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ters, much of the original play, or even for adding / ingly towards the man who has succeeded in inspiring | doubt the conviction of the Abbé Liszt, for in his

passed it. It is bot just to call attention to the note only partially successful. The composer has done ance for those tones in the case of this great singer as upon this symphony contained in Saturday's pro- his best with the opportunities furnished him by his

we do, in the case of others, for the frequent instances

of singing nut of tune, of the tremolo, and of the bollow gramme, and signel“G”-not only as a masterly literary fellow-laborer, though he must, at times, and withere'l sonnds of fading voices, from all which analysis, but historically no less than analytically have found his task very uphill work. He has, blemishes Miss Hank is free. We flatter ourselves with interesting. We can remember on no previous oc nevertheless, written a score which contains soine possessing some acquaintance with Shakspeare's writ

ings, and we must say that. of ail the perforniers, Miss casion a more evenly balanced and generally adni. excellent music, interesting, characteristic. And Hauk approached mogi yearly the poctic original." rable performance of overture, concerto, and sym. original. The greatest danger with which the op. phony. Mome. Arabella Goddard, whó, not for era had to contend was the first act, which is spun

The Tagblatt remarks, among other things:ihe first time by many, took the pianoforte part in

out by the librettist to a fearful length, and must “The part of the heroine had fallen to the lot of Miss the concerto, was “ recalled,” and applauded with

have imposed a terrible strain upon the composer. Minnie Hauk, who proved herself as eminent an actress genuine enthusiasm; and Mr. Manns was similarly

It is monotonous and wearisome, despite two very as singer. The bold, self-assertive character of the tercomplimented after the scherzo and finale of the sym. good specimens of the composer's style, the chorus, magant Kate appears created expressly for her; and, as phony-which last, by the way, offered satisfactory

"Nichts als Schelten alle Tage" ("Nothing ev'ry regards the young lady more especially as a singer, we proofs of the steady advance towards excellence re. day but scolding,") and the concerted piece : “ Bei gladly overlooked on this occasion the little defects of cently observable in the performances of the Crys.

Nacht die Ruhe so zu stören, Man kann sein eignes her vocal method, as well as the laurel wreath, which tal Palace choir. It is also but just to add that the

Wort nicht hören (“ All night one's rest is rudely was stupidly lung her at the very beginning of the per. very difficult solo voice parts in the finale have not broken, One cannot hear a word that's spokon.") formance. That, however, she should sncceed in makoften been intrusted to artista more careful and in. The pruning knife is here sadly needed, and should ing so much out of a part musically so ungrateful stamps telligent than Mdmes. Blanche Cole and Antoinette be liberally employed. Luckily, the overture had her, beyond a question, as a great artist. The part is Sterling, Messrs. Edward Lloyd and H. A. Pope. put the audience in a good humor. The second act musically ungrateful, because, speaking generally, sull

den and violent anger cannot be expressed musically, To give them all the effect contemplated is barely cannot boast of such pieces as those just named in

and, in my own personal opinion, the composer cominitpossible, for in his later works, especially in this the first act, but then it is much shorter and, taken ted a terrible error when he selected a vixen for the Symphony and the great Missa Solennis in D (No. all in all, more pleasing. The third act is superior principal personage of an opera. The part, moreover, 2), Beethoven, in consequenre, probably, of the in to both the preceding acts, and sparkles with musi.

Presents colossal difficulties; such ticklish airs as those

of Katharina in the fourth act cannot probably be found firmity which was the bane of nearly half his life, cal beauties of no mean order. In the fourth act, a a second time in the entire range of operatic literature, took little heed of the ordinary capabilities of the comic quartet between Katharina, Petruchio. Gru. yet Miss Hauk overcame them most brilliantly. For this

let me here give her an especial bravo: Honor where human organ for the emission of musical sounds. mio, and the Tailor is especially worthy of rention,

honor is due !" 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 “ Adu laide,” which im. (luet. The great fault of Herr Götz is that he has Dr. Gumprecht informs the readers of the Nationmortalized the poet Matthison, who, but for the music treated his subject too much in the style of grand al Zeilung that:cian Beethoven, might long since have been forgot-opera. He wants lightness. He is too fond of em. “ The part of Katharina is a gem in the repertory of fen. This queen of love songs was published at ploying all the resources of the orchestra, which

Miss Hauk, who brought out the qnarrelsome defiance of Vienna-four years before the Prometheus music, frequently quite overpowers the voices of the sing the self-willed maiden with the sam, conviction-bearing the first orchestral symphony (C major), and the ers. Then, too, he is, perhaps, a little too musician.

skill she exhibited in the submission and fervent affecoratorio, Christus am Oelberge (The Mount of Olly to please the great masses-though that, I may tion of the loving wife. With the most praiseworthy ires); so that it took us thus further back into the he told, is a fault in the right direction. With all care she had thought the part out, even to its smallest

characteristic details." youth of a composer for whose maturity so much its short comingx, however, Der Widerspenstigen remained in store. Though there is something of Zähmung is a welcome addition to the list of German Der Widerspenstigen Zähmung is the first dramatthe impassioned expression of Mozart in this canta coinic operas.

ic effort of its composer, and it will be his last, for ta (for “ cantata” it is originally styled), it is in No pains bad been spared in placing the work

he is no more, He died in Switzerland, a week be. other respects as unlike Mozart, and as purely upon the stage. Great credit is due to the conduc fore his work was produced at the Royal OperaBeethoven as conceivable. Mr. Edward Lloyd was tor, Herr Radecke, for the way in which the or. house. Hermann Götz was born at Königsberg. the fortunate artist to whom “ Adelaide" was en. chestra fulfilled its duty. The chorus, also, had While still a youth, he carne to Berlin for the purtrusted on so important an occasion—the more for evidently been well trained, and did con amore what pose of pursuing his musical studies at Stern's Contunate in being able to sing it with such true ex. they had to do. Herr Beck was an excellent Petru- servatory. He subseqnently accepted the post of pression, and to be appreciated as he was by his chio, vocally and dramatically. Malle. Grossi, as organist at Winterthur, in the Canton of Zurich. bearers. By the way, the pianoforte accompani. Bianchi; Herr Ernst, as Lucentio; Herr Fricke, as The disease to which he succumbed was consumpment was well played, the accompanist in the

case Baptista ; Herr Salomon, aş Hortensio; Herr Ober tion, but he worked on to "the bitter end,” And, ac. of “ Adelaide,” an agent entitled to some considera hauser, as Grumio; and Herr Sachse, as the Tailor, cording to a notice inserted in the libretto, the last tion-being Mr. R. Beringer, whose name should were all frequently and deservedly applauded. song for Katharina was composed for Minnie Hank have been mentioned in the bills. The songs con But the largest share of praise is certainly due to only a very short time before his death 1-Corr. fided to Mad. Antoinette Sterling were “Wonne der Miss Minnie Hauk, who, as the wayward, self-willed, Lond. Mus. World. Wehmuth," one of three Lieder to Goethe's text, and subsequently obedient Katharina, presented a composed in 1810, and "Nene Liebe, neues Leben" picture worthy to rank with the best comic Shaks. (also to Goethe's words, “Herz, mein Herz,") be- pearian creations on the stage. The audience were

“Le Charivari" on Liszt. longing to a set of six published in the same year. charmed, and justly eo. Had the character, words

Tall as the poplar swayed by the breeze, long and Mad. Blanche Cole also gave

the solos in the cavati- and music, been expressly written for her, it could diaphonous (?): a broad and high forehead, eyes lusna (with chorus)—“ Praise of Music." A better or

not have suited her better, and to her rendering of trous in their dusky suckets, a straight and strong a more comprehensive selection from Beethoven's it is assuredly due a goodly portion of the excep.

