic details."

Der Widerspenstigen Zähmung is the first dramatic effort of its composer, and it will be his last, for he is no more. He died in Switzerland, a week before his work was produced at the Royal Operahouse. Hermann Götz was born at Königsberg. While still a youth, he came to Berlin for the purpose of pursuing his musical studies at Stern's Conservatory. He subsequently accepted the post of organist at Winterthur, in the Canton of Zurich. The disease to which he succumbed was consumption, but he worked on to "the bitter end,” and, according to a notice inserted in the libretto, the last song for Katharina was composed for Minnie Hauk only a very short time before his death!-Corr. Lond. Mus. World.

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Tall as the poplar swayed by the breeze, long and diaphonous [?]; a broad and high forehead, eyes lustrous in their dusky sockets, a straight and strong nose, arched eye brows, almost always contracted, masculine features, a large and imperious mouth, a swarthy complexion, and those wrinkles that denote a powerful organization, in a word, an ascetic face, framed with long gray hair coming down to his collar. Thus appeared to us the humble and austere Abbé Liszt, ex-infant prodigy, ex-illustrious pianist, ex-Wagnerian expositor, now a religious composer, travelling to distribute indulgences and to perform his masses.

His secular costume does not detract from the fascination of his person. His profile one would judge to be that of a Mephistopheles, who, touched by the death of Marguerite, was meditating a slow conversion. When you see his full face, his expression changes and becomes energetic and manly. His gesticulation is ample and commanding, and his smile is sympathetic and beguiling. While treating grand personages with all his moral and physical hauteur, Liszt's conversation is at first a little embarrassed, but it is soon succeeded by flashes of wit and charming phrases, although he preserves his dry and cold tones. One might compare his conversation to champagne frappé.

Although rich and generous, he lives frugally and feigns an aged and impoverished air. Do not believe in it; it is merely the affectation of humility, and his cassock can scarcely contain the bounding of his still youthful soul. His nature is essentially grave, but at present he coquets with honors, and feigns to be a missionaire incognito. You should see him issue from the Pasdeloup concerts with lowered eyes and modestly enter a princely equipage that a great name has placed at his disposal. I do not doubt the conviction of the Abbé Liszt, for in his youth he gave many proofs of mystical aspiration; but this diable d'homme will never abdicate the vir tuoso, and his conviction and gentleness becoming new titles to the public curiosity, he replaces his

sword of honor by a rosary, and beats a drum before his bénitier.

At each step the man of the world reappears and struggles with the priest; in vain he wishes to fly from the crowd; it attracts and intoxicates him. Benevolent and amiable, liking every sort of music, Liszt can be persuaded to play en petit comité—that is, if among the auditors there are no heretics. Formerly he entered a salon with a rush, threw down his hat anywhere, removed the candles from the piano, and before commencing to play broke a dozen strings in a fantastic prelude. Now he recollects himself, draws off his black gloves, and after a mental benedicite begins the explanatory text, for, perhaps, you do not know that Liszt writes romances that are spoken and played at the same time.

After

He is a very early riser, and has at his house only a bad square piano that he never touches. having read his breviary, he breakfasts frugally upon half a dozen oysters, or, if it is a jour gras. upon a small piece of ham, and then pays visits during the remainder of the day. His two worldly predilections are for café noir and for small and very bail Roman cigars, but cheap if not gratuitous. He is assailed by mammas who wish him to give piano lessons to their interesting progeny. They have gone so far as to offer him a whole dollar a lesson. Upon days when he has no engagements, Liszt dines tete-a-tete with his son-in-law, M. Ollivier, and at dessert they converse of temporal affairs. As he intends to remain some time in Paris, Liszt is rehearsing Mazeppa, Jeanne d'Arc, the Danté Sym. phony, and eleven oratorios, the shortest of which is much longer than the opera of the Huguenots. He has sent for his ex-Barnum, who had a limb frozen in their Russian campaign, Signor Belloni, the famous Antonelli of this papal pianist.

Liszt speaks all languages and copies his works himself. His manuscripts are without erasure or corrections, and his writing is at once fine, free, running and fantastic. Seeking the most unforeseen orchestral combinations, his scores are prodigious, and it requires a step-ladder to go from the contra hasso to the piccolo. His system is the negation of true melody; he piles chords upon chords, pretend. ing thus to establish the direct rapport of the music with the philosophic thought. In short, his thundering execution and his principles of exaggerated. grandeur inspire such dramatic accents that, hearing his Maes, one would imagine that they were going to conquer Cochin China, rather than to recite litanies.

One last word: Liszt's face is adorned with some moles, politely called grains of genius. Formerly he had four, now their number is more than doub led; it is said that it is his faith coming out. -Mus. Trade Review.

The Fifth Harvard Concert.

(From the Courier.)

The Fifth Symphony Concert of the Harvard Musical Association was given at the Music Hall on Thurs ay afternoon. The first number on the programme was Gade's B-flat Symphony No. 4. It is some years since this delightful work has been heard in Boston. It has been crowded out of our concert programmes, unjustly, as I think, by its more brilliant companions in C-minor and E. To be sure the great C-minor, with its grand alternations of tenderness and brilliancy in the first movement, its lovely, dreamy Andante, its glorious scherzo with the bewitching, fairy-like Trio, and the grand marŝial theme, sung by the wind instruments in its Finale, while the accompanying strings seem to have been suddenly changed to one great harp whose swept chords add their strong accent to the heroic melodythe great C-minor, coming to us with all the prestige of Mendelssohn's admiring letter to the composer, in which he thanks him in the name of Germany for so admirable a composition, has perhaps greater claims upon the sympathies of an appreciative audience than the more modest work we have just heard. But we must not forget that the B-flat Symphony, although of smaller di. mensions, and not aiming at such grand, heroic efforts as its great predecessor, is yet the more perfect work of the two. I know of no work of Gade's that is so perfect in form and style as thi Symphony. The exacting Gewandhaus audience in Leipzig have become accustomed to look upon an encore of its fascinating Scherzo as almost as much a matter of course as an encore of the Allegretto Scherzando in Beethoven's eighth symphony. Throughout the work Gade shows his inimitable mastery over the orchestra. I think it was Moscheles who once said that he believed that, if Gade were to write only a single A for a clarinet, it would somehow sound

