BOSTON, SATURDAY, FEB. 3, 1877.

offer potpourries and waltzes in the second as an apology for such rash attempts. The writer also praises Thomas, and says, it is fortunate for America that this conductor, in order to sustain his orchestra, is obliged to travel, else the little love for good music which does exist, would have died out. It is to be deplored, he continues, that Americans lack that solid basis for a musical education, which is necessary, in order to understand those compositions, which Thomas's orchestra performs, as well as to comprehend their object.

Among a thousand music teachers, nine hundred and ninety-nine, he asserts, use nothing but dance music with their pupils, or at farthest they use Goria, Ascher, etc. Clementi or Mozart is seldom heard, and, says the writer, with such culture there is talk of interest in, and comprehension of mu. sic! Bonawitz, however, makes a few noble exceptions. He mentions names of teachers in larger cities, who mean it well with art. These few, however, he claims, cannot stem the tide. Many years will yet have to pass, says B., until every large city will have its permanent orchestra.

he does err, on the side of patriotism, and if we dif-
fer with him as to what our status now is, we will
not be found to differ when it comes to expression
of hopes for our future progress, and well wishes
to our growth in all that will make a people good
and noble. And here we leave our Reporter.
Mr. Bonawitz says much that is true, and much
in which we cannot agree with him. He is right,
when he says, that Boston is our musical capital,
and that for many years men have lived there who
meant it honestly with art. He is also correct in
saying that men, teachers with correct taste and
earnest zeal, live in other cities. But when he as-
serts, that musical life ends with Boston, when he
charges that out of a thousand teachers, nine hun-
dred and ninety-nine use but dance music, that
those who aspire higher, will only rise to the use
of Goria's and Asher's music, that Mozart and Cle-
menti are not used, etc.,-then he is too severe on
his country. We do not attribute this to a lack of
patriotism, but rather to those high art views which
our friend Henry entertains, and with which he
measures everything, together with the fact, that
while he lived in this country he had but limited
means of gathering information, although we know
that he will deny this. We receive, year in year
out, programmes of concerts and recitals given in
conservatories, in seminaries, even in smaller towns,
which prove that Mr. Bonawitz underrates our
progress. Doubtless there is a terrible amount of
ignorance prevailing among teachers of music, but
we know, also, that there are teachers in smaller
towns, and we could name some of them, who have
for years made honest efforts to raise their pupils to
a higher grade of music. As editor, we have am-
ple opportunity of judging of the doings of teachers,
and while by far the majority use poor music, the
proportions are not as alarming as Mr. Bonawitz
gives them.

their education will allow them, shall have learned the truth. Music is designed for the masses, it belongs to the masees, it is one of the principal means outside of Christianity, to refine the masses, and we are glad that the gospel of music is preached by Thomas, in a manner that leaves nothing to wish for. Surely, it is better that the Gospel should be offered to the people in its most attractive and effective form, rather than in a defective manner, forcing the people to spell it out for themselves. We fear that not many would take that trouble.

We well remember what music and musical art was in this country, only 22 years ago, and rejoice to say, that the art has made gigantic steps in the advance, without wishing thereby to imply, that we are the most musical people in the world.

Purcell,

(From the London Musical Times, Jan. 1.) The following is the substance of a paper read before the Musical Association (London) on Monday the 4th ult. The musical illustrations performed were-Airs, "Sweet tyranness; » «When I am laid in earth;" Fugue, G minor; Motett, "Jehovah quam multi; " Song, "Nymphs and Shepherds;" Scene from "The Libertine:

A most pleasant and picturesque introduction to the Purcell family is to be found in Pepys' Diary, under date Feb. 21, 1659, where we find this entry: After dinner I back to Westminster Hall with him (Mr. Crewe) in his coach. Here I met with Mr. Lock and Pursell, Masters of Musique, and with them to the Coffee House, into a room next the water by ourselves, where we spent an hour or two. Here we had variety of brave Italian and Spanish songs, and a canon for eight voices, which Mr. Lock had lately made on these words, Domine Salvum fac Regem, an admirable thing. Here out of the window it was a most pleasant sight to see the City from one end to the other with a glory about it, so high was the light of the bonfires, and so thick round the City, and the bells rang everywhere."