nose, arched eye brows, almost always contracted, works could not easily have been made, so as to

tional triumph achieved by the opera. Der Wider-masculine features, a large and imperious mouth, a fit in with the inevitably narrow compass of a sin- spenstigen Ziihmung has already been performed in swarthy complexion, and those wrinkles that denote gle programme. Vienna, Leipsic, Mannheim, and other towns, with.

a powerful organization, in a word, an ascetic face, The Crystal Palace Concerts are to be resumed out any where making such a “tall” hit as here.

framed with long gray hair coming down to his on the 3rd of February, when, in commemoration But then Minnie Hauk was was not the Katharina.

collar. Thus appeared to us the humble and ausof Mendelssohn's birthday (1809), the programme is

The papers speak very highly of this young lady.

tere Albé Liszt, ex-infant prodigy, ex-illustrious to be exclusively devoted to his compositions

I will give you a few specimens. Here is one from pianist, ex-Wagnerian expositor, now a religious among the rest being the violin concerto, to be the Kreuz-Zeitung :

composer, travelling to distribute indulgences and to played by Herr Joseph Joachim, and a slow movement from one of the unpublished symphonies.

“The new opera, as performed here, has, in the per- perform his masses. son of Miss Minnie Hauk, a Katharina who, both by the

His secular costume does not detract from the Why not the entire symphony, with the date of its production attached ?-imes.

fascination of his person. His profile one would natural freshness and power of her grand voice, and by her unerring sway over all the requirements for fine judge to be that of a Mephistopheles, who, touched singing, is equal to her high task. if the tone-form of by the death of Marguerite, was meditating a slow

conversion. When you see his full face, his expresBerlin.-New Comic Opera-Miss the opera is to bear any resemblance to its original in

sion changes and becomes energetic and manly. Shakspeare's comedy, it can do so only by the help of a Minnie Hauk.

His gesticulation is ample and commanding, and his fair singer possessing such a thoroughly sound, strong,

smile is sympathetic and beguiling. While treatHerr Götz'r foar-act comic opera, Der Widerspen- and, at the same time, flexible voice as that possessed Royal Operahonse, and achieved what in the opin- and impetuous nature of the Shrew who is to be tamed? stigen Zähmuna, has at length been produced at the by Miss Minnie Hauk. How would it be possible to ring ing grand

personages with all his moral and phyei.

cal hanteur, Liszt's conversation is at first a little out with the dull tones of a weakly organ the unsubdued

einbarrassed, but it is soon succeeded hy flashes of ion of competent judges will prove a lasting success.

wit and charming phrases, although he preserves Miss Hauk's voice is of the metal in which we can cast a very large portion of which, by the way, it will

his dry and cold tones. One might compare bis owe to the admirable manner in which the part of Shakspeare's Katharina, whom Petru :hio addrerrez as

conversation to champagne frappé. the heroine was sustained by that great favorite, his golden Kate,' previously to freeing her by a terrible

Although rich and generous, he lives frugally and Miss Minnie Hauk. ordeal from the dross of her bad habits. It was not on

feigns an aged and impoverished air. Do not be. The libretto is, as its author, Herr Joseph Victor ly as a refined vocal virtuosa, but also as a skilful ac.

lieve in it; it is merely the affectation of humility, Widmann, announces in the bills, a free version tress, who points her delineation with intellectual acu

and his cassock can scarcely contain the bounding of Shakespeare's Taming of the Shreu. Everyone men, that this talented lady satisfied the high expecta.

of his still youthful soul. His nature is essentially knows that, as a rule, the original form of tragedies, tions people had formed of her. The combat which

grave, but at present he coquets with honors, and dramas, and comedies, has to be greatly modified, Katharina had to fight for the deliverance of her beiter before such productions are suitable for operatic by her with well-polished and artistic weapons. The in. nature with herself and her humorous despot was fought / feigns to be a missionaire incognito. You should see

him issue from the Pasdeloup concerts with lowered purposes. Nobody, therefore, can blame Herr Wid. born combativeness of the pretty virago, and then the eyes and modestly enter a princely equipage that a mann for omitting several of the original charac. way in which the feelings of her maiden heart rise lov

great name has placed at his disposal. I do not her something of his own; but everyone must regret tist with especial force and dramatic effect in the nicely youth he gave many proofs of mystical aspiration; that he has not displayed more tact in carrying

out graduated coloring of her tone-picture. In the presence but this diable d'homme will never abdicate the vir. the process. His aim was, of course, to produce of such great excellence, a critic would become a petty

tuoso, and his conviction and gentleness becoming carper were he again to censure certain isolated unpleasgood and effective libretto. In this he has been ing tones. We must, we think, make as much allow

new titles to the public curiosity, he replaces his

sword of honor by a rosary, and beats a drum before differently from anybody else's A. The charm of Gade's ceeding aria, "Non più di fiori" from Mozart's “Titus," his bénitier,

orchestral coloring is indeed great; we find little of that was masterly. Her declamation in the recitative was At each step the man of the world reappears and Eastern gorgeousness in it that the scores of Wagner, broad and grand, and she was no less happy in her interstruggles with the priest; in vain he wishes to fly Raff, Berlioz and some other great masters of the or

pretation of the changing moods of the exquisitely elo

quent aria. Her intonation is almost faultless. The aria from the crowd; it attracts and intoxicates him. chestra are full of; Gade's instrumentation is more abounds in trying leaps of the voice from the lower to Benevolent and amiable, liking every sort of music, classic in spirit; but how gracefully each instrument in the upper register, and Signora Cappianl showed the Liszt can be persuaded to play en petit comité-ihat bis orchestra lends itself to the figure it has to play! perfect command she has over the difficulties of ber art

by the truth with which she struck these intervals withis, if among the auditors there are no heretics. how admirably each delicious orchestral effect blend

out the use of portamento. She also sang Mozart's "Vi. Formerly he entered a salon with a rush, threw ed in the great harmonious whole, finding itself easily olet" with rare delicacy of feeling and purity of sentidown his hat anywhere, removed the candles froin and naturally there, claiming no special attention to it

ment, and Schuhert's Ungeduld" with a dramatic ef

fect that was somewhat startling after the quietly sentithe piano, and before commencing to play broke a self, but modestly adding its own charm to that of the

mental manner that has hitherto been its conventional dozen strings in a fantastic prelude. Now he rec entire work. I think we shall all be glad to hear this rendering here. As an encore to this last, Signora Capollects himnsell, draws off his black gloves, and after

little gem of a symphony again. Mendelssohn's stately piani gave an expressive little ballad by Tosti. This, a mental benedicite begins the explanatory text, for,

however, was not so pleasing in its rendering, owing to Overture to Racine's Athalie made a striking contrast to the exaggerated sentiment with which it was delivered. perhaps, you do not know ibat Liszt writes

the symphony. I think Mendelssohn has never made This artist is really an acquisition to our list of concertromances that are spoken and played at the same the Hebrew spirit, that many of his works are full of,

singers, the major part of whom may learn a needed

lesson from her in all that relates to breadth of style, time.

more superbly prominent than in this overture. In anpropriate dramatic expression, clearness and strength! He is a very early riser, and has at his house only

some of his other works it is, to me at least, disagreeable, We should like to hear her in oratorio. to wbich her á bad square piano that he never touches. After showing some of the less attractive sides of the Jewish

method seems especially adapted. Her succens was prohaving read his breviary, he breakfasts frugally character, but here it is grand and imposing sombre,

nounced. apon half a dozen oysters, or, if it is a jour gras, tragic, fierce if you will, but not absolutely blood-thirs.

ty. Some one has snid that he could never listen to some upon a small piece of hain, and then pays visits

passages in Mendelssohn , music without thinking of during the remainder of the day. His two worldly heaps of slanghtered Ammorites and Hittites. But in