differently from anybody else's A. The charm of Gade's
orchestral coloring is indeed great; we find little of that
Eastern gorgeousness in it that the scores of Wagner,
Raff, Berlioz and some other great masters of the or-
chestra are full of; Gade's instrumentation is more
classic in spirit; but how gracefully each instrument in
his orchestra lends itself to the figure it has to play!
how admirably each delicious orchestral effect is blend-
ed in the great harmonious whole, finding itself easily
and naturally there, claiming no special attention to it-
self, but modestly adding its own charm to that of the
entire work. I think we shall all be glad to hear this
little gem of a symphony again. Mendelssohn's stately
Overture to Racine's Athalie made a striking contrast to
the symphony. I think Mendelssohn has never made
the Hebrew spirit, that many of his works are full of,
more superbly prominent than in this overture. In
some of his other works it is, to me at least, disagreeable,
showing some of the less attractive sides of the Jewish
character, but here it is grand and imposing sombre,
tragic, fierce if you will, but not absolutely blood-thirs-
ty. Some one has said that he could never listen to some
passages in Mendelssohns music without thinking of
heaps of slaughtered Ammorites and Hittites. But in
listening to the overture to Athalie it is the triumphant
Jews we think of. The two movements (Andante and
Finale), from Joachim's score of Schubert's piano-forte
duet, opus 140, that were played reminded me of a saying
of Von Bülow's. Somebody was saying to the great pi-
anist that he thought a man must be extremely German
to enjoy all of Schubert's music. "Hm!" answered Von
Bülow, "if by extremely German you mean impervious
to ennui, you are not far wrong.' Schubert, w th all his
splendid genins, had undeniably a tendency to prose, a
certain garrulousness in writing that often led him to
prolong his composition beyond all warrantable bounds.
He had a fatal facility, and did not always know where
to stop; perhaps no composer of his time was so diffuse
as he. In the two movements in question great beauties
strike the ear at every turn. I can imagine nothing
more witchingly graceful than the theme of the Finale.
But, ye Gods! what a length! Why must a fine theme
be worked, and worked until it is positively threadbare?
I think Joachim would have succeeded in making a
finer score of the work, if he had not forced himself to
cling so closely to Schubert's habitual manner of instru-
mentation. His work is indeed a clever imitation of
Schubert's style in treating the orchestra, but when
judged on its own merits can in no wise be called a re-
markable score. It is very difficult, and many of the
instruments often have to cope with ungrateful phrases.
Of variety of orchestral coloring (which it seems to me
was most needed in so prolix a work) there is very little.
The score is eminently respectable, but nothing more.
Beethoven's Egmont overture. coming at the end of even
so fine a programme as it did, had the effect, not unu-
anal in Beethoven's works, of being able to put all the
rest in its pocket and walk off with it. The very first
grand chords in F-minor seemed to blow all that we had
just been hearing out of time. Madame Luisa Cappiani
was the singer of the afternoon, and made a marked im-
pression. Her voice is powerful, of an agreeable quali-
ty and great compass. She sings with maestria, with
mastery both over her voice and over the music she is
singing that gives her listeners a comfortable sense of
security. We feel that we are listening to an artist in

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whom we can trust. Her strong and authoritative style
gives us that sense of repose that a baby has when dan-
dled in the strong arms of its father. I may not approve
a certain tendency to exaggeration in her singing, but
she sang so much like an artist to the manner born. so
sure of attaining the effects she aimed at that my enjoy-
ment of the music was but little impaired by it. There
are few artists in the world who can sing so that we can
imagine nothing more; it is a great thing if they do not
make us feel the want of something more for the mo
ment. Yet, finely as it was sung, I think that none of
us would be sorry to see Mozart's Non più di fiori laid on
the shelf indefinitely. Mozart was great, and there is
much of greatness in this song of his, but why need it
take the place of better and fresher things. There are
things of Mozart's that are as blooming now as ever, but
this one begins at last to show its wrinkles.

WILLIAM F. APTHORP.

(From the Evening Gazette.)

The fifth concert of the Harvard Musical Association took place at Music Hall on Thursday afternoon. The

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ceeding aria, "Non più di fiori" from Mozart's "Titus," was masterly. Her declamation in the recitative was broad and grand, and she was no less happy in her interpretation of the changing moods of the exquisitely elo. quent aria. Her intonation is almost faultless. The aria abounds in trying leaps of the voice from the lower to the upper register, and Signora Cappiani showed the perfect command she has over the difficulties of her art by the truth with which she struck these intervals without the use of portamento. She also sang Mozart's "Violet" with rare delicacy of feeling and purity of sentiment, and Schubert's "Ungeduld" with a dramatic effect that was somewhat startling after the quietly sentimental manner that has hitherto been its conventional rendering here. As an encore to this last. Signora Cappiani gave an expressive little ballad by Tosti. This, however, was not so pleasing in its rendering, owing to the exaggerated sentiment with which it was delivered. This artist is really an acquisition to our list of concertsingers the major part of whom may learn a needed lesson from her in all that relates to breadth of style, appropriate dramatic expression, clearness and strength. We should like to hear her in oratorio, to which her method seems especially adapted. Her success was pronounced.

The Opera National Lyrique.

It is not often that a composer who has passed his fiftieth year can achieve a great success in grand opera in Paris, especially if his career has been confined to the "Opéra Comique genre," which is the specialty of the French musicians who write for the lyric drama; but M. Victor Massé has certainly been fortunate enough to have satisfied the audi ence of celebrities collected at the Opéra National Lyrique, on the night of Wednesday, November the 15th, that if his Paul et Virginie' had been produced by M. Halanzier at the Grand Opera-house, or by M. Escudier at the Théâtre Italien (Salle Vent dur), the work would have met with a triumphas pronounced as that which has attended the venture of M. Vizentini, who, like M. Carl Rosa, at the Lyceum, combines the post of Conductor with that of Impresario. A word or two about the antecedents of M. Massé, who was a pupil of the Conservatoire, and who won the first grand prize for compo sition at the Institute. He passed his two years of free study in Rome, and then made a tour in Italy and Germany. He set some poems by M. Victor Hugo; but his first success was in 1852, at the Opéra Comique, in La Chanteuse Voilée,' and this was followed by his 'Noce de Jeannette,' which has travelled far. He had the advantage of Madame Miolan Carvalho to sing the now popular airs of that operetta. His next essay was the two-act op era, Galathée.' His Fiancée du Diable,' in three acts, La Favorita e la Schiava,' 'Miss Fauvelte,' 'Quatre Saisons,' made no special mark; but at the Lyrique, in 1856, his Reine Topaze' came ont, in which he again had the aid of Madame Carvalho, which had a long run. The Chaise a Porteurs,' 'La Fée Carabosse' followed, but with no great suc

cess.