So much of Bonawitz! In an article, entitled "Musical Materialism," written by Mr.John S.Dwight, and published in his Journal of June 26, 1875, he, also, touches upon the subject of our musical status. It will, no doubt, be of interest to our readers to hear what a writer like Mr. Dwight has to say. Once, he remarks, we loved fine music, now we seem to care more about the way in which it is presented. Once we were thankful to get at the soul and meaning of a noble composition, through whatever means of most inadequate performance, by slow degrees, striving to meet the intention half way, thus exercising our own brain, and spelling out as it were, the divine word from an obscure and faded copy with a perseverance pretty sure to be rewarded with an undying love of the ideal treasure, when If Mr. Dwight is correct, then we are, in a sense, we had once reached it. We of the past generation upon the downward course. In this we do not owe all our love of Beethoven to the repetition agree with him; we go further, and say, that as a year after year of-not indifferent, for they were people, we have not yet reached the zenith of our hearty-but of quite imperfect performances. Nor musical growth. We do not know the editor of the could the most technically perfect rendering of a Journal, but we regard highly what he has done for Symphony by an ideal orchestra, say that of Thom- the cause of music, and would not dare to differ with as, add one iota to the love and feeling for it in him, except with the assurance of respect, which is which these persons had grown up before. Nay, due to one, who has done as much for the refinemany of them loved those Symphonies too well,- ment and culture of his country as he has. not to be able to convict Thomas's renderings, in If we do read right, between the lines of his spite of all their wonderful precision, their search-cle, we believe much of that feeling displays itself, ing accent, their euphonious blending of pure tone which pioneers cherish against modern improve-tion of the learned Editor, the Rev. Mynors Bright. qualities, their light and shade, their exquisite elements; or in another comparison, we think we can gance of finish,-of frequent perversions of the spir-read those objections, which old christians often it, tempo and intention of their movements. A photograph, says Mr. Dwight, may be wonderfully fine as such, and yet produce the dear face as we never wish to see it. The writer evidently puts the whole in a nutshell when he says that in Music, as in all arts, the moment the manner, the execution, comes to be thought of more account than the matter, than the composition, the ideal contents of the workthe rendering than the programme-(and that we are guilty of this fault, Mr. D. plainly intimates.) that moment, he says, we are making progress in the decadence of art.

Here we have three opinions, each differing from the other. The first is, that we are pronounced to be in advance of Germany; the second that we are yet like babes, and lack that basis of education, which makes us a musical people; and the third, that we are degenerating. The first writer, of course, had the advantage of showing programmes, and the advantage of speaking to people who could judge only by these. Concert programmes are, however, only an evidence of what has been performed, and not of what has been comprehended or appreciated by the masses. Thomas's programmes are as near faultless as programmes can probably be made; and that New Yorkers, as well as the thousands who visited his concerts in other cities, went to hear his music, does not prove that they comprehend it. Yet it shows an unmistakable desire on the part of our people to be instructed, a determination to hear the best, so as to form correct and pure taste. To be anxious to learn, is the first step towards learning, though we do not wish to say, that where there is a desire to learn, there must necessarily be also success in learning. Of course, no one would doubt Bonawitz's sincerity, nor would we question the truthfulness and sincerity of the Tribune reporter, when we say that the virtue of patriotism, which we very much admire, often leads men to see their country as they wish it to be, just as he, whose heart lacks those noble impulses, fails to see the good of his fellow-citizens. We are glad to see the reporter of the able New York journal erring, if

which is reprinted in the new one now in course of Lord Braybrooke's edition of Pepys has a note publication, to the effect that the two gentlemen named in the text were "Matthew Lock and Henry arti-Purcell, both celebrated composers; " but this is an undoubted error, to which I have called the atten

make against the modern temple, with its fine pews
and windows. rich carpeting and pulpit, organ and
chandelier, simply because they themselves became
converted, and worshipped God honestly and sin-
cerely in the old log church, and because they fear
that the love for truth, for God and religion, will be
no longer as pure, as unselfish, and as humble as it

once was.