The Opera National Lyrique. predilections are for café noir and for small and listening to the overture to Alhalie it is the triumphant

Jews we think of. very bail Roman cigars, but cheap if not gratuitous. Finale), from Joachim's score of Schubertis piano forte his fiftieth year can achieve a great snccess in grand

The two movements (Andanie and It is not often that a composer who has passed He is assailed by mammas who wish him to give duet, opns 140, that were played reminded me of a saying piano lessons to their interesting progeny. They of Von Bülow's. Somebody was saying to the great pi.

opera in Paris, especially if his career has been conhave gone so far as to offer him a whole dollar á anist that he thought a man must be extremely German

the

fined to the “ Opéra Comique genre,” which to enjoy all of schubert's music. “Hm!" answered Von lesson. Upon days when he has no engagements, Bülow, if by extremely German you mean impervioas the lyric dramı; but M. Victor Massé has certainly

specialty of the French musicians who write for Liszt dines tete-a-iete with his son-in-law, M. Ollivier, to ennui, you are not far wrong. Schubert, w th all his

been fortunate enough to have satisfied the audi. and at dessert they converge of temporal affairs. As splendid genins, had undeniably a tendency to prose, a

certain garrulousness in writing that often led him to he intends to remain some time in Paris, Liszt is

ence of celebrities collected at the Opéra National prolong his composition beyond all warrantable bounds. rehearsing Mazeppa, Jeanne d'Arc, the Danté Sym. He had a fatal facility, and did not always know where

Lyrique, on the night of Wednesday, November the

15th, that if his Paul et Virginie' had been prophony, and eleven oratorios, the shortest of which to stop; perhaps no composer of his time was so diffuse as he. In the two movements in question great beauties

duced by M. Halanzier at the Grand Opera-house, is much longer than the opera of the Hugrienots. He

strike the ear at every turn. I can imagine nothing or by M. Escudier at the Théâtre Italien (Salle Venhas sent for his ex-Barnnm, who had a linb frozen more witchingly graceful than the theme of the Finalë. in their Russian campaign, Signor Belloni, the fa But. ye Gods! what a length! Why must a fine theme

t djur), the work would have met with a triumph. mons Antonelli of this papal pianist.

be worked, and worked until it is positively threadbare? as pronounced as that which has attended the rent

I think Joachim wonld have succeeded in making a ure of M. Vizentini, who, like M. Carl Rosa, at the Liszt speaks all languages and copies his works finer score of the work, if he had not forced himself to himself. His manuscripts are without erasure or cling so closely to Schubert's habitual manner of instru

Lyceum, combines the post of Condnctor with that mentation. His work is indeed a clever imitation of corrections, and his writing is at once fine, free,

of Impresario. A word or two abont the antecedSchubert's style in treating the orchestra, but when running and fantastic. Seeking the most unforeseen

ents of M. Massé, who was a pupil of the Conservajudged on its own merits can in no wise be called a reorchestral.combinations, his scores are prodigious, markable score. It is very dificult, and many of the

toire, and who won the first grand prize for compo instruments often have to cope with ungrateful phrases.

sition at the Institate. He passed his two years of and it requires a step-ladder to go from the contra

Of variety of orchestral coloring (which it seems to me hasso to the piccolo. His system is the negation of

free study in Rome, and then made a tour in Italy was most needed in so prolix a work) there is rery little. true melody; he piles chords upon chords, pretend. The score is eminently respectable, but nothing more.

and Germany. He set some poems by M. Victor ing thus to establish the direct rapport of the music Beethoven's Egmont overture. coming at the end of even

Hugo; but his first snccess was in 1852, at the 80 fine a programme as it did, had the effect, not unuwith the philosophic thought. In short, his thun

Opéra Comique, in · La Chanteuse Voilée,' and this snal in Beethoven's works, of being able to put all the dering execution and his principles of exaggerated

was followed by his 'Noce de Jeannette,' which has rest in its pocket and walk off with it. The very first grandeur inspire such dramatic accents bat, hear. grand chords in F minor seemed to blow all that we had

travelled far. He had the advantage of Madame ing his Maes, one would imagine that they were just been hearing out of time. Madame Luisa Cappiani

Miolan Carvalho to sing the pow popular airs of was the singer of the afternoon, and made a marked imgoing to conquer Cochin China, rather than to re

that opetetta. His next essay was the two-act oppression. Her voice is powerful, of an agreeable qualicite litanies. ty and great compass. She sings with maëatria, with

era, Galathée.' His · Fiancée du Diable,' in three One last word: Liszt's face is adorned with some mastery both over her voice and over the music she is acts. “La Favorita e la Schiava;' Miss Panvelte,'

singing that gives her listeners a comfortable sense of moles, politely called grains of genius. Forinerly security. We feel that we are listening to an artist in

'Quatre Saisons,' made no special mark; but at the he had four, now their number is more than donb. whom we can trust. Her strong and authoritative style

Lyrique, in 1856, his ‘Reine Topaze' came ont, in Jed; it is said that it is his faith coming out. - Mus. gives us that sense of repose that a baby h18 when dan.

which he again had the aid of Madame Carvalbo, dled in the strong arins of its father. I may not approve

which had a long run. Trade Review.

The Chaise a Porteurs,' a certain tendency to exaggeration in her singing, but • La Fée Carabosse' followed, but with no great socshe sang so much like an artist to the manner born, so sure of attaining the effects she aimed at that my enjoy

At the Rue Lepelletier Grand Opera-house The Fifth Harvard Concert.

ment of the music was but little impaired by it. There his two-act •Mule de Pedro' was produced; but it

are few artists in the world who can sing so that we can was remarked that it onght to have been beard at (From the Courier.)

imigine nothing more; it is a great thing if they do not
make us feel the want of something more for the mo.

the Salle Favart. In 1860. he succeeded M. Dietsch The Fifth Symphony Concert of the Harvard Musical ment. Yet, finely as it was rung, I think that none of the unfortunate composer of the 'Flying Dutch. Association was given at the Music Hall on Thurs ay

us would be sorry to see Mozart's Non più di fori laid on
the shelf indefinitely. Mozart was great, and there is

man,' based on Herr Wagner's libretto, which was afternoon. The first number on the programme was much of greatness in this song of his, but why need it

accepted, but not his music) at the Grand Opera. Gade's B-flat Symphony No. 4. It is some years since take the place of better and fresher things. There are honse as accompanist and chef de chant. M. Massé this delightful work has been heard in Boston. It has

things of Mozart's that are as blooming now as ever, but was for years living in hopes that his score of Paul

this one begins at last to show its wrivkles. been crowded out of our concert programmes, unjustly,

et Virginie' would be accepted either at the Italian

WILLIAM F. APTHORP. as I think, by its more brilliant companions in C-minor

Opera-house or at some French theatre. He, at one and E. To be sure the great C-minor, with its grand

time, interested Madame Adelina Patti so much in alternations of tenderness and brilliancy in the first

(From the Evening Gazette.)

the music that she was strongly disposed to be the movement, its lovely, dreamy Andante, its glorious The fifth concert of the Harvard Musical Association

Virginie; but he could not get a director bold scherzo with the bewitching, fairy-like Trio, and the took place at Music Hall on Thursday afternoon. The

enough to bring nat the opera. He thought of the grand mar:ial theme, sung by the wind instruments in programme included Gade's charming and graceful ginie, and the Paul he contemplated, M. Capoul, had