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At the Rue Lepelletier Grand Opera-house his two-act Mule de Pedro' was produced; but it was remarked that it ought to have been heard at the Salle Favart. In 1860, he succeeded M. Dietsch (the unfortunate composer of the Flying Dutchman,' based on Herr Wagner's libretto, which was accepted, but not his music) at the Grand Operahonse as accompanist and chef de chant. M. Massé was for years living in hopes that his score of 'Paul et Virginie' would be accepted either at the Italian Opera-house or at some French theatre. He, at one time, interested Madame Adelina Patti so much in the music that she was strongly disposed to be the Virginie; but he could not get a director bold enough to bring out the opera. He thought of the

programme included Gade's charming and graceful Opera Comique; but he could find no adequate Vir-
Symphony No. 4, in B-flat, Mendelssohn's Athalie "
overture, the Andante and Finale from Schubert's
Grand Duo, op. 140, arranged for orchestra by Joachim,
and Beethoven's overture to "Egmont." The orchestra
has not been heard to so good advantage this season as
in this concert. The symphony was almost faultlessly
given in point of style and expression, the strings ac-
quitting themselves to special acceptability. The Schu-
bert music, though generally pleasing, is spun out to
such a length that the delight it would otherwise afford
is neutralized by the weariness it excites in the listener.
It was performed with excellent clearness and preci
sion. The two overtures were also given with admira-
ble effect. We think the concert as a whole may be
pronounced the most satisfactory and most encourag.
ing the society has given in some time. The soloist on
the occasion was Signora Luisa Cappiani, an artist of
unusual ability, with a rich, full voice, somewhat worn,
but still sweet, full, and deeply expressive. Her style
is large and musicianly, and her method evinces high
cultivation in the best school of her art. Her singing of
the beautiful recitative, “Ecco il punto," and the suc-

ginie, and the Paul he contemplated, M. Capoul, had gone on the Italian opera stage. After no end of difficulties and disappointments, M. Vizentini came to the rescue, and resolved to stake the success of his undertaking on the opera of M. Massé. M. Capoul, having been persuaded to return to the French operatic stage, was, of course, proposed for Paul. He has the advantage of looking the character, besides being an admirable actor, with a sympathetic voice, and with a style improved by sing. ing in Italian opera. After a long search, a Virginie of seventeen summers was found, a girl who had never sung on the stage, but who was of a musical family, and had been carefully trained by her brother, M. Theodore Ritter, the pianist. It was a daring attempt for the young débutante, but she has been successful; and it must be gratifying to the composer who, in turn, had tried for Madame Patti, Madame Nilsson, Mdlle. Albani, and Mölle. Chapuy, to find at last Malle, Cecile Ritter. Her very tim idity, her gaucherie, indeed, added apparently to the sympathy she at once excited, when Virginie first enters with Paul, arm-in-arm, under the cover

of an umbrella formed of palm-leaves. Her voice,
naturally, is not yet matured; but her method is
good, and the quality of the organ is most sympath-
etic. Mdlle. Engally. Méala the Negress; Mesdames
Sallard and Leoni as the two mothers (Madame de
la Tour and Marguerite); M. Bouhy, Dominique ;
and M. Melchissedec, Sainte Croix (the persecuting
and malignant planter), were adequate representa-
tives of their respective parts. On the plot it is
needless to dwell. The two practised librettists,
MM. Carre and Barbier, have adhered closely to
the idyll of Benardin de Saint-Pierre, the champion
of universal peace; the poets have not altered the
story as did Favières for the opera of Rodolphe
Kreutzer, produced in 1791, and as did Dubreuil for
Lesueur's setting in 1794. The tears which have
been shed by the readers of Saint-Pierre's touching
tale were not less apparent at the first representa-
tion-the shipwreck profoundly affected the audito-
ry. The score of M. Victor Masse is finely con-
ceived throughout, melodious themes abound, and
the orchestration is masterly. If at times the
treatment of Meyerbeer and M. Gounod is recalled,
M. Masse has established his own individuality in
the majority of the numbers, which have the merit
of increasing in interest up to the finale. To enter
into details would require an analysis of each act;
but as a gem of inspiration, the dream of Paul,
where he sees Virginie in Paris in a rich saloon,
playing the harp, surrounded by admirers, and she
exclaims "Paul!" to which he responds "Virgin-
ie!" may be mentioned. He awakes, to hear that
the ship is off the port, but that there is a dreadful
storm. The melody which pervaded the opera is
heard again, the "Chant d'Amour,”-it is the song
of the swan, and the curtain descen is on the bro-
ken-hearted Paul leaning over the body of Virginie.
There was a question at one time of changing the
catastrophe, but the adapters have adhered rightly
to the ending of Bernardin de Saint-Pierre.-Athe-strophes.

næum.

Gadsby's "Alcestis.”

least an equal number of instrumentalists, unless
great judgment were shown in the distribution of
the parts, the voices would certainly be overpow-
ered. The melodramatic music, both in this and in
subsequent numbers, is excellent. Here, perhaps,
even more than in the choruses, it was difficult for
Mr. Gadsby to avoid the Mendelssohn influence.
We think, nevertheless, that he has completely suc
ceeded in doing so. His accompaniments to the
spoken dialogue are always appropriate and taste-
ful, and yet quite different in style from those in
"Antigone." No. 5, the chorus in F major, "Im-
mortal bliss be thine," is musically one of the most
important numbers of the whole work, and is
throughout full of interest. Here we find another
innovation of Mr. Gadsby's-this time, we think,
not an improvement. Instead of setting, as Men-
delssohn mostly does, the first and second strophe
and antistrophe to the same (or very nearly the
same) music, Mr. Gadsby gives them entirely differ
ent subjects. This is, we cannot but think, a mis-
take, because the two portions of the text so exactly
correspond to one another that there is at least a
strong probability that they were intended to be
sung to the same music. By adopting a different
course, Mr. Gadsby obtains greater variety, but the
unity of the piece suffers. The following chorus,
"Yes, liberal house" (in A major), is one of the
best specimens of its composer's style-thoroughly
tuneful, and excellently written. Here Mr. Gadsby
has for the second strophe repeated the theme of
the first, greatly, in our opinion, to the advantage
of the music. No. 8 is a movement consisting
chiefly of melodrama, interspersed with short cho.
ral passages, mostly in unison. The following cho-
rus (in D major), "My venturous foot delights,"
which sings of Fate, is another very good number,
though, like No. 5, it suffers from the want of cor-
respondence in the music of the strophes and anti-
The closing portion, in which the
praises of the departed wife are sung, is of special
merit. A short and effective finale concludes the
work.