Such feelings and suspicions are not always unjust. Modern civilization, is not always calculated to strengthen men's characters, nor to refine their heart's emotions. Modern civilization is not favora ble to art progress, says Wagner. Of course no one would suspect that Mr. Dwight would return to the time, when Schmitt made his rash attempt at tak ing the first part of the fifth Symphony in Allegretto time, but we can understand how, some thirty or more years ago, the noble few, (and the enthusiastic lovers of music-Dwight among them.) diligently searched for the truth in music, how they found it and cherished it, and how, for many years they were the prime movers in all that was good in the direction of musical advancement. They were the priests, who had entered the inner temple, and, no doubt, they were sincere when they regarded themselves as the servants elect of Apollo, and as the keepers of the truth. [!!] We can also imagine the feelings of those priests, when they see in these latter days, how the masses rush into the Sanctuary, many of them acting and speaking, as if they had no regard for it, while still others fail to recognize the fact, that these men have for years guarded and garnished the temple, offering up incense silently and sacredly, while yet the masses without, worshipped the golden calf. It cannot be denied, that there are many among the masses, that have of late pressed their way into the temple, who have neither love for, nor conception of the truth itself—who are yet in darkness. It is, therefore, but natural, that these aged priests should tremble for the future. But then there are, no doubt, also those who are drinking in the word, and there is hope, that the good work will continue, until the masses, as far as

It certainly could not have been Henry Purcell the composer, for although we know that he commenced his musical career at a very early age, he was only one year old at the date Pepys made the entry in his diary; and admitting he might have had a very lovely voice even at that period, I cannot believe he would have been considered a desirable addition to Mr. Pepys's musical party. As no mention is made of the Christian name of Purcell, we must conclude that Pepys met either the uncle, Thomas Purcell, or the father, Henry Purcell.

The uncle was undoubtedly a musician of reputa tion and ability. Various entries in official and Court records testify to the numerous appointments he held, such as Gentleman in Ordinary of the Voice and Lute to His Majesty, Composer to the Violins to His Majesty, and Lay Vicar of Westminster Abbey. His compositions are now last, with the exception of two chants in frequent use in our Cathedrals. A year before his death, probably feeling age or infirmities creeping on, he seems to have retired from active service, for he then executed a power of attorney authorizing his son Matthew to receive all payments due from His Majesty's Treas ury, Exchequer Coffery Office," or any other place or office whatsomever." On his death in 1682 he was buried in the cloisters of Westminster Abbey. The power of attorney I have brought for inspection; it is interesting, on account of the autograph signatures of Thomas Purcell and of his niece Frances, the wife of the celebrated Purcell, and I am inclined to think that Pepys met Thomas Purcell, from the little circumstance that the son of the latter was named Matthew, possibly out of compliment to Locke; but it may after all have been his brother, Henry Purcell, the father of the great Henry, for he also was a musician of reputation, a member of the Royal Band, a Gentleman of the Chapel Royal, mas. ter of the chorister boys of Westminster Abbey, and music copyist of the last-named church, an appointment of considerable importance at that time. He is generally accredited with the composition of one chant still in use bearing the name of Purcell. He died in 1664, and was buried in the cloisters of Westminster Abbey. His wife survived him five

years, and although we have no record of their respective ages, it is probable they were both young at the time of their deaths.

We now come to the son, Henry Purcell, "the boast and pride of English musicians," who was born in St. Anne's Lane, Old Pye Street, Westminster,

in 1658.

Purcell was only six years old when deprived by

death of his father's care; but his uncle Thomas, of whom I have been speaking, bestowed on him all the loving devotion of a parent, and immediately placed him where his precocious genius would receive nurture and cultivation. It was an early age to commence life as a chorister-boy in the Chapel Royal, but at that time and for long after children generally entered choirs at the age of six or seven. When young Purcell joined the Chapel Royal establishment he had the advantage of instruction from a most able master, Captain Cooke, a man who had won laurels in the battle-field fighting for his king, and also in the more peaceful arena of music. He was composer, actor, and singer, and is frequently mentioned by Pepys. On the death of Cooke, his pupil Pelham Humphrey—or Humphries-became master of the boys; and he, a man of considerable genius, must have done much to develope the powers of the young prodigy under his charge. He lived two years to carry on the work, and was succeeded by Blow, also a pupil of Cooke, who doubtless did something toward educating Purcell. At the age of eighteen Purcell, probably through Blow's interest, was appointed music-copyist to Westminster Abbey, and four years later Blow resigned the post of organist in his favor, from which fact we can imagine how highly he must have estimated the genius and ability of Purcell. Blow was himself a remarkable musician and composer, and fifteen years afterwards, when Purcell died, he was re-appointed organist of the Abbey. Blow must have possessed a most amiable and generous disposition, devoid of jealousy or mean envy, for, in addition to