Opera Comiqne; but he could find no adequate Vir. its Finale, while the accompanying strings seem to have Symphony No. 4, in B-flat, Mendelssohn's “ Athalie" been suddenly changed to one great harp whose swept

gone on the Italian opera stage. After no end of overture, the Andante and Finale from Schnbert's cbordo add their strong accent to the heroic melody,

difficulties and disappointments, M. Vicentini came Grand Duo, op. 140, arranged for orchestra by Joachim, the great C-minor, coming to us with all the prestige of

to the rescue, and resolved to stake the succese of and Beethoven's overture to “ Egmont." The orchestra

his undertaking on the opera of M. Massé. M. Mendelssohn's admiring letter to the composer, in which has not been heard to so good advantage this season as he thanks him in the name of Germany for so admira in this concert. The symphony was almost faultlessly French operatic stage, was, of course, propostd for

Capoul, having been persuaded to return to the ble a composition, has perbaps greater claims upon the given in point of style and expression, the strings acsympathies of an appreciative audience than the more

Paul. He has the advantage of looking the characquitting theinselves to special acceptability. The Schumodest work we have just heard. But we must not for

ter, besides being an adinirable actor, with a symbert music, though generally pleasing, is span out to pathetic voice, and with a style improved by sing. get that the B-flat Symphony, although of smaller di. such a length that the delight it would otherwise affording in Italian opera. After a long search, a Virgin. mensions, and not asining at such grand, heroic efforts is neutralized by the weariness it excites in the listener. as its great predecessor, is yet the more perfect work of

ie of seventeen suinmers was found, a girl who bad It was performed with excellent cle irness and preci. the two. I know of no work of Gade's that is so perfect

never song on the stage, but who was of a musical sion. The two overtures were also given with admira- family, and had been carefully trained by ber brothin form and style as thiSymphony. The exacting Ge. ble effect. We think the concert as a whole may be er, M. Theodore Ritter, the pianist. It was a dar. wandhaus audience in Leipzig have become accustomed pronounced the most satisfactory and most encourag. to look upon an encore of its fascinating Scherzo as al

ing attempt for the young débutante, but she has ing the society has given in some time. The suloist on been enccessful; and it must be gratifying to the most as much a matter of course as an encore of the the occasion was Signora Luisa Cappiani, an artist of Allegretto Scherzando in Beethoven's eighth symphony.

composer who, in turn, bad tried for Madame Patri, unusual ability, with a rich, full voice, somewhat worn, Madame Nilsson, Mölle. Albani, and Malle. Chapoy, Throughout the work Gade shows his inimitable mag. but still sweet, full, and deeply expressive. Her style to find at last Malle, Cecile Ritter. Her very tim. tery over the orchestra. I think it w.ls Moscheles who ja large and musicianly, and her method evinces high idity, her gancherie, indeed, added apparently to once said that he believed that, if Gade were to write cultivation in the best school of her art. singing of the sympathy she at once excited, when Virginie only a single A for a clarinet, it would somehow sound the beautiful recitative, * Ecco il punto," and the suc

first enters with Panl, arm-in-arm, nnder the cover

cess.

of an umbrella formed of palm-leaves. Her voice, least an equal number of instrumentalists, unless music-drama. There can be no question that such naturally, is not yet matured; but her method is great judgment were shown in the distribution of revivals of standard works by older masters are good, and the quality of the organ is most sympath. the parts, the voices would certainly be overpow. of the highest importance at the present day, when etic. Malle. Engally, Méala the Negress ; Mesdames ered. The melodramatic music, both in this and in the fundamental principles upon which Opera should Šallard and Leoni as the two mothers (Madame de subsequent numbers, is excellent. Here, perhaps, be constructed are being discussed on all sides. At la Tour and Marguerile); M. Bouhy, Dominique ; even more than in the chornses, it was difficult for the same establishment Schumann's opera “Geno. and M. Melchissedec, Sainte Croix (the persecuting Mr. Gadsby to avoid the Mendelssohn influence. veva" is in course of preparation. and malignant planter), were adequate representa- We think, nevertheless, that he has completely suc tives of their respective parts. On the plot it is ceeded in doing so.

Rubinstein's “ Die Maccabäer," which opera has

His accompaniments to the MM. Carre and Barbier, have adhered closely to ful, and yet quite different in style from those in ult, at the Russian capital. needless to dwell. The two practised librettists, spoken dialogue' are always appropriate and taste been repeatedly performed at Berlin and Munich,

was to have been given for the first time on the 13th the idyll of Bedardin de Saint-Pierre, the champion Antigone.”' No. 6, the chorus in F major, "Imof universal peace; the poets have not altered the mortal bliss be thine,” is musically one of the most Madame Schumann has lately made her appear. story as did Favières for the opera of Rodolphe important numbers of the whole work, and is ance at a concert at Barmen, before an enthusiastic Kreutzer, produced in 1791, and as did Dubreuil for throughout full of interest. Here we find another | audience. Special homage was rendered to the Lesueur's setting in 1794. The tears which have innovation of Mr. Gadsby's—this time, we think, great artist on the occasion, the pianoforte on been sbed by the readers of Saint-Pierre's touching not an improvement. Instead of setting, as Men which she played being adorned with flowers and tale were not less apparent at the first representa delssohn mustly does, the first and second strophe evergreens. tion—the shipwreck profoundly affected the audito- and antistrophe to the same (or very nearly the ry. The score of M. Victor Masse is finely con; same) music, Mr. Gadsby gives them entirely differ: wandhaus continue their standard performances of

At Leipsic the Subscription Concerts of the Geceived throughout, melodious themes abound, and ent subjects. This is, we cannot but think, a mis- classical music, while at the same time duly regard. the orchestration is masterly. If at times the take, because the two portions of the text so exactly ing the claims to obtain a hearing on the part of the treatment of Meyerbeer and M. Gonnod is recalled, correspond to one another that there is at least a M. Masse has established his own individuality in strong probability that they were intended to be

works of contemporary composers.. Among the the majority of the numbers, which have the merit sung to the same music. By adopting a different Symphony (No. 3) by Jadassohn, and a vocal and

novelties lately introduced may be mentioned a of increasing in interest up to the finale. To enter into details would require an analysis of each act ; unity of the piece suffers. The following chorus, Märchen von der schönen Melusine." Madame course, Mr. Gadsby obtains greater variety, but the

instrumental work by H. Hofman, entitled “ Dås but as a gem of inspiration, the dream of Paul, “Yes, liberal house" (in A major), is one of the Schumann, M. L. Brassin, Herr Wieniawsky, and where he sees Virginie in Paris in a rich saloon, best specimens of its composer's style- thoroughly Hert Joachim have successively made their appearplaying the harp, surrounded by admirers, and she tuneful, and excellently written. Here Mr. Gadsby, exclaims “Paul!” to which he responds - Virgin has for the second strophe repeated the theme of ance: the

latter was to have performed a ms. Conie!" may be mentioned. He awakes

, to hear that the first, greatly, in ons opinion, to the advantage' certo by Herr Reinecke at the eleventh concert on the ship is off the port, but that there is a dreadful of the inusic.

the 21st ult.

