posed, only "L'inganno felice" is known. He travelled about Italy, composing operas for the different theatres, and receiving £40 for each. He visited London and Paris. He is now thought to belong to the past, but still holds a high rank; and “La donna del Lago," Guillaume Tell," "Otello," "La Gazza Ladra," "Mosé in Egitto," will long remain favorites on the stage. V. BELLINI'S (1806-1835) music made its way all over Europe. "Il Pirata" was his first successful opera. The libretto was written by the poet Romani, and Rubini first appeared in it. A number of similar works followed; of these, the best known are- "La Sonnambula," "Norma," and "I Puritani," with their soul-melting melodies. DONIZETTI was a most prolific writer. He produced in all sixty-four operas; the best of which are "Anna Bolena," Lucia di Lammermoor." La Favorite," "Linda da Chamouni,” “La fille du Regiment," Don Pasquale." Betly," and Maria di Rohan." Of these, the six latter far excel the others in solidity and strength; and as they were written near his end, it is to be regretted that Donizetti did not live longer, to develop his artis tic powers. He was beginning to be influenced by the German school, and to improve much in his instrumentation and counterpoint. VERDI is most popular in Italy; though "I due Foscari," "Nabuco," and "I Lombardi," have been heard in other countries. Though the Italian opera still receives a great amount of support, and, with regard to this, is still in a most flourishing state, with reference to the quality of the productions it brings before its audience, it is in a stage of decay. Rossini's imita. tors have degraded the art, by copying from him what was most inartistic. They will all-Bellini, Ricci, Mercadante, Donizetti-sink into oblivion. The poetry, too, is at a low ebb; and, where this is the case, the dramatic excellence of the opera must be on the decline; and so it will continue, until some musician will arise who possesses sound views on art, together with a poet not afraid to commit himself by association with a genius equal to his own in a different walk, J. S. -Lond. Musical Standard. What Hanslick says about Christine The above eminent critic thus expresses himself, in the Vienna Neue Freie Presse of Jan. 7:— "Christine Nilsson commenced her starring engagement at the Imperial Operahouse as Ophelia, in A. Thomas's Hamlet. A densely crowded house awaited her appearance with evident eagerness. The first view of her prepossessed them in her favor, and augured most auspiciously for the result. Mad. Nilsson has a tall, wellproportioned figure, a noble and finely chiselled countenance, in which two large light-blue eyes now touchingly glance, and now flash with passionate expression; her bearing is upright and calm, and every movement harmonious. She opens her lips, displaying her pearl-like teeth, and murmurs the first notes of the duet with Hamlet. In scarcely any other opera does the prima donna enter so unpretendingly as Ophelia enters in Hamlet; nay, strictly speaking, the entire first three acts constitute simply an humble and ungrateful introduction to the fourth act, which first permits the full development of the fair artist's musical and dramatic art. But even the little preliminary duet revealed Mad. Nilsson's marked and genuinely artistic individuality. No one can give the duet more unassumingly and simply, but no one can give it more effectively or with greater feeling. Her voice, a high soprano, bright, frank, and marvellously equal, does not possess imposing power, or even the first full freshness of youth, but, with its soft, pure, flute-like tones, it insinuates itself irresistibly into one's ear and heart. A slight veil rests upon the middle notes, as was the case with Jenny Lind, to whom Mad. Nilsson is linked not only by the same native land, but by the fundamental features of her musical nature. We like the soft, dull haze which is generally spread over voices destined to pour forth a rich store of deep feeling in song. In the second act, Ophelia has only one piece; Mdme. Nilsson, with delicate tact, kept the two strophes of it, the first before, and the second after, Hamlet's entrance, distinct from each other, and then found the most simple and most touching expression for her grief at his disappearance. The most simple and most touching expression—that is the talisman by means of which Mdme. Nilsson everywhere and always captivates us, even when the composer does not come to her aid with any effect. Her action is limited to what is absolutely necessary, but it is conceived with the instinct of genius and perfectly realized. Surprisingly beautiful, true, and, at the same time, all her own, is her concep tion of the trio in the third act. It is by Hamlet's crushing adjuration: 'Get thee to a nunnery!' that Ophelia is first driven to the brink of insanity, and it is here that Mme. Nilsson suggests the first approach of the mental night which encompasses Ophelia in the fourth act. In the great scene of the fourth act, Christine Nilsson displayed the highest virtuosity which we can conceive in so tragic a situation; virtuosity which we do not notice, bravura which we forget, on account of the profound feeling in which every note is steeped. All those who, from numerous accounts, had expected merely a great virtuosa, now beheld-a great artist. Thanks to the most expressive mimetic talent, action, and tonecoloring. Mome. Nilsson succeeded in supplying a dramatic motive for isolated florid passages, of greater or less length, apparently dedicated