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music-drama. There can be no question that such revivals of standard works by older masters are of the highest importance at the present day, when the fundamental principles upon which Opera should be constructed are being discussed on all sides. At the same establishment Schumann's opera "Genoveva" is in course of preparation.

Rubinstein's "Die Maccabäer." which opera has been repeatedly performed at Berlin and Munich, ult. at the Russian capital. was to have been given for the first time on the 13th

Madame Schumann has lately made her appearance at a concert at Barmen, before an enthusiastic audience. Special homage was rendered to the great artist on the occasion, the pianoforte on which she played being adorned with flowers and evergreens.

wandhaus continue their standard performances of
At Leipsic the Subscription Concerts of the Ge-
classical music, while at the same time duly regard-
ing the claims to obtain a hearing on the part of the
works of contemporary composers..
Among the
Symphony (No. 3) by Jadassohn, and a vocal and
novelties lately introduced may be mentioned a
instrumental work by H. Hofman, entitled "Das
Märchen von der schönen Melusine." Madame
Schumann, M. L. Brassin, Herr Wieniawsky, and
Herr Joachim have successively made their appear-
ance: the latter was to have performed a Ms. Con-
the 21st ult.
certo by Herr Reinecke at the eleventh concert on

"

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Opera, in one form or another, has been in decided demand at Paris during the past month, and the various institutions dedicated to that species of dramatic performance have been nightly filled to "Robert le Diable," overflowing. Aida," Fille du Reginient," "Oberon," have all proved alike attractive to the music-loving public. At the same time the new opera by Victor Masse, "Paul et Virginie," is maintaining the popularity it so quickly attained since its first performance at the Théâtre Lyrique in November last. There has been a revival, too, at the Théâtre Lyrique of a very interesting little work by Herold, an early production of his genius: the operetta is entitled "Les Troqueurs," and its performance was evidently much appreciated by the audience.

The doors of the Conservatoire having reopened at the beginning of last month, to admit the public to its annual performances of high-class music, the concert season of 1876 77 may be said to have defi

nitely commenced at Paris. The President of the Republic was present at the first concert, which was inaugurated with the "Eroica" of Beethoven. At the same time, the performances, chiefly of classical music, at the Concerts Populaires are continuing to do excellent work in the interests of true art. It is

We have dwelt in such detail upon the music of Following up their recent productions of "Antig." Alcestis" that a few words must suffice concernone" and " Edipus at Colonos," the directors of ing the performance. This was on the whole excelthe Crystal Palace brought forward on the 12th ult. lent, especially as regards the music. The chorusEuripides'" Alcestis," with music specially com es were capitally rendered by the same choir (under posed for the occasion by Mr. Henry Gadsby. Mr. the direction of the composer's father, Mr. W. GadsGadsby is no stranger at the Crystal Palace, sever-by) which did such good service at the revivals of al of his compositions having been given with suc- "Antigone" and "Edipus;" while the orchestra, cess on various occasions at the Saturday concerts. under Mr. Manns, was simply perfect. The cast of The present is, however, so far as we know, the the play, which was satisfactory throughout, was most important work that he has at present written, as follows: Alcestis, Miss Emily Cross; Iola, Miss comprising in all ten numbers, several of them of Emily Vining; Admetus, Mr. Arthur Matthison; considerable extent. In the general outline, he has Hercules, Mr. W. Rignold; Pheres, Mr. Edmund almost of necessity followed the path laid down by Leathes; Apollo, Mr. J. H. Barnes; Thanatos, Mr. Mendelssohn, who was, we believe, the first to set Henry Moxon; Medon, Mr. Bruton Robins; and to music any of the old Greek tragedies, It must Chorus Speaker, Mr. W. Holman. Mr. Rignold's be said, in Mr. Gadsby's praise, that he is no mere Hercules must be particularly mentioned as an adslavish imitator. Indeed, throughout the whole of mirable and effective piece of acting.-London Musi-Gluck, Mozart, Beethoven, and even Weber, in varia curious fact, however, that whereas the works of his music we find nothing which can be called a reminiscence of either " Antigone," or "Edipus." In some respects his treatment differs from that of his great predecessor; he has entirely discarded the effect of solo voices, and though he has thereby sacrificed sore opportunities for musical contrast, it is probable that he has on the other hand conformed more nearly to the plan of the ancients. There is no reason to suppose that any part of the Greek choruses was sung either by a solo voice or by a quartet.

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Alcestis" commences with a regularly-developed Overture, instead of the short instrumental prelude which Mendelssohn adopted in a similar situation. The introduction consists of the chief theme of one of the most important choruses (the "Fate" chorus), which occurs later in the work; this is followed by a più moto in A minor and major, well written, but less striking than some of the succeeding numbers. The first chorus, "Before this royal mansion all is still," is chiefly a dialogue between the first and second choir, in which the recitative style predominates. It leads immediately into No. 3, "In vain, our pious vows are vain," a fine and very effective chorus in C major, equally praiseworthy from a mnsical and dramatic point of view. No. 4, one of the longest pieces in the work, is partly chorus and partly melodrama. A point that strikes us, with regard to Mr. Gadsby's setting of the choral portions of the music, is the large predominance of unison passages. We think the composer is right in his treatment, because with a small choir the melody certainly comes out much more clearly against the orchestra than if the music were writ ten in full harmony; and as the work was designed to be sung by a chorus of only forty, against at

cal Times.

Foreign Notes.