No. 8 is a movement consisting storm. The melody which pervaded the opera is chiefly of melodrama, interspersed with short cho. Opera, in one form or another, has been in de. heard again,-the Chant d'Amour,"—it is the song ral passages, mostly in unison. The following cho. cided demand at Paris during the past month, and of the swan, and the curtain descents on the bro

rus (in D major), "My venturous foot delights,” the various institutions dedicated to that species of ken-hearted Paul leaning over the body of Virginie. which sings of Fate, is another very good number, dramatic performance have been nightly filled to There was a question at one time of changing the though, like No. 8, it suffers from the want of cor. overflowing. “Robert le Diable," " Aida," “Fille catastrophe, but the adapters have adhered rightly respondence in the music of the strophes and anti. du Reginient.” “ Oberon," have all proved alike atto the ending of Bernardio de Saint-Pierre.-Athe- strophes. The closing portion, in which the tractive to the music-loving public. At the same naum.

praises of the departed wise are sung, is of special time the new opera by Victor Masse, “Paul et Vir. merit

. A short and effective finale concludes the ginie,” is maintaining the popularity it so quickly Gadsby's “ Alcestis." work.

attained since its first performance at the Théâtre

We have dwelt in such detail upon the music of Lyrique in November last. There has been a revi. Following up their recent productions of "Antig: “ Alcestis” that a few words must suffice concern. val, too, at the Théâtre Lyrique of a very interesting one” and “Edipus at Colonos," the directors of ing the performance. This was on the whole excel. little work by Herold, an early production of his the Crystal Palace brought forward on the 12th ult. lent, especially as regards the music. The chorus-genius: the operetta is entitled " Les Troqueurs," Euripides' “ Alcestis," with misic specially com es were capitally rendered by the same choir (under and its pertormance was evidently much appreciatposed for the occasion by Mr. Henry Gadsby. Mr. the direction of the composer's father, Mr. W. Gadsed by the audience. Gadsby is no strånger at the Crystal Palace, sever. by) which did such good service at the revivals of

The doors of the Conservatoire having reopened al of his compositions having been given with soc. Antigone” and “Edipus;" while the orchestra, cess on various occasions at the Saturday concerts

. under Mr. Manns, was simply perfect. The cast of at the beginning of last month, to admit the public The present is, however, so far as we know, the the play, which was satisfactory throughout, was

to its arínual performances of high-class music, the most important work that he bas at present written, as follows: Alcestis, Miss Emily Cross ; Tolo,' Miss concert season of 1876.77 may be said to have defi. comprising in all ten numbers, several of them of Emily Vining; Admetus, Mr. Arthur Matthison ; nitely commenced at Paris. The President of the considerable extent. In the general outline, he has Hercules, Mr. W. Rignold, Pheres, Mr. Edmund Republic was present at the first concert, which was almost of necessity followed the path laid down by Leathes; Apollo, Mr. J. H.' Barnes; Thanalos, Mr. inaugurated with the “Eroica" of Beethoven. At Mendelssohn, who was, we believe, the first to set Herry Moxon ; Medon, Mr. Bruton Robins; and the same time, the performances, chiefly of classical to music any of the old Greek tragedies, It must Chorus Speaker, Mr. W. Holman. Mr. Rignold's do excellent work in the interests of true art. It is be said, in Mr. Gadsby's praise, that he is po mere Hercu'es must be particularly mentioned as an adolavish imitator. Indeed, throughout the whole of mirable and effective piece of acting.---London Yuri Gluck, Mozart, Beethoven, and even Weber, invari

a curious fact, however, that whereas the works of his music we find nothing which can be called a cal Times.

ably meet with the fullest appreciation of the audi. reminiscence of either“ Antigone,” or “Edipus."

ence at these concerts, the modern German school In some respects his treatment differs from that of his great predecessor; he has entirely discarded

Foreign Notes.

seems, at present, to have but a poor chance of suc

We have lately heard of the noisy demon. the effect of solu vuices, and though he has thereby sacrificed sore opportunities for musical contrast, it

It is intended, on the part of enthusiastic admir strations of dissent which the performance of Wag. is probable that he has on the other band con.

ers of Herr Wagner, to make the Bayreuth Theatre nerian music produced at the same institution. The formed more nearly to the plan of the ancients.

the property of the nation. Herr Hahn, the ener works of Joachim Raff, too, seenu to be equally pow. There is no reason to suppose that any part of the getic advocate of the party of progress” in musical erless in nttracting the attention of French ama.

matters, and editor of the journal Tonkurst, has just teurs, in spite of the determined perseverance of the Greek choruses was sung either by a solo voice or opened a subscription for the purpose of raising the conductor. M. Pasdeloup, whose very, name-the by a quartet,

Wolfgang "_is, “ Alcestis” commences with a regularly-developed necessary funds, and with a view also of defraying French equivalent of the German" Overture, instead of the short instrumental prelude the expense of annual standard performances of mu in consequence, being suspected of German origini which Mendelssohn adopted in a similar situation. sical stage works at that building. It is now posi. Thus, according to Le Ménéstrel, Raff's charming The introduction consists of the chief theme of one

tively settled that a repetition of the performances Symphony “In the Forest,” which has been repeatof the most important choruses (the “Fate” chorus), of “ Der Ring des Nibelungen ” will take place dur. edly performed at the Popidaires

, has made little or which occurs later in the work; this is followed by ing the present year.

no progress in the favor of the public. On the oth

Richard Wagner et a più moto in A minor and major, well written, but

er hand, a pamphlet entitled

Herr Wagner has been much fêted at Rome, les Parisiens,” recently published at the French capless striking than some of the succeeding numbers. whither he had gone in search of rest after his late ital, is just now being eagerly read. It need hardly The first chorus, “Before this royal mansion all is fatigue. Among other honors of which he was the be added that its tendency is not favorable to the still;" is chiefly' a dialogue between the first and recipient, the Royal Academia di Sa. Cecilia has German operatic reformer; nor does M. Pasdeloup second choir, in which the recitative style predom- nominated him Socio Illustre, being the highest dig. escape some smart attacks directed against his un idates. It leads immediately into No. , “ În vain, nity conferred by that institution. our pious vows are vain," a fine and very effective While che principlee which at present predomi- patriotic impartiality in having produced works of chorus in C major, equally praiseworthy from a mnsical and dramatic point of view. No. 4, one of the lishments would seem to exclude altogether that of the question, it certainly seems somewhat paranate in the manegeinent of our own operatic estab that representative of modern Germany at his con

certs. Setting aside the artistic merits or demerits longest pieces in the work, is partly chorus and educational element which the performance of the doxical that, under the device of " Popular Conpartly melodrama. A point that strikes us, with masterpieces of a bygone period cannot fail to sup: certs," music should be forced upon the Parisian regard to Mr. Gadsby's setting of the choral por: ply, our German neighbors, whose art institutions people which happens to be just now peculiarly un. tions of the niusic, is the large predominance of are for the greater part subsidized by the Govern. unison paasages. We think the composer is right ment, are certainly more fortunate in this respect,

popular with them. in his treatment, because with a small choir the Thus, at the Royal Opera at Berlin two works of

A manuscript Mass by M. Gounod was performed melody certainly comes out much more clearly Gluck. “ Armida" and " Iphigenia in Tauris,” have at the Church of St. Eustache on St. Cecilia's day, against the orchestra than if the music were writ. recently been performed within a week, and, ac under the direction of the composer. According to ten in full harmony; and as the work was designed cording to the Altgemeine Deutsche Musik-Zeitung, the Revue de la Musique, this new work of the com. to be sung by a chorus of only torty, against at | in a manner worthy of the father of the modero | poser of “Faust” will sustain, though not increase,

6.

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Dwight's Journal of Music. lianey of its concluding passage.

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Finale.

Nozart

his reputation. It is said that M. Gounod has agreed for much told in little, incomparable, unless per. to say whether we liked the work itself. There to write an Opera for the forthcoming International

haps we couple with it that to Coriolan. It is were admirers who recalled him eagerly, and would Exhibition at Paris, the libretto of which will be from the pen of M. Sardou.- London Musical Times,

scored for a comparatively small orchestra ; yet no recall him anywhere at any time; who never seem Jan. 1.