this instance of self-sacrifice on behalf of Purcell, he similarly resigned his post as master of the boys of St. Paul's Cathedral in favor of another remarkable pupil, Jeremiah Clark. Purcell's triumphs rapidly increased, and we soon find him occupying the distinguished post of Organist of the Chapel Royal and Composer in Ordinary to his Majesty. He wrote music for the Church, the Court, and the theatre, producing works for each in great number. But, alas! his sunshine was all too short, for at the early age of thirty-seven (a period which has proved fatal to more than one great musical genius) he ceased from his labors, and was borne to an honored

grave in Westminster Abbey, beneath the organ which had so often resounded to his divine harmony. This was in the year 1695. I must now retrace my steps to speak of Purcell's married life. He took to himself a wife when twenty-two or twenty-three years of age, about the time he succeeded to the organistship of Westminster, and had six children, four of whom died young. I have already referred to the probability that Purcell's parents were short-lived. Coupling these significant facts together the brief lives of father, mother, son, and grandchildren-we have presumptive evidence of hereditary delicacy of constitution. Purcell's wife Frances survived him eleven years, and, dying in 1706, she found a quiet resting-place by his side in the old Abbey.

I suppose most of you are familiar with the aspersions which have been cast on the memory of Purcell's wife-the idle tale which attributes, with such particularity of detail, harsh and unfeeling conduct, resulting at last in the premature and untimely

death of Purcell.

It is always easy to promulgate a scandal, but very difficult to trace its origin, and ofttimes still more difficult to refute it. In this case, I have little doubt, the whole story is a base and wicked invention; but, reflecting as it does on the memory of both Purcell and his wife, I propose briefly to state my reasons for the opinion I have formed. Sir John Hawkins, the musical historian, printed the narrative, and although he doubted its authenticity, and suggested that Purcell might have died of decline, yet he added some grave reflections on Purcell's presumed habits of dissipation, and of the bad company he associated with, particularly the notorious Tom Brown. On Hawkins, therefore, rests a large share of responsibility for perpetuating the slander. Miss Hawkins, his daughter, indig nant at some idle stories in circulation respecting her mother's treatment of Sir John, wrote thus: "Mrs. Purcell, I should conjecture, had other modes of attracting Mr. Purcell, yet perhaps the whole story

"Jack, thou'rt a toper, let's have t'other quart;
Ring, we're so sober, 'twere a shame to part;
None but a coward, bully'd by his wife
For coming late, fears a domestic strife;
I'm free, and so are you, to call and knock.
Boldly the watchman cries, past two o'clock."
Clarke informs us that the "Jack" apostrophized
as a "toper" was Dr. John Blow, and goes on to
occasioned by a severe cold, which he caught wait-
There is a tradition that Purcell's death was
say:
ing for admittance into his own house. It is said he
used to keep late hours. He appears to have spent
much time with Tom Brown, who wrote the words
of most of his catches. The wits of that day used
to meet at Owen Swan's in Bartholomew Lane, and
at Purcell's Head in Wych Street. His wife had
given orders to the servants not to let him in if he
came home after midnight. Unfortunately his com-
panions had got hold of this and kept him late, as
usual, which was the cause of Tom Brown writing
the words of the above catch, which Purcell set to
music before he went home. Being refused admit-
tance at home, he sat down on the step of his own
door and fell asleep, and through the inclemency of
the night contracted a disorder of which he died.
This but ill agrees with the expressions of grief she
makes use of in the Orpheus Brittanicus, for the loss
of her dear lamented husband."