It is intended, on the part of enthusiastic admirers of Herr Wagner, to make the Bayreuth Theatre the property of the nation. Herr Hahn, the energetic advocate of the "party of progress" in musical matters, and editor of the journal Tonkunst, has just opened a subscription for the purpose of raising the necessary funds, and with a view also of defraying the expense of annual standard performances of musical stage works at that building. It is now positively settled that a repetition of the performances of "Der Ring des Nibelungen" will take place during the present year.

Herr Wagner has been much fêted at Rome, whither he had gone in search of rest after his late fatigue. Among other honors of which he was the recipient, the Royal Academia di Sa. Cecilia has nominated him Socio Illustre, being the highest dignity conferred by that institution.

While the principles which at present predominate in the management of our own operatic establishments would seem to exclude altogether that educational element which the performance of the masterpieces of a bygone period cannot fail to supply, our German neighbors, whose art institutions are for the greater part subsidized by the Government, are certainly more fortunate in this respect. Thus, at the Royal Opera at Berlin two works of Gluck," Armida" and "Iphigenia in Tauris," have recently been performed within a week, and, according to the Allgemeine Deutsche Musik-Zeitung, in a manner worthy of the father of the modern

ably meet with the fullest appreciation of the audience at these concerts, the modern German school seems, at present, to have but a poor chance of success. We have lately heard of the noisy demon. strations of dissent which the performance of Wagnerian music produced at the same institution. The works of Joachim Raff, too, seem to be equally pow erless in attracting the attention of French amateurs, in spite of the determined perseverance of the conductor, M. Pasdeloup, whose very name-the French equivalent of the German "Wolfgang"-is, in consequence, being suspected of German origin! Thus, according to Le Ménéstrel, Raff's charming Symphony "In the Forest," which has been repeatedly performed at the Populaires, has made little or no progress in the favor of the public. On the othles Parisiens," recently published at the French caper hand, a pamphlet entitled "Richard Wagner et ital, is just now being eagerly read. It need hardly be added that its tendency is not favorable to the escape some smart attacks directed against his unGerman operatic reformer; nor does M. Pasdeloup patriotic impartiality in having produced works of that representative of modern Germany at his concerts. Setting aside the artistic merits or demerits of the question, it certainly seems somewhat paradoxical that, under the device of Popular Concerts," music should be forced upon the Parisian people which happens to be just now peculiarly unpopular with them.

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A manuscript Mass by M. Gounod was performed at the Church of St. Eustache on St. Cecilia's day, under the direction of the composer. According to the Revue de la Musique, this new work of the composer of "Faust" will sustain, though not increase,

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Andante and Finale from the Grand Duo, Op. 140, arranged for Orchestra by Joachim.....Schubert Songs, with Pianoforte :

a.

Mozart

.Beethoven

"The Violet," (Goethe)... d. "Ungeduld" ("Impatience.")......Schubert Signora Luisa Cappiani. Overture to "Egmont". We quite agree with what is said in praise of the little gem of a Symphony by Gade, if it be not by any means so great a work, or so decidedly original as the favorite No. 1, in C minor. All the four

movements of this one in B flat are short; the first movement particularly being cast in a small form.

It opens, for a few bars, with what might lead to

anything or nothing, but soon unfolds a clear and fascinating purpose; the second subject has a fresh romantic charm; and the instrumentation, which is always Gade's strong point, is most masterly; finer and richer tone coloring, happier blending and contrast of instruments, more pervading vitality of tone, whether of thrilling, penetrating power or softest delicacy, one hears from few composers. The Andante is altogether lovely; the Scherzo full of grace and subtlety, of life and sparkle; and the Finale has plenty of energy and "go" to it, although the subject matter (Inhalt) does not seem to be of any marked importance; yet there is in the middle of the movement a syncopated melody for the violins most dainty and alluring. It will hardly be denied, we think, that the whole Symphony sounded well, at least in spite of the often abused orches tra, if not (as we believe) through its sympathetic seconding of careful leadership.

Mendelssohn's strong and stately Overture to Athalia formed a good contrast, and was effective in the rendering. Tastes will always differ, we suppose, about the enjoyableness of even these two most individual and striking, and least lengthy and monotonous of the four movements of Schubert's op. 140, as arranged into a Symphony by Joachim. Yet all agree that both are full of most original and beautiful ideas, each coming up again and again in new and charming lights. Prolixity is the one fault of Schubert; but had he not a right to fall in love with his own rare imaginations, and be reluctant to dismiss them? If such as he could love them, why not we? Yet this Andante and this Finale are neither of them long pieces; each lasts ten minutes, the length of an ordinary Overture; and surely there is enough in the various themes and their most curious development in the Andante, especially that figure so analogous to one in the Larghetto of Beethoven's second Symphony,-enough in the exquisitely dainty, subtle chief theme of the Finale, and in the startling fortissimos which interrupt it ever and anon, especially those Titanic chromatic syncopations near the end,-to reward the best attention. The Egmont Overture, of course, is in its way, for conciseness, for concentrated fire and energy,

It is

for much told in little, incomparable, unless per- to say whether we liked the work itself. There haps we couple with it that to Coriolan. were admirers who recalled him eagerly, and would scored for a comparatively small orchestra; yet no recall him anywhere at any time; who never seem combination we have ever heard of all the Berlioz to have enough of him, as if his music were a new and Wagner instruments has yet reached the bril- and special dispensation, a revelation to them where liancy of its concluding passage. all the other oracles are sealed. He responded with a rambling improvisation-so it seemed, although it may have been prepared,-beginning with one of those short passages of part-playing, in the rich low tones, and the parts moving somewhat contrapuntally, which we always thought one of his happiest arts; then came fantastic figures, contrasts, cadences, etc., in his usual way, until you seemed to rec ognize familiar features, vaguely, developing into the melody: La ci darem, which he proceeded to travesty in most preposterous fashion; this may be "genius," it is not Art, not beanty.