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
Madame CAPPIANI is a singer somewhat past her a rambling improvisation—90 it seemed, although

prime; but her large voice, at once sweet and pow. it may have been prepared,—beginning with one of BOSTON, JAN. 20, 1877.

erful, and of great compass, still retains its fresh. those short passages of part-playing, in the rich low

ness to a remarkable degree, at least is never harsh. tones, and the parts moving somewhat contrapun.
Fifth Harvard Concert.
She is an artist, trained in the best school, in short tally, which we always thought one of his happiest

arts ; then came fantastic figures, contrasts, cadenThe Symphony Concert (Jan. 4), though the in.

a true Italian prima donna, and of much experience, ces, etc., in his usual way, until you seemed to rec clement weather kept some people away, was re

though her repertoire (outside of Italian opera)may ognize familiar features, vaguely, developing into ceived with more than usual favor. We have cop

be rather limited compared with Rudersdorff and the melody: La ci darem, which he proceeded to ied elsewhere from two weekly papers to show how others. Yet she is evidently at home in Mozart. travesty in most preposterous fashion; this may be

“ genius,” it is not Art, not beanty. critics are coming to appreciate the efforts of our

A few phrases of “Ecco il punto," proved her mis. The opening number was to as the most edifying local orchestra, and with how much interest they tress of noble recitative; and the Aria was song in thing in the concert. That genial, real music of can write of the works selected for performance, a large, well sustained and even style, with intona. Mozart, which seems so simple and is so inimitable,

was delightfully rendered, though the touch and notwithstanding that these are not new; for tion almost faultless, admirable phrasing, and a

feeling of Mrs. Sherwood Recmed to us more Mozart example:

freedom from all false ornament or claptrap. The ish than her husband's, who is more of the new Symphony, No. 4, in B Aat...

.Gade

frequent leaps from the lowest to the highest voice, school. Of Liszt's “ Mignon" we must say that it Allegro vivace-Andante con moto-Scherzo which that Aria demands, were made with perfect is almost the worst song of any pretention that we Recit. “Ecco il punto 1”. certainty and without portamento, and all the flor its sentiment too sick to justify expression. Can

ever heard ;-overstrained, unnatural, ogly, and in From “ La Clemenza di

id passages beautifully finished. The dramatic dec- this be Goethe's Mignon ? A creature so unchildAria: “Non più di fiori." Tito,"

....... Mozart Signora Luisa Cappiani.

lamation is impressive; yet she is not a particular. like, so sophisticated, so devoid of any native, true Overture to “ Athalia".

.Mendelssohn
ly sympathetic or imaginative singer. Her style is voice, and seems to have great promise as a singer,

heart inelody ? Miss Fanny KELLOGG has a fine Andante and Finale from the Grand Duo, Op. 140, that of Parepa-Rosa, of whom she reminds us in which was better shown in Taubert's " Echo" arranged for Orchestra by Joachim.....Schubert

song, Songs, with Pianoforte :

many ways. If a trifle cold and matter-of-fact, it of which she executes the birdlike passages with “The Violet," (Goethe)... o. “ Ungeduld " ("Impatience,")......Schubert

was good, artistic, honest singing. Mr. WEBER Auency and brightness; and she can render serious Signora Luisa Cappiani. Overture to“ Egmont"

Beethoven

played the florid clarinet obbligato beautifully, as he Cantabile with not a little beauty and true feeling;
always does what falls to his part in the orchestra. in her efforts, with certain mannerisms, which seem to

although there is a certain inequality and cradeness We quite agree with what is said in praise of the

Mme. Cappiani gave fitting individuality to “The be the result of frequent singing before not very little gem of a Symphony by Gade, if it be not by Violet," and to the more impassioned littie "Unge- cultivated audiences; how much the publics edaany means so great å work, or so decidedly original duld” by Schubert, the piano accompaniment being commonly how falsely ! But we may hope good As the favorite No. 1, in C minor. All the four carefully and nicely played by Mr. G. W. SUMNER. things of Miss Kellogg. movements of this one in B flat are short; the first

All her efforts were received with great applause ; movement particularly being cast in a small form.

Mr. Sherwood played with his usual discriminaand we only regret that the good impression was tion, certainty and vigor in the Bach Gigue; in the It opens, for a few bars, with what might lead to injured at the last by the over-strained expression solemn march-like Lied of Mendelssohn; in Schoanything or nothing, but soon unfolds a clear and of the indifferent song she sang in English for an

mann's deep.felt, earnest questioning of fate, "War. fascinating purpose; the second subject has a fresh

um ?” which we think, however, should be played

in connection with what goes before to make its romantic charm; and the instrumentation, which is

The second half (or afternoon) of the Symphony series meaning clearer; and especially effective was his always Gade's strong point, is most masterly; finer begins on Thursday, Feb. 1, when the programme offers: rendering of the brilliant Chopin Etude. The rir. and richer tone coloring, happier blending and con Part I. Overture to “Medea," Bargiei; Scena from tnosity displayed in his performance of the two trast of instruments, more pervading vitality of “ Fidelio," sung by Miss NITA GAETANO; "Italian" Liszt-Wagner transcriptions, especially that from tone, whether of thrilling, penetrating power or Symphony, Mendelssohn.-Part II. Aria und Gigue froin

Tristan and Isolde," was prodigions; a remarka. the orchestral Suite in D, by Bach; Songs with Piano; ble feat that on the part of the arranger also, though softest delicacy, one hears from few composers. The “Leonore ” Overture, No. 3, Beethoven.

we cannot learn to love such music. Mrs. Sher. Andante is altogether lovely; the Scherzo full of

Mme. MADELINE SCHILLER is to be the pianist of the

wood played very beautifully the No. 5 of the grace and subtlety, of life and sparkle; and the eighth Concert (March 1.) Other Symphonies selected Schumann Phantasie Stücke, and the graceful Hum Finale has plenty of energy and "go" to it, although are the “Surprise" by Haydn; the second, in C, by Raf, oresques of Grieg: The piano duet: “ L'henreux

never but once before given in Boston; and the Co Retour” is a florid concert show.piece, clever in its the subject matter (Inhalt) does not serm to be of logne" Symphony, in E flat, by Schumann.

way, such as might have been written for the Cenany marked importance; yet there is in the middle

tennial piano competition at Philadelphia. of the movement a syncopated melody for the vio MR. AND MRS. SHERWOOD's Plano RECITALS. The We must torn back to the second Recital only to lins most dainty and alluring. It will hardly be “special attractions” of the third Recital, Monday, wood's really artistic rendering of that poetic and

record the good impression left on us by Mrs. Sber. denied, we think, that the whole Symphony sound. Jan. 8, appear in the following programme : difficult Beethoven Sonata, Op. 101, of which she ed well, at least in spite of the often abused orches

Sonata for two pianos, Op. 53, D major....... Mozart only lacked the man's force and fire for the quick tra, if not (as we believe) through its sympathetic

Allegro con spirito, Andante, Allegro molto. march in the second movement; the fugged finale

Mrs. and Mr, Sherwood. seconding of careful leadership.

"Mignon".

.Liszt

came out very clearly. Also to say how delightMiss Fanny Kellogg.

fully the Chopin Rondo for two pianos sounded; Mendelssohn's strong and stately Overture to Sonata for piano and violin, Op. 8, F major,

whát fervor Mr. Osgood threw into the songs by Athalia formed a good contrast, and was effective in

Edv. Grieg Rubinstein : “Asra" and "Du bist wie eine Blume." the rendering. Tastes will always differ, we sup Allegro con brio, Allegretto quasi Andanti

no, Allegro molto vivace.

That Liszt's arrangements, of his own “ Tasso " for pose, about the enjoyableness of even these two

Mrs. Sherwood and Ole Bull.

two pianos, and of “ Isolden's Liebes-Tod” for two most individual and strikir.g, and least lengthy and a. Gigue, B-flat major.....