Frances all his estate, real and personal, för her We sole use, and also nominated her executrix. cannot find evidence here of anything but mutual affection and confidence. Many of you can call to mind how differently Shakespeare treated his wife in his will.*

Purcell's widow made frequent public reference to the dear memory of her husband, and the following extract from her last will is specially interesting, as it shows how mindful she was of his wishes, and also that Purcell himself did not cultivate convivial society to the neglect of his family and their worldly interests. Mrs. Purcell says: "According to her husband's desire, she had given her dear son Edward good education, and she also did give him all the books of music in general, the organ, the double spinett, the single spinett, a silver tankard, a silver watch, 2 pairs of gold buttons, a hair ring, a mourning ring of Dr. Busby's, a larum clock, Mr. Edward Purcell's picture, handsome furniture for for." a room, and he was to be maintained until provided

I have now said sufficient respecting Purcell's domestic life, and will only add that his fellow-pupil, Dr. Tudway, has borne written testimony to the studious habits of Purcell, and of his constant endeavors to excel in every branch of his profession. [To be Continued.]

Unemployed Managers, Actors and
Singers in New York.

The haunts of actors and musicians in this city are now unusually full of unemployed artists. Since the "hard times" set in with the panic of 1873 there have not been so many professional people without engagements as at the present time, and many exit would seem to be almost impossible to attempt to These interesting particulars are so precise that cellent performers on both the lyric and dramatic controvert them, but fortunately they can be shown stage are verging on absolute want. At Moretti's, a cheap café in Fourteenth street, exhibiting the to be untrue from beginning to end. The words of marks of maccaroni all over it, there gathers from the catch were not written by Tom Brown, and are of course not to be found in his works; moreover, day to day a host of singers bearing distinguished names, who can only unite in singing "Waiting" instead of Brown having written most of the words and "Sweet By and By." At the Belvedere House, of Purcell's catches, it is tolerably certain that Pur-in Irving place, there is a family of prime donne cell never set a line of Brown's poetry.

In the year 1768 Dr. Arne gave a concert at Drury Lane Theatre, the programme consisting of glees and catches; and for that concert he published a book of the words, which I have here. In it we find Purcell's "Jack, thou'rt a toper," with the following note: "The words of this last catch are said to be written by Purcell, wherein, it is obvious, that he meant no elegance with regard to the poetry, but made it intirely subservient to his extream pretty design in the music."

ors.

hoping that some manager will appear to demand their sweetest notes. At the Albion Club, in Fif teenth street, and at the Union Place Hotel, there is always a host of unemployed managers and actIt is impossible to turn one of the angles in Union square without jostling an idle tenor, only to be tossed against an equally idle "leading man;" being run down by an aimless "heavy" than a and in crossing Broadway there is more danger of maddening stage. "Old men" and "juveniles," "old women," and "walking ladies," baritones and "Jack, thou'rt a toper" is to be found in Purcell's bassos, sopranos and contraltos, crowd the thoropera "Bonduca," composed by him the year before oughfares, meeting their old-time managers without he died. The libretto was an adaptation from the hope that anything will turn up to relieve their display of the same name by Beaumont and Fletcher, but the alterations and additions were made anony-tists, and one of these, just returned from "the tresses. The managers are as badly off as the armously; it is therefore, highly probable that Arne road," declared the other day that it would be imis correct in assigning the words and the music of possible to succeed with a travelling company, even that particular catch, "Jack, thou'rt a toper," to if the actors were willing to work without pay. Purcell. The theatrical and musical business has not been so bad in many years. Most of our theatres are empchestra, the Philharmonic and oratorio societies, ty. With the exception of Theodore Thomas's orthe Essipoff concerts and a week's musical festival given by Mr. James Morrissey at the Academy of Music, there has been no music in New York this season. The travelling opera companies, with the exception of the Kellogg troupe, have disbanded, and nearly all the dramatic companies on the road have fallen to pieces. The members of these unfortunate combinations have found their way to the metropolis to swell the army of the unemployed, and Chicago is as full of idle actors as New York. In every direction the outlook is a gloomy one, and the worst feature of the prospect is that nobody can tell when the clouds will break.