Madame CAPPIANI is a singer somewhat past her prime; but her large voice, at once sweet and pow. erful, and of great compass, still retains its freshness to a remarkable degree, at least is never harsh. She is an artist, trained in the best school, in short a true Italian prima donna, and of much experience, though her repertoire (outside of Italian opera) may be rather limited compared with Rudersdorff and others. Yet she is evidently at home in Mozart. A few phrases of "Ecco il punto," proved her mis- The opening number was to us the most edifying tress of noble recitative; and the Aria was sung in thing in the concert. That genial, real music of a large, well sustained and even style, with intona- Mozart, which seems so simple and is so inimitable, tion almost faultless, admirable phrasing, and a feeling of Mrs. Sherwood seemed to us more Mozartwas delightfully rendered, though the touch and freedom from all false ornament or claptrap. The ish than her husband's, who is more of the new frequent leaps from the lowest to the highest voice, school. Of Liszt's "Mignon" we must say that it which that Aria demands, were made with perfect is almost the worst song of any pretention that we certainty and without portamento, and all the flor- its sentiment too sick to justify expression. Can ever heard ;-overstrained, unnatural, ugly, and in id passages beautifully finished. The dramatic dec- this be Goethe's Mignon? A creature so unchildlamation is impressive; yet she is not a particular-like, so sophisticated, so devoid of any native, true ly sympathetic or imaginative singer. Her style is that of Parepa-Rosa, of whom she reminds us in many ways. If a trifle cold and matter-of-fact, it was good, artistic, honest singing. Mr. WEBER played the florid clarinet obbligato beautifully, as he always does what falls to his part in the orchestra. Mme. Cappiani gave fitting individuality to "The Violet," and to the more impassioned little "Ungeduld" by Schubert, the piano accompaniment being carefully and nicely played by Mr. G. W. SUMNER. All her efforts were received with great applause ; and we only regret that the good impression was injured at the last by the over-strained expression of the indifferent song she sang in English for an

encore.

The second half (or afternoon) of the Symphony series begins on Thursday, Feb. 1, when the programme offers: Part I. Overture to "Medea," Bargiel; Scena from "Fidelio," sung by Miss NITA GAETANO; "Italian " Symphony, Mendelssohn.-Part II. Aria and Gigue from the orchestral Suite in D, by Bach; Songs with Piano; "Leonore " Overture, No. 3, Beethoven.

Mme. MADELINE SCHILLER is to be the pianist of the eighth Concert (March 1.) Other Symphonies selected are the "Surprise" by Haydn; the second, in C, by Raf, logne" Symphony, in E flat, by Schumann. never but once before given in Boston; and the "Co

MR. AND MRS. SHERWOOD'S PIANO RECITALS. The

"special attractions" of the third Recital, Monday,
Jan. 8, appear in the following programme :-
Sonata for two pianos, Op. 53, D major.......Mozart
Allegro con spirito, Andante, Allegro molto.
Mrs. and Mr, Sherwood.
Mignon".

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Miss Fanny Kellogg. Sonata for piano and violin, Op. 8, F major,

.Liszt

Edv. Grieg
Allegro con brio, Allegretto quasi Andanti-
no, Allegro molto vivace.
Mrs. Sherwood and Ole Bull.

a. Gigue, B-flat major....
d. "Song without Words," No. 27, E minor,

.Bach

Mendelssohn

c. Warum? (Why ?) from " Phantasie Stücke," Op. 12, No. 3..

Schumann

d. Etude, Op. 10, No. 4, C-sharp minor..... .Chopin Mr. Sherwood. "Echo".

Miss Fanry Kellogg,

Taubert

a. "In der Nacht," from "Phantasie Stücke," Op. 12, No. 5..

...Schumann

b. "Humoresken," Op. 6, Nos. 2, 3 and 4..Edv. Grieg Mrs. Sherwood. "L'heureux Retour," piano duet.Edgar H. Sherwood Mrs. and Mrs. Sherwood.

a. "Spinnerlied" from the "Flying Dutchman," Liszt-Wagner b. "Isolden's Liebes-Tod," from "Tristan and Isolde." (By request).... Liszt-Wagner

Mr. Sherwood.

The special attraction, we suppose, was OLE BULL, who seemed strangely not at home in a concerted piece of classical form, although at home of course in its Norse spirit. In his reading he seemed ill at ease, in intonation often faulty, and in accent wilful and extravagant; so that we would not undertake

heart melody? Miss FANNY KELLOGG has a fine which was better shown in Taubert's "Echo" song, voice, and seems to have great promise as a singer, of which she executes the birdlike passages with fluency and brightness; and she can render serious although there is a certain inequality and crudeness Cantabile with not a little beauty and true feeling; in her efforts, with certain mannerisms, which seem to be the result of frequent singing before not very cultivated audiences; how much the publics educate the singer, or performer in whatever art, and things of Miss Kellogg. commonly how falsely! But we may hope good

Mr. Sherwood played with his usual discrimination, certainty and vigor in the Bach Gigue; in the solemn march-like Lied of Mendelssohn; in Schu

mann's deep-felt, earnest questioning of fate, "Warum?" which we think, however, should be played in connection with what goes before to make its meaning clearer; and especially effective was his rendering of the brilliant Chopin Etude. The virtuosity displayed in his performance of the two Liszt-Wagner transcriptions, especially that from "Tristan and Isolde," was prodigions; a remarkable feat that on the part of the arranger also, though we cannot learn to love such music. Mrs. Sherwood played very beautifully the No. 5 of the Schumann Phantasie Stücke, and the graceful Hum oresques of Grieg. The piano duet: "L'heureux Retour" is a florid concert show-piece, clever in its way, such as might have been written for the Centennial piano competition at Philadelphia.

We must turn back to the second Recital only to wood's really artistic rendering of that poetic and record the good impression left on us by Mrs. Sherdifficult Beethoven Sonata, Op. 101, of which she only lacked the man's force and fire for the quick march in the second movement; the fugued finale came out very clearly. Also to say how delightfully the Chopin Rondo for two pianos sounded; what fervor Mr. Oscoop threw into the songs by Rubinstein: "Asra" and "Du bist wie eine Blume." That Liszt's arrangements, of his own "Taзso" for two pianos, and of "Isolden's Liebes-Tod" for two han is, (repeated in the last concert) were imposing, goes without saying,—as all the rest must go even without mention.