Bach han is, (repeated in the last concert) were imposing, monotonous of the four movements of Schubert's op. d. “Bong without Words," No. 27, E minor,

Mendelssohn
goes without saying,-

, -as all the rest must go even 140, as arranged into a Symphony by Joachim.

c. Warum? (Why ?) from “ Phantasie Stücke,"

without mention. Yet all agree that both are full of most original and

Op. 12, No.:..

.Schumann beautiful ideas, each coming up again and again in d. Etude, Op. 10, No. 4, C-sharp minor ........Chopin

Mr. Sherwood. new and charming lights. Prolixity is the one fault

Vocal Clubs “ Echo"

Taubert of Schubert; but had he not a right to fall in love

Miss Fancy Kellogg:

The first concert (sixth season) given by the APOLLO with his own rare imaginations, and be reluctant to a. “In der Nacht," from “ Phantasie Stücke,"

to its friends, Tuesday evening, Jan. 2, placed this well dismiss them? If such as he could love them, why

Op. 12, No.8..

Schumann

selected and well trained body of now nearly one hur0. “Humoresken," Op. 6, Nos. 2, 3 and 4.. Edv. Grieg

dred singers in a brighter light than ever as an instance not we? Yet this Andante and this Finale are neith.

Mrs. Sherwood,

of what perfection may be reached, alike of technique er of them long pieces; each lasts ten minutes, the “L'heureux Retour," piano duet.Edgar A. Sherwood

and expression, in the execution of part-songs and cho length of an ordinary Overture; and surely there

Mrs. and Mrs. Sherwood.

ruses for mere male voices. For the most part, this a. “Spinnerlied” from the "Flying Dutchman,"

time, it was the manner of presentation, more than the is enough in the various themes and their most cu

Liszt-Wagner

matter, that claimed attention. With the exception of rious development in the Andante, especially that 8. “Isolden's Liebes-Tod," from "Tristan and

the first and last piece (the noble double chords from figure so analogous to one in the Larghetto of Beet Isolde." (By request)... ..Liszt-Wagner

adipus by Mendelssohn, and Schumann's “ Luck of EdMr. Sherwood,

enhall," founded on Uhland's ballad) part-songs made hoven's second Symphony - enough in the exqui.

up the programme, which had the merit, too, of not exsitely dainty, subtle chief theme of the Finale, and

The special attraction, we suppose, was Ole Bull, ceeding reasonable length. These were : The Tears," in the startling fortissimos which interrupt it ever who seemed strangely not at home in a concerted inely sung by a quartet of voices The love-struck and anon, especially those Titanic chromatic syn. piece of classical form, although at home of course Herring, by Schiffer, in which we found neither wit copations near the end, -to reward the best atten. in its Norse spirit. In his reading he seemed ill at por beauty; "On the Rhine," by Kücken (chorus with tion. The Egmont Overture, of course, is in its way, ease, in intonation often faulty, and in accent wilful

duet, tastefully and delicately sung by Dr. BULLARD and for conciseness, for concentrated fire and energy, and extravagant; so that we would not undertake | dued and lovely piece of harmony with itting prelude

encore.

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his part.

fitly plaved by Mr. LANG, with a solo artistically sung by

W. New Brighton, STATEN ISLAND, N. Y., Jax. she brought out the air grandly in the left hand, Mr. H. M. AIKEN, and with sweetest, Anest blending of the chorus voices; a “ Serenade," by Storch, in the tenor 13.—The second concert of the Philharmonic Soci- there were very evident signs of fatigue towards solo of which that steadily ripening artist, Mr. WM. J. Winch, surpassed himself; a ringing Rhine Wine ety of Staten Island came off on Friday, the 5th the end ; she scrambled, and moved about a great Song." by Liszt, given with great spirit and effect; and inst, and was, in some respects, bet and in oth deal, and there was neither the distinctness nor the " The Woodland Rose," by Fischer. In all these the choral execution was refined to well nigh atmost nicety. ers less truly artistic than the last.

artistic taste shown in the Schumann Quintet. The If anything could make whole programmes of mere male part-songs ever fresh, such execution, or interpretation

The soloists were Miss Emma Thursby, Madame audience a ppla uded immensely and brought her out would. But there are signs enough that one may weary Teresa Carreno-Sanret, and Monsieur Emile Sauret. again, when she played the Bercnuse of Chopin. even of perfection, and that a reaction has begun. The fresh laurels of “ The Cecilia,” the “mixed chorus" in Mr. Carl Hamm had the first violin in the quartet The technical difficulties were as nothing to her ; which the Boylston Club is about to find its complement, of stringed instruments, Mr. Gautzberg, the 2nd, the runs were beautifully finished; but it was hard. etc.,

etc., promises sweets more inexhaustible. “The Luck of Edenhall” interested us greatly, but we need to hear it more than once, and we lost the repeti- the violoncello. The performance opened with the

while Mr. Risch played the viola, and Mr. Werner, The cradle movement of five-notes in the left hand tion of the Concert. It is a Cantata ballad ot considera.

was jerky and there was no

“ heart" or singing" ble length, with tenor and baritone solos, choruses, and

Schumann Quintet, op. 44, in E fat, and we have throughout that delicious cadence towards the end. highly poetic and suggestive accompaniment and little snatches of symphony which the accomplished Director never heard it better played.

Miss Thursby sang an Air and Variations by of the Club supplied on the pianoforte. We must take another time to speak, in admiration The first movement, Allegro brillante,” was Proch, which showed off her voice to

reat advan. and congratulation, of the very decided success of the reorganized CECILIA in its first concert,—the unexpected

fresh and sparkling: the melody always falling tage. As a röle, variations are apt to be uneven length of our New York letters leaving ng no further newly upon the ear, as each instrument took its perfectly and executed the variations in the most

and tedious ; but Miss Thursby sustained the air space. But this will enable us to speak after a second hearing.

sbare. Mme. Sauret appreciated the value of sav. artistic manner. Her voice is not naturally very

ing her powers, and gave her fellow workers a share powerful, but it is so sweet and sympathetic as to In and About New York, of the triumph by accompanying them instead of leave nothing to be desired. For encores, she sang a

Scotch ballad, which brought the tears into our NEW YORK, JAN. 15.-At the second Concert of the being entirely the soloist of the piece. The stately eyes and showed great pathos and tenderness; and Philharmonic Society, Dec. 9, the programme was: Part chords of the “ Marcia" in the second movement a Bird song (Taubert's, we believe). She sang this 1. Symphony, No. 2, in C, Op. 61, Schumann; Concerto,

gave one a rest after the excitement of the Allegro; very carefully, and executed it well as far as techNo. 2, in G minor, piano and orchestra, Saint-Saëns, (Mr. B. J. Lang). Part 2. Grand Scena, from the “Götter the “Scherzo" and “Molto Vivace " were as dain nical difficulties went; but it was hard, and a trifle dämmerung; " the fourth part of the “Ring des Nibel

labored. The almost ventriloquistic effect of the ungen," by R. Wagner. a. Siegfried's Narrative. 6. tily and clearly cut, as thongh they had been chis. Lind rendering of the famous Bird song was wantSiegfried's Death and Death Song. c. Marcia Funebre. elled. But the real artistic power of the musicians ing, in the bird's trilling and distance. Overture, “ Leonora,” No. 3, Beethoven.

was shown in the last movement; those long reach Mr. Sauret played a Caprice de Concert, composed Although the performance of the Philharmonic orchestra under the direction of Dr. Danırosch bas been praised. es of scales, with octave chords in unexpected by hinıself, to his wife's accompaniment, on “Amer. by some of our critics, rather more than the merits of the performance seem to warrant, it cannot be denied places, were no easy matter to accomplish well, and ican Airs,” which proved to be "Old folks at home :

and which did not amount to very much, except as that there has been much improvement under the new the instruments joined in with a precision and

padding." And the concert ended with a Siciltack in the violins, and less of eccentricity on the part smoothness, delightful to listen to.

ienne of Boccherini, which left a bad taste in our of the wind instruments than last season; and the performance of Schumann's great work, if not specially in.