with Tom Brown. In the year 1693, about seven-
Now let us deal with Purcell's alleged intimacy
teen or eighteen months before Purcell died, Brown
wrote and printed some very complimentary verses
addressed to the great musician, which he headed
thus: "Lines addressed to his unknown friend, Mr.
Henry Purcell." These were reprinted after Pur-
cell's death without note or addition, and we may,
therefore, reasonably conclude that Purcell and
Brown never beacme acquainted. Brown's lines are
too long to quote in extenso, and the following must
suffice:-

"What praises, Purcell, to thy skill are due,
Who hast to Judah's monarch been so true!
By thee he moves our hearts, by thee he reigns,
By thee shakes off his old inglorious chains,
And sees new honors done to his immortal strains.
In thy performance we with wonder find
Corelli's genius to Bassani join'd.
Thus I, unknown, my gratitude express,
And conscious gratitude could do no less.
This tribute from each British muse is due;
The whole poetick tribe's oblig'd to you.
For where the author's scanty words have fail'd,
Thy happler graces, Purcell, have prevail'd.
And surely none but you, with equal ease,
Could add to David, and make D'Urfey please."
Purcell, in his last will and testament, signed on
the day of his death, bequeathed to his loving wife

IDLE MANAGERS IN NEW YORK.

During the war it used to be said that it was impossible to shake a stick at a dog without striking a brigadier general. Now it is impossible to trav erse half a block in Broadway without encountering half a dozen theatrical and operatic managers with

Subsequent to the reading of this paper, a friend directed my attention to Knight's able remarks on Shakes peare's will, satisfactorily proving that Shakespeare's widow was well provided for, and that the special bequest to her, which has commonly been regarded as a slight, was, on the contrary, an additional indication of favor and regard. I am glad to have this opportunity of expressing my regret for the injustice done to the memory of Shakespeare.

nothing to do but view the beauties of that splendid thoroughfare. Even our best known operatic managers are idle. Max Maretzek, to whom New York owes much for good opera, is compelled to teach to eke out a livelihood, but he is looking younger and fresher than in his halcyon days. Maurice Strakosch is busying himself with his colossal operahouse, but he has no immediate operatic projects. Max Strakosch has just returned from an unfortun ate campaign in the West, and is waiting for better times to begin again. These brothers are excellent examples of men who made money by good manage. ment and lost it by bad. Among the idle are Mr. Carlberg, who lost his all with the Flying Dutch. man; De Vivo, just back from the antipodes, with "nothing to do," and James Morrissey, who lost so largely and so patiently in his Academy of Music venture that he is likely to wait a long time before he again tempts fortune with a colossal concert. As a matter of course, none of these people are abso lutely idle, but it is dull work trimming their sails to catch the first favorable breeze. Leonard Grover has been in the city for some time with a head full of projects, but none of them seem to be destined to a Minerva-like birth. George H. Tyler, whose Humpty Dumpty troupe collapsed the other day, is also here looking for orders, and has, it is said, designs upon an uptown theatre, where some of the daring people are smashed to "smithereens." When times are better all these people will be busy again, but for the present the idle managers present even a more doleful appearance than the idle artists.

SILENT SINGERS.

The number of silent singers in New York at this time is larger than ever was known before. Mme. Pappenheim and Mme. Palmieri made a little money early in the season, but, although both of them are good singers, there is no prospect that either of them will be hired this winter. Mme. Gulager and

forced idleness followed only too quickly, until now
the prospects of an engagement,feven for the best
singers, are far in the dim and misty future. There
is no sign of revival in the present, and the danger
is that for some years at least music in this country
will cease to be a profession.-N. Y. Herald.

The Organ at Trinity Church,

Boston.

stop to the full organ can be set on any pedal. The reeds and mixtures of the great organ are placed in the swell-box, thereby greatly adding to the cres cendo effects. The greatest care has been taken in the matter of the voicing, the aim being to combine in one instrument all the finest effects of the different European organs. For instance, the English diapasons, the French reeds, the German gambas and flutes, etc., in some cases slightly modified, in order that there shall be a perfect blending of the full organ, as well as distinct character of tone for each stop. The mixture stops have also been carefully studied, in order that they may add a certain brilliancy, without being too prominent (as is often the Ample passage ways traverse the instrument in different directions, rendering all parts easy of access for tuning and adjustment. The pedal