Vocal Clubs,

The first concert (sixth season) given by the APOLLO to its friends, Tuesday evening, Jan. 2, placed this well selected and well trained body of now nearly one hundred singers in a brighter light than ever as an instance of what perfection may be reached, alike of technique and expression, in the execution of part-songs and choruses for mere male voices. For the most part, this time, it was the manner of presentation, more than the matter, that claimed attention. With the exception of the first and last piece (the noble double chorus from Edipus by Mendelssohn, and Schumann's "Luck of Edenhall," founded on Uhland's ballad) part-songs made up the programme, which had the merit, too, of not exceeding reasonable length. These were: "The Tears," finely sung by a quartet of voices; The love-struck by Witt; Hatton's humorous conceit, "The Letter," very Herring, by Schaffer, in which we found neither wit nor beauty; "On the Rhine," by Kücken (chorus with duet, tastefully and delicately sung by Dr. BULLARD and dued and lovely piece of harmony with fitting prelude Dr. LANGMAID; "Evening," by Lachner.-a rich, sub

fitly played by Mr. LANG, with a solo artistically sung by Mr. H. M. AIKEN, and with sweetest, finest blending of the chorus voices; a "Serenade," by Storch, in the tenor solo of which that steadily ripening artist, Mr. WM. J. WINCH, surpassed himself; a ringing Rhine Wine Song." by Liszt, given with great spirit and effect; and "The Woodland Rose," by Fischer. In all these the choral execution was refined to well nigh utmost nicety. If anything could make whole programmes of mere male part-songs ever fresh, such execution, or interpretation would. But there are signs enough that one may weary even of perfection, and that a reaction has begun. The fresh laurels of "The Cecilia," the "mixed chorus" in

W. NEW BRIGHTON, STATEN ISLAND, N. Y., JAN. 13. The second concert of the Philharmonic Society of Staten Island came off on Friday, the 5th inst, and was, in some respects, better, and in others less truly artistic than the last.

The soloists were Miss Emma Thursby, Madame Teresa Carreno-Sauret, and Monsieur Emile Sauret. Mr. Carl Hamm had the first violin in the quartet of stringed instruments, Mr. Gautzberg, the 2nd, while Mr. Risch played the viola, and Mr. Werner, need to hear it more than once, and we lost the repeti-the violoncello. The performance opened with the

which the Boylston Club is about to find its complement,
etc.. etc., promises sweets more inexhaustible.
"The Luck of Edenhall" interested us greatly, but we
tion of the Concert. It is a Cantata ballad of considera-
ble length, with tenor and baritone solos, choruses, and
highly poetic and suggestive accompaniment and little
snatches of symphony which the accomplished Director
of the Club supplied on the pianoforte.

We must take another time to speak, in admiration and congratulation, of the very decided success of the reorganized CECILIA in its first concert,-the unexpected length of our New York letters leaving us no further space. But this will enable us to speak after a second hearing.

Schumann Quintet, op. 44, in E flat, and we have
never heard it better played.

The first movement, " Allegro brillante," was fresh and sparkling; the melody always falling newly upon the ear, as each instrument took its share. Mme. Sauret appreciated the value of saving her powers, and gave her fellow workers a share of the triumph by accompanying them instead of NEW YORK, JAN. 15.-At the second Concert of the being entirely the soloist of the piece. The stately

In and About New York.

Philharmonic Society, Dec. 9, the programme was: Part chords of the
1. Symphony, No. 2, in C, Op. 61, Schumann; Concerto,
No. 2. in G minor, piano and orchestra, Saint-Saëns, (Mr.
B. J. Lang). Part 2. Grand Scena, from the "Götter-

dämmerung; "the fourth part of the Ring des Nibel-
ungen," by R. Wagner. a. Siegfried's Narrative. b.
Siegfried's Death and Death Song. c. Marcia Funebre.

Overture," Leonora," No. 3, Beethoven.

Although the performance of the Philharmonic orchestra under the direction of Dr. Danirosch bas been praised, by some of our critics, rather more than the merits of the performance seem to warrant, it cannot be denied that there has been much improvement under the new conductor, There is more clearness and precision of attack in the violins, and less of eccentricity on the part of the wind instruments than last season; and the performance of Schumann's great work, if not specially inspired, was not marred by any glaring inaccuracy.

Mr. Lang's performance of the Saint-Saëns Concerto was not even moderately successful. He has not the mechanical force necessary to the rendering of this showy "piece de resistance," and beside this he had the disadvantage of playing after Mme. Essipoff, whose performance of the same concerto at Steinway Hall, on the evening previous was a marvel of perfection.

The programme of Theo. Thomas's second Symphony
Concert, Dec. 2, was as follows:

Overture, Scherzo and Finale. Op. 52.....Schumann
Vorspiel: "Götterdämmerung".
Symphony, No. 4, in B flat.......

Wagner .Beethoven Mme. Essipoff, after returning from Boston, gave one evening concert and one matinée. At the concert, Dec. 22, she played:

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Impromptu. Valse, and Etude.....

.Schumann
Rubinstein
.....Liszt
Mendelssohn
Henselt
.Leschetitzky

.Beethoven
.........Bach
....Haendel

.....Liszt
.Chopin

During the series of concerts which Mme Essipoff has given in this city, she has played from memory no fewer than ninety compositions, many of which are intricate and difficult works for piano and orchestra; and of these she seems to know the score as well as her own part. Her memory is not the least of her remarkable gifts and it is said that her only preparation for a concert is in playing once through the pieces on the bill,

On Christmas evening the oratorio of the Messiah was performed at Steinway Hall by the Oratorio Society of New York under the direction of Dr. Damrosch.

At the first concert of the Brooklyn Philharmonic, Dec. 16, the following programme was presented: Symphony, No. 7....

.......

Beethoven Dirge from "Götterdämmerung .Wagner "Invitation a la Valse" Weber-Berlioz Fantasia in C, (adaptation by Liszt).......... .......Schubert Polonaise in E.. ......Liszt

Mme. Madeline Schiller was the pianist. The programme also included songs of Schumann and some part-songs by the Swedish Quartet.

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'Marcia" in the second movement

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gave one a rest after the excitement of the Allegro;
the "Scherzo" and Molto Vivace" were as dain-
tily and clearly cut, as thongh they had been chis-
elled. But the real artistic power of the musicians
was shown in the last movement; those long reach-
es of scales, with octave chords in unexpected
places, were no easy matter to accomplish well, and
the instruments joined in with a precision and
smoothness, delightful to listen to.

she brought out the air grandly in the left hand, there were very evident signs of fatigue towards the end; she scrambled, and moved about a great deal, and there was neither the distinctness nor the artistic taste shown in the Schumann Quintet. The audience applauded immensely and brought her out again, when she played the Berceuse of Chopin. The technical difficulties were as nothing to her; the runs were beautifully finished; but it was hard. The cradle movement of five-notes in the left hand was jerky and there was no "heart" or "singing" throughout that delicious cadence towards the end.