After the Quintet, Miss Thursby sang the "Pattı, mouths, and which we could have wished unheard. spired, was not marred by any glaring inaccuracy. Batti” from Don Giovanni. We were informed by Altogether, however, the concert was a success, and Mr. Lang's performance of the Saint-Saëns Concerto

we have no doubt that each of the three yet to was not even moderately successful. He has not the the programme that it was for the Soprano with

come will be more and more successful, as they are mechanical force necessary to the rendering of this violoncello obligato, and we looked forward with a thoroughly enjoyable and instructive.

The last rehearsal for the third concert of the disadvantage of playing after Mme. Essipoff, whose per- thrill of real pleasure, knowing full well what a formance of the same concerto at Steinway Hall, on the 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 evening previous was a marvel of perfection.

The programme of Theo. Thomas's second Symphony what taste and quick response he would perform afternoon at the Academy. The programme is an Concert, Dec. 2, was as follows:

Instead of the violoncello alone, there attractive one: Haydn's “ Tempest," orchestra with Overture, Scherzo and Finale, Op. 52. ....Schumann Vorspiel: “Götterdämmerung

Wagner was also a four-handed accompaniment on the pi- chorus of the Oratorio Society of New York, given Symphony, No. 4, in B flat.

.....Beethoven
ano, and these two gentlemen did their best to drown Athens" of Beethoven with the five movements :

for the first time in America. The “Ruins of Mme. Essipoff, after returning from Boston, gave one evening concert and one matinée. At the concert, Dec. Miss Thurs by's voice throughout. Had she been • Overture,”

,” • Duet for Soprano and Baritone,” per22, she played:

less of an artist than she is, she would have suc. formed by Mrs. Emily Butman and Mr. Stoddard, Kreisleriana..... Schumann onmbed to that ponderous rendering, and the whole swing to the rhythm that everybody kept time to

“ Chorus of Dervishes,” which had so marvellous a Nocturne. G major.....

...... Rubinstein Andante et Scherzo............

thing would have been ruined. She, however, rose Mendelssohn

it unconsciously; “Marcia alla Turca” and “Mar. "Si oiseau j'etais,"

Henselt

to the occasion, and managed her delicious, though cia Solenne." Grande Valse Chromatique..... Leschetitzky

not powerful voice, in such a way as to be heard in Mrs. Butman then sang a Romance by Berlioz, And at the matinée, Dec 23:

spite of every drawback. She has a beautiful meth. with the orchestra, (called Abrence). Then followed Sonata, Op. 2, C major..... Beethoven

the “Quintuor, Septuor and Chorus ” from Berlioz's Barabande and Passepied..

........Bach
od, has been well taught, and is exquisitely finished

opera

of the “Trojans. Miss Emma Cranch, who "Harmonious Blacksmith,"

....Haendel Le Rossignol, in style and roundness of tone.

sang the contralto parts, has a beautiful voice, flex“Au bord d'une source,"

.. Liszt

The Nardini Sonata for violin, which followed, ible, strong and well trained; her method is good Chant polonaise. Impromptu, Valse, and Etude..

and her style severely classical; we were much .... Chopin was played by Mr. Sauret. He is a young violin- delighted with it, and trust that she will be successDuring the series of concerts which Mme Essipoff has ist of great promise and executed well, but there sul, and that we shall hear her often. given in this city, she has played from memory no fewer ihan ninety compositions, many of which are intricate was a want of that tone and feeling, in his render. Mr. Bernard Bockelman performed the Beethoand difficult works for piano and orchestra; and of these

ven fantaisie, op. 80, for pianoforte, soli, chorus and she seems to know the score as well as her own part. ing, which only comes with experience. We have Her memory is not the least of her remarkable gifts and since beard that he played this piece against his orchestra, But the event of the concert was the it is said that her only preparation for a concert is in

• Ländliche Hochzeit” (Country Wedding) of Gold. playing once through the pieces on the bill.

wishes, which might perhaps account for its cold-mark, which was intended to be given at the first On Christmas evening the oratorio of the Messiah was

ness. He was enthusiastically applauded, however, concert but which did not arrive in time. performed at Steinway Hall by the Oratorio Society of New York under the direction of Dr. Damrouch.

and as an encore, played a solo on the Chi mi Symphony in five movernents, light and delicious, at the the follow these progethe Reowaly presentearmonic, frena” of Lucia. There was a great deal of varia sparkling and bright, and very Schumannesque in Symphony, No. 7.......

tion, the execution of which was even and clear, March,” which for the first two bars reminds one of Dirge from “ Götterdämmerung

... Wagner

while the air was sustained in a really masterly the March in Zampa, and then changes. The air Fantasia in C, (adaptation by Liszt).. way. This ended the first part of the concert.

is begun by the violoncellos, then taken up consecPolonaise in E..

........... Liszt Mme. Madeline Schiller was the pianist. The pro

After an intermission of eight or ten minutes Mo- utively by the bass viols, trumpets, flutes and oboes,

piccolo flutes, and first and second violing. The Ingramme also included songs of Schumann and some

zart's Quartet for stringed instrunients in C, No. 18, iermezzo is a most delicious Bridal song. The third part-songs by the Swedish Quartet.

The third Symphony concert, by Theo. Thomas, Jan. was performed. The “ Allegro moderato" went off movement, a Scherzo, is the Serenade; then follows 6, opened with the charming G minor Symphony of Mozart, which was followed by Gade's Novelletter for string capitally; it was delicate and fresh, the phrasing an Andante called, “In the Garden,” which in time orchestra, Op. 53, (new). This is divided as follows: 1. was good and the instruments kept well together. is a flavor of the Garden scene in Faust. In the

has the effect of Schumann's “Warun,” and there Andantino, Allegro vivace, Grazioso; 2. Scherzo, (Moderato); 3. Andantino con moto; 4. Allegro vivare. In the “ Allegretto” movement, however, the 2nd last movement " The Dance," there is in the middle The impression produced by this work is favorable, and

violin turned a shade rough, uneven, and just a tri. a most artistic introduction for a few bars of the de. increased by the brilliant playing of the orchestra. Bar: Ale false ; they retarded the tempo and instead of licious Garden melody and again you hear the peasgiel's overture to " Medea," op 22, ended the first part following up the fresh, breezy daintiness of the first

ants dancing and the church bells ringing. by Schumann's Symphony in E fiat, Op. 97, which took movement, the piece dragged a little from this greatly under the new leader, Dr. Damrosch, who

The orchestra of the Philharmonic

has improved the hearers into quite another world of music. those whose ears are opened what a lifting up of the point, through the Menuetto and Allegro move is a very particular director, but who inspires his spirit was there! How easily were they borne upon that ment,

orchestra with something of his own musical fire swelling tide of harmony, far f:om the stormy night to

and taste. During the latter part of poor Berg. summer and the seven mountains of the Rhine.

Madame Sauret then played the Fantaisie on
A. A. C.

mann's life, the tone of the Philharmonic ran down, Fausl by Liszt. Her style is generally clear, though and it was the fashion to condemn the society and fui here in Boston a year ago tan no good come out of florid, and sharply cut, and she has a marvellous to praise the Thomas orchestra. The latter is un

It was more successNazareth 7-ED.

amount of strength. In their performance, although I doubtedly in excellent training and plays admira

Etude de Concert.

........Liszt

Ce,"}

It is a

Beethoven

" Invitation a la Valse"

Weber-Berlioz

Schubert

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