This organ is manufactured by Mr. Hilborne L.
Roosevelt, of 40 West Eighteenth street, New York.
It is of three manuals, compass C C to a, 58 notes;
pedals compass, CCC to F, 30 notes, and the follow-case).
ing is the scheme:

1-Bourdon, wood...16 58 7-Principal, metal. 4 58
2-Open Diapason,
8-Cornet, metal.... 2 90
metal.
8 58 9-Contra Fagotto,
metal...
3-Salicional, metal.. 8 58
.16 58
4-Dolce, metal. 8 58 10-Cornopean, metal 8 58
5-Stop Diapason.
11-Oboe, metal...... 8 58
wood and metal 8 58 12-Vox Humana,
6-Flute Harmonic,
8 58
wood and metal 4 58
CHOIR

1-Open Diapason,
metal..
8 58
2-Concert Flute,
wood..
8 58
3-Gamba, metal.... 8 58
-Dulciana, metal.. 8 58
wood and metal 8 58
PEDAL

32 30 .16 30

1-Contra Bourdon,
wood..
2-Open Diapason,
wood..
3-Dulciana, metal.....16 30

Swell to Great.
"Pedal.
"Choir.

Mme. Brignoli are both anxious for an appearance,
but there is no indication that either will find an
opportunity to be heard. At the Belvedere House
are any number of really endowed ladies, including 5-Stop Diapason,
Puc artists as Anna Ďrasdil, Antoinette Henne,
Henrietta Beebe and Clara Perl, who are sufferers
on account of the unusual stagnation. Miss Emma
Thursby is fortunate in holding the leading position
in the Tabernacle in Thirty-fourth street in these
hard times. Miss Gertrude Corbett, who obtained
an appearance as Norma last year, is still studying,
but without present prospects of exhibiting the re-
sults of her studies. Then there is the latest Amer-
ican singer, with the stamp of European success,
Miss Emma Abbott, to whom the times afford little
real encouragement. In addition to the above array
of prime donne, we have for tenors, baritones and
bassos, Signor Brignoli, still the silver-voiced after
80 many campaigns; Mr. Charles Fritch, a fine
German singer, wno also does the Italian and Eng-
lish; Mr. William Castle, long a New York favorite
in English opera; Signor Palmieri, Signor Taglia-
pietra, Mr. George Simpson, of Brooklyn; Mr. Tom
Karl, Mr. Romaine, Jacob Muller, Mr. Sohst, Herr
Blum, Signor Reyna and Alberto Lawrence. In
this bundle of artists there are singers enough to
form two or three opera companies, and yet, even
with the best of them, no manager has the cour
age to risk one short season at the Academy of
Music.

THE PAST AND THE PRESENT CONTRASTED.

metal.....

ORGAN.

6-Violana, wood and
metal...
4 58
7-Rohr Flute, wood. 4 58
8-Piccolo, metal.. 2 58
9-Clarionette, metal. 8 58

ORGAN.
4-Bourdon, wood...16 30
5-Violoncello, metal 8 30
6-Flute, wood... 8 30
7-Principal, metal.. 4 30

8-Trombone, wood..16 30

Couplers.

Great to Pedal.
Choir "

Wagner's "Flying Dutchman," which Miss Kellogg presented in an English dress last night, is something very unlike the "music-drama" of the composer's later years. Its form does not differ materially from that of the conventional opera. It has its due succession of arias and concerted pieces. It is rich in separate numbers which even a public pampered exclusively with the tunes of "Martha" and "The Bohemian Girl" might recognize as melodious. It came into the world before Wagner had developed the peculiar theories which make his best title to fame, and it is keenly relished by the old school of musicians, to whom "Tristan” and “Tannhäuser" are a terror and an abomination. Nevertheless to the devoted followers of Wagner it is equally a work of deep interest. They trace in it the germ of nearly all his later ideas. They find here his first protest against the frivolities and absurdities of the stage, his first de. mand for freedom in poetic expression, his first demonstration of the peculiar adaptability of legendary subjects for lyric purposes, and the first manifestation of hie extraordinary power of blending verse, action, and music in one harmonious and eloquent whole. In "The Flying Dutchman "he did not free himself entirely from the trammels of his predecessors; he did not discover the full capabilities of the reform he therein began; he did not rise to the grand elevation attained in such creations as Lohengrin" and the Trilogy; but he gave us scenes of a romantic beauty which hardly anybody but he himself [?] has surpassed, and he suffused the whole work with the glow of genuine and healthy sentiment. The central point of the opera is the gloomy and pathetic figure of the Dutch captain, who sails for ages over tossing seas, driven onward by the curse until he shall find a faithful woman to share his fate and so to bring him rest. The melancholy character of the story tinges even the lightest portions of the music. The resounding curse is heard again and again from overture to finale. Above the whole hangs an atmosphere of storm. The work indeed came out of the midst of tempest, for Wagner tells us that he imagined it while he was dashed about in furious gales of the North Sea. But with the music of the angry ocean mingles a strain of the gentlest and sweetest fancy; beside the dark figure of Vanderdecken stands Senta, simple, trusting, innocent, the ideal of unselfish love. We have sometimes thought that of all the wonderful types of female character with which Wagner has enriched the stage-Elsa, Elizabeth, Isolde, Brunnhilde, and the rest-Senta, though neither the greatest nor the most carefully elaborated, is the most sympathetic and most charming. He has told us himself what he meant her to be,—a modest, unaffected village girl, who has mused over the story of the Phantom Ship until it has taken possession of all her heart—not turned

This instrument will stand in an organ chamber on one side of the chancel, one set of front pipes being in the chancel and another in the transept. The keys are in the transept on the level of the gallery. In singular contrast with all this dullness is the The organ may be said to be five stories high. The activity of only three or four years ago. Up to the first in the basement being occupied by the bellows, present year a season without opera would have levers and hydraulic engines (which supply the been considered a calamity to be averted at every wind); the second floor is occupied by the two hazard. Not only was the Academy of Music bril- large bellows and a portion of the pedal organ; the liant with grand opera, but the minor theatres were third floor contains the great and swell organs and all musical to the echo. Tostée came and went, and the remainder of the pedal organ; the fourth floor other stellar attractions in opéra bouffe followed contains the choir organ; the fifth contains the echo until Aimée almost succeeded in establishing her- organ, which is placed over the ceiling of the church, self a permanent New York favorite. The question and connected to the main body of the organ by which had been agitating us—“Are we a musical electricity. This device was first used in the celepeople?"-seemed answered in the affirmative. brated Roosevelt organ in Chickering Hall, New Rubinstein came and gained a great triumph, and York. The echo organ contains the Vox Humana Von Bülow was tempted to come after him. Offen- stop, the measurements of which were taken by the bach nearly believed that New York was almost builder from the famous one in Freiburg, Switzer-y of the libretto leads straight to the final cataslike Paris, and came in during our Centennial for a land. Its imitation of a choir singing in the disseason of mutual felicitations. The only wonder is tance is quite remarkable. The construction of the that Verdi has not been here. Suddenly, however, wind chests is novel, compressed air being employed all this brilliancy was extinguished, and musical art to a certain extent in the place of mechanical acnot only languished, but died. Eminent artists who tion. Each pipe has a separate valve, which matehad learned to regard New York as their home, and rially assists in the voicing and tuning of the inthe scene of certain and long-to-be-continued tri-strument, and owing to the peculiar construction of umphs, found themselves compelled to sing to empty wind-chests they are not liable to stick or "cypher." benches, while managers like the Strakosch broth- The combinations on the combination pedals can be ers were in despair over an empty treasury. En- changed by the organist at any time. From one

her head with sentimental dreams, but filled her bosom with divine compassion. So her fate is the logical end of a process traceable in all her thoughts, and the slight thread of events woven into the clear and direct sto

trophe.

The three acts into which the drama is divided are the first we have the howling winds and dashing waves, beautiful and picturesque each in a different way. In and the dark form of the accursed sailor in his pitiful yearning for rest is thrown into bold relief. His monologue, The Time has come," is in Wagner's noblest manner; hls duel with Daland is a worthy sequel to it; the music of the sailors is all striking and original; and in the midst of these sterner measures comes the exquisite little dreamy love-song of the Helmsman, like the breath of Spring amid blasts of Winter. The second act, beginning with the familiar spinning chorus, has