Miss Thursby sang an Air and Variations by Proch, which showed off her voice to great advantage. As a rule, variations are apt to be uneven and tedious; but Miss Thursby sustained the air perfectly and executed the variations in the most artistic manner. Her voice is not naturally very powerful, but it is so sweet and sympathetic as to leave nothing to be desired. For encores, she sang a Scotch ballad, which brought the tears into our eyes and showed great pathos and tenderness; and a Bird song (Taubert's, we believe). She sang this very carefully, and executed it well as far as technical difficulties went; but it was hard, and a trifle Lind rendering of the famous Bird song was wantlabored. The almost ventriloquistic effect of the ing, in the bird's trilling and distance.

Mr. Sauret played a Caprice de Concert, composed by himself, to his wife's accompaniment, on "American Airs," which proved to be "Old folks at home;" and which did not amount to very much, except as "padding." And the concert ended with a Sicilienne of Boccherini, which left a bad taste in our mouths, and which we could have wished unheard. Altogether, however, the concert was a success, and we have no doubt that each of the three yet to come will be more and more successful, as they are thoroughly enjoyable and instructive.

After the Quintet, Miss Thursby sang the "Batti, Batti" from Don Giovanri. We were informed by the programme that it was for the Soprano with violoncello obligato, and we looked forward with a The last rehearsal for the third concert of the thrill of real pleasure, knowing full well what a master of the instrument Mr. Werner is, and with place to-morrow evening January 13, was given this New York Philharmonic Society, which will take what taste and quick response he would perform afternoon at the Academy. The programme is an his part. Instead of the violoncello alone, there attractive one: Haydn's "Tempest," orchestra with was also a four-handed accompaniment on the pi-chorus of the Oratorio Society of New York, given for the first time in America. The "Ruins of ano, and these two gentlemen did their best to drown Athens" of Beethoven with the five movements: Miss Thursby's voice throughout. Had she been "Overture," "Duet for Soprano and Baritone," perless of an artist than she is, she would have suc- formed by Mrs. Emily Butman and Mr. Stoddard, "Chorus of Dervishes," which had so marvellous a cumbed to that ponderous rendering, and the whole swing to the rhythm that everybody kept time to thing would have been ruined. She, however, rose it unconsciously; "Marcia alla Turca" and "Marto the occasion, and managed her delicious, though cia Solenne." not powerful voice, in such a way as to be heard in spite of every drawback. She has a beautiful method, has been well taught, and is exquisitely finished in style and roundness of tone.

The Nardini Sonata for violin, which followed, was played by Mr. Sauret. He is a young violinist of great promise and executed well, but there was a want of that tone and feeling, in his rendering, which only comes with experience. We have since heard that he played this piece against his wishes, which might perhaps account for its coldHe was enthusiastically applauded, however, and as an encore, played a solo on the Chi mi frena" of Lucia. There was a great deal of variation, the execution of which was even and clear, while the air was sustained in a really masterly way. This ended the first part of the concert.

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After an intermission of eight or ten minutes Mozart's Quartet for stringed instruments in C, No. 18, was performed. The "Allegro moderato" went off

Mrs. Butman then sang a Romance by Berlioz, the "Quintuor, Septuor and Chorus " from Berlioz's with the orchestra, (called Absence). Then followed opera of the "Trojans.' Miss Emma Cranch, who sang the contralto parts, has a beautiful voice, flexible, strong and well trained; her method is good delighted with it, and trust that she will be successand her style severely classical; we were much ful, and that we shall hear her often.

Mr. Bernard Bockelman performed the Beethoven fantaisie, op. 80, for pianoforte, soli, chorus and orchestra. But the event of the concert was the "Ländliche Hochzeit " (Country Wedding) of Goldmark, which was intended to be given at the first concert but which did not arrive in time. It is a Symphony in five movements, light and delicious, sparkling and bright, and very Schumannesque in style. The first movement is the " Wedding March," which for the first two bars reminds one of the March in Zampa, and then changes. The air is begun by the violoncellos, then taken up consecpiccolo flutes, and first and second violins. The Inutively by the bass viols, trumpets, flutes and oboes, termezzo is a most delicious Bridal song. The third movement, a Scherzo, is the Serenade; then follows an Andante called, "In the Garden," which in time is a flavor of the Garden scene in Faust. In the last movement "The Dance," there is in the middle a most artistic introduction for a few bars of the de

zart; which was followed by Gade's Novellettes for string capitally; it was delicate and fresh, the phrasing has the effect of Schumann's "Warum," and there

The third Symphony concert, by Theo. Thomas, Jan. 6, opened with the charming G minor Symphony of Moorchestra, Op. 53, (new). This is divided as follows: 1. Andantino, Allegro vivace, Grazioso; 2. Scherzo, (Moderato); 3. Andantino con moto; 4. Allegro vivace. The impression produced by this work is favorable, and the effect of the masterly instrumentation of Gade was

was good and the instruments kept well together. In the "Allegretto" movement, however, the 2nd violin turned a shade rough, uneven, and just a triincreased by the brilliant playing of the orchestra. Bar-fle false; they retarded the tempo and instead of giel's overture to "Medea," Op. 22, ended the first part following up the fresh, breezy daintiness of the first of the programme. Part second was entirely taken up by Schumann's Symphony in E flat, Op. 97, which took movement, the piece dragged a little from this the hearers into quite another world of music. those whose ears are opened what a lifting up of the spirit was there! How easily were they borne upon that swelling tide of harmony, far from the stormy night to summer and the seven mountains of the Rhine.

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point, through the Menuetto and Allegro move-
ment.

Madame Sauret then played the Fantaisie on
Faust by Liszt. Her style is generally clear, though
florid, and sharply cut, and she has a marvellous
amount of strength. In their performance, although

licious Garden melody and again you hear the peasants dancing and the church bells ringing.

The orchestra of the Philharmonic has improved greatly under the new leader, Dr. Damrosch, who is a very particular director, but who inspires his orchestra with something of his own musical fire and taste. During the latter part of poor Bergmann's life, the tone of the Philharmonic ran down, and it was the fashion to condemn the society and to praise the Thomas orchestra. The latter is undoubtedly in excellent training and plays admira

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