to bravura alone-they gushed forth from Ophelia's soul, and not simply from her throat. Ophelia thoroughly corresponds to Mdme. Nilsson's whole appearance and style of singing, and, therefore, it would be dangerous to hazard a conclusive judgment on the lady from this one part. How far her power of dramatic metamorphosis extends, and whether she will be equally successful in infusing her tender and dreamily gentle individuality into other characters, is something which time alone can show. One thing mean while is certain: We never met a more perfectly poetic incarnation of Ophelia, and probably never shall. We look forward to Mdme. Nilsson's next performances with joyous expectation such as we have not experienced in operatic matters for a long time." Joachim at Stuttgart. Which of us would ever have thought that any one could fill up a programme with nothing but violin pieces and that we should sit and listen, as we were accustomed to sit and listen for whole evenings to pianoforte music? Certainly it was possible only for such an artist as Joachim to play every piece without resting. And what playing! During a period of fifteen years we have heard all the violinists of importance who have appeared at concerts here, and there are not a few. How often, too, have we not been carried away and had our enthu siasm excited by the magnificent performance of our great artist, Singer! But who will, who can, contradict us when we boldly assert that Joachim, the "King of Violinists," surpasses them all-all! Of the brilliant qualities which adorn this unique artist-powerful tone, grandiose execution, blameless correctness, grand repose, and deep feeling-of these qualities this or that violinist may possess one or the other; but never, never before have we heard them all so closely connected and so thoroughly blended in the same person. Joachim is, our ideal picture of a great violinist. If we think of the different pieces he played, what shall we say and where shall we begin? With the exception of his own Romance, we were familiar with all the pieces, down to the smallest details, and we know the passages which Joachim played differently-differently, indeed, from the way in which he had heard them played. How marvellously lovely was the second movement of Beethoven's C minor Sonata, and how charming the scherzo of the same piece! If in the Barcarolle by Spohr, the Sarabande by Leclair, the Romance by Beethoven, the first movement of the "Devil's Sonata," by Tartini, and, also, in his own Romance, the artist displayed his greatness in the sustained style, he shone in Spohr's Scherzo, Leclair's "Tambourin," the "Devil's Sonata," and the piquant Hungarian Dances (arranged likewise by Brahms for four hands), by his wondrous execution, by a staccato which cannot be surpassed, and at the same time by his astounding composure. Through all he does there runs something which we shall never hear in so great a degree again, a charm which seizes powerfully on every heart: this is the wonderful singing of the violin, or, in a word, what we call soul. To play with soul is not a Lucky is he who possesses it, and lucky is he, too, who thing which can be learned; it is a gift from heaven. can listen to it. If a never-ending, constantly-recommencing storin of applause was ever justifiable, it was so on this occasion. Of this let Joachim rest assured. Professor Pruckner played the pianoforte part of the Cminor Sonata in a finished manner. The accompaniment to the other pieces was confided to Herr Hirschberger, of Berlin, who knows what accompanying really means. Such self-effacement to the advantage of the soloist is rare.-Stuttgart Augenblick. The Opera-House Bubble. MAURICE STRAKOSCH'S DREAMS OF A GREAT TEMPLE OF MUSIC-WHY HIS VISIONS CAME TO NAUGHT. For a considerable time journals of this and other cities have been publishing accounts of a wonderful opera-house, of enormous dimensions, and appointed in the most complete and costly manner, to be built by Maurice Strakosch, on land owned by the Harlem Railroad Company, at Forty-third street and Madison ave., from funds placed at his disposal by prominent capitalists. After his unprofitable venture last fall with Mlle. Belocca, in this city, Mr. Strakosch took her West on a starring trip. A gentleman familiar with musical enterprises in this country said yesterday: "Mr. Strakosch seemed to have opera houses on the brain." He proposed to build one for the music-lovers of Chicago, and another for those of San Francisco. The local papers described his projects, and in some instances strongly supported them. Upon his return to New York he revived a plan which he is said to have had in mind for a considerable time, and announced the erection of the structure above referred to. His proposals were on so magnificent a scale that most persons suspected the airy nature of the foundations, and expected to see the "insubstantial pag eant" fade away. It was, however, asserted that the ground had been purchased, and the amount paid for it was named. There is probably no doubt that negotiations were entered into with William H. Vanderbilt, through George C. Sherwood of the Fith Avenue Bank. It is now claimed that the chance was lost through the indiscreet announcement that the purchase of the land was secured. Persons, however, well acquainted with Mr. Strakosch, say that his disposition is so sanguine as to be essentially visionary, and that there was never the slightest real prospect that the money for the erection of the opera-house would be secured. They add that his tendency to business mistakes is so well known that the enterprise conducted by him could not have gained credit and support. There seem to be two views regarding the matter. Many persons, while doubting the feasibility of the plan, do not question Mr. Strakosch's sincerity, and be. lieve that he really expected to be able to provide the city with an opera-house corresponding in size and elegant completeness to his ambition. They say that the actual beginning of negotiations for the hand, persons perhaps as well acquainted with the land would surely indicate so much. On the other manager, some of whom have had various business transactions with him, state that he merely blew a bubble which burst sooner than he expected. They assign several reasons why he should desire to create the impression that he was about to build a large opera-house in this city. Mr. Mapleson, of London, will probably bring his opera company to New York next fall, after the close of the London season. It is said that Mr. Strakosch is jealous of all operatic enterprises with which he is not connected, and that he has frequently given foreign managers to understand that they could do nothing in this country without his co-operation, stating that the American public would support no company without his name as a guarantee. Those who take this view of the matter believe that Mr. Strakosch desired either to frighten Mapleson from the field or into combining forces with him. Moreover, it is asserted that he owes large sums of money in London and Paris, and that his debts in those cities, besides rendering his presence there personally unpleasant, render it impossible for him to make further contracts with leading foreign singers. Mr. Kingsland, of the Academy of Music, says: Although Mr. Strakosch has been very liberally treated by us, he claims to believe that we have in some respects used him hardly. He has always complained that it was unfair that his receipts should be so largely reduced by the free admittance of those owning boxes. I think this has had influence with him in the announcement of a project for a new opera-house. Perhaps he expected us to make him still further concessions. The singular part of it is that one feature of his plan was a large number of boxes to be subscribed for in advance by wealthy gentlemen, and owned by them, with the same privileges of admittance which those owning boxes at the Academy of Music enjoy." Those who laugh at the whole enterprise claim that it was ridiculous on the face of it. It had been demonstrated that opera-houses were not a profitsble investment in this city. The Academy always wavered between slight gains and heavy losses, What sometimes losing $10,000 in one year. ground then was there for believing that a building costing, according to the announcement, about $2,000,000, could ever be made to pay? There were many, a gentleman remarked, who would regret to learn that Mr. Strakosch's project the obstacles in the way of erecting so costly a place had fallen through-persons who had not realized of amusement, and merely thought of it as an elegant addition to the city and a pleasant place to spend an evening. Those, however, possessing some experience in opera management, and many more who foresaw no possible return for money thus invested, had never expected to see the walls rise, and would therefore not be disappointed at never sitting within them. -New York Tribune. Pianists as Advertising Agents. "The Contributors' Club" in the last number of the Atlantic Monthly contains, among other things, the following: An Arcadian thinker might imagine that the piano-forte was an instrument invented and made solely to further the ends of the art of music. I have no doubt that some such idea existed in the brains of the first inventors and makers of the instrument. Piano-forte makers, indeed, still vie with one another in making more or less successful attempts at improving the instrument, and pianists are certainly not behindhand in pushing the art of playing upon it to its uttermost limits. But Music, after innocently dreaming for years that all these commendable endeavors were made in her service, has awakened to the fact that she and her servants have in some unaccountable way exchanged places; that the pianoforte has been the while cunningly binding her, hand and foot, and now asserts its own mastership in a very loud, jingling manner. Pianists who have done their utmost to fit themselves for the service of Art, perhaps even to be the high priests in her temple, and who naturally look upon the piano-forte as their servant, now find themselves in the incongruous position of mere advertising agents for the manufacturers. Before going into details, I will give two anecdotes, which I know to be true. Some years ago a gentleman of my acquaintance was walking in the streets of Bonn on the Rhine with one of the leading London pianists. They were met at a street corner by a man who had a few minutes' conversation with the pianist; after he had gone away, the pianist said to our friend, "That in was a member of the firm of in the United States. He has just renewed an offer he made me yesterday of dollars per month, with all my expenses paid, to give a series of concerts in America with his firm's piano-fortes." The second story is this. Not many years ago a well-known impresario brought a concert troupe to America, one of the members of which was a pianist of some note in England. After a month the pianist severed his connection with the troupe and returned to England. To fill his place the impresario engaged a distinguished American pianist for a certain number of concerts. The pianist expressing a decided preference for the A piano-fortes, the manager said that it was perfectly immaterial to him what instruments were used at his concerts. The next day, thinking over his engagements, the pianist remembered that, somehow or other, nothing had been said about how much he was to be paid; so he called upon the manager. You must be the most confiding of men! Here you have engaged me for so many concerts, and have not even asked what my terms are!" "Well! I am sure I don't see what I have to do with that." "I should imagine that, as you are to pay me, it might be of some importance to you to know how much I ask." "I pay you? Nothing of the sort! Mr. A pays you, as you use his piano-fortes." "You had better see Mr. A before we go any further; for I am sure he will not agree to that arrangement." "You are joking! I have given concerts in this country for the last ever-so many years, and have never paid pianists a single cent in my life. The piano-forte makers always pay them." It was found, however, that Mr. A, although perfectly willing to furnish instruments, charge and carriage free, would not agree to pay anything. He knew that it was the custom of many makers to do so, but he had never done it, and never would. The manager was in a huge rage, cut down his engagement with the pianist to five nights, and on paying him, vowed that he had never been so swindled in his life. The custom of piano-forte makers' paying pianists to play exclusively upon their instruments has, it must be admitted, one good side. Very probably many of the great pianists who have visited this country would never have come here at all, except for the enterprise of piano-forte makers in bringing them for their own ends. In the beginning, when the public did not know, or care to inquire, about the practice, the "preference" of a great pianist for one piano-forte over all others was a most capital advertisement for the maker. But now that every one knows perfectly well that it is a mere matter of business contract, and that pianists play upon a certain firm's piano-fortes simply because they are hired to do so, and not because they pre- It would respect and pleasure if not with understanding. Musical Correspondence. pendent of its descriptive character in the ordinary NEW YORK, FEB. 12. In reviewing that portion .Bach Suite, No. 3, in D............... sense of the term, although the scene by the brook, the country merry-making and thunder storm are very ingeniously suggested, without any theatrical or common-place effects, unless the imitation of the cuckoo-song is open to that objection. The merit of the work lies in the treatment of the varied and graceful themes by which one is led from the very beginning by a succession of delightful changes to the perfect climax in the Allegretto of the last movement. One feels that all the foregoing por tion of the work, beautiful as it is, is only preparatory to this Allegretto, which is in itself one of the finest and most effective pieces of composition on record. When in the course of human events it becomes necessary to write something about the Götterdäm- The selections which formed the second part of the programme opened with the Funeral music which occurs in the opera when the body of Siegfried is borne by his companions back to the Hall of the Gibichungs. This music is very impressive I resume my concert record with the fourth Sym- and, with its proper dramatic accessories, must prophony concert by Theo. Thomas, on Feb. 3d. The duce a great effect. The orchestral part which folbill was as follows: lowed is the accompaniment of the intermediate action of the drama leading to Brünnhilde's song of lamentation over the body of her husband. This song and the remainder of Brünnhilde's music was rendered by Mme. Eugenie Pappenheim, who acquitted herself remarkably well notwithstanding the difficulty of the music, which is written with an utter disregard for the capability of the human voice. The orchestral performance was magnificent and this fact was felt and appreciated by the audidience, as was shown by the hearty applause given at the close, very little of which, I fear, was due to the music alone. The Suite in D is one of those charming diver- A. A. C. CHICAGO, FEB. 6.-During the long interim in this correspondence, the Liebling recitals came and went, the Essipoff season, and the opening of the Hershey Music Hall. Mr. Liebling's recitals (three in number) brought an interesting and very trying selection of pieces, including the Liszt transcriptions of the great Bach Fugues in theless it is indispensable to the success of such an experiment that the Bach selection be of a decided and pronounced flavor. To open with such a piece as the long and rather monotonous prelude to the third English Suite (as Mr. Liebling did once) is to miss it in a concert. The Hershey Music Hall is 70x80 ft., and seats eight G minor, and A minor; the Reinecke Concerto in F-hundred. It is an elegant and every way attractive sharp; the Chopin Concerto in F minor; a part of the place, and located in the very heart of the city. The orSchumann "Kreisleriana;" the Liszt "Hexameron," gan is now going in, and when done I will speak of it. etc. In all these, as well as in the smaller things inter- Next week we have the concert of the Apollo Club, this time with a mixed chorus. They give Bach's "Let us wrestle and Pray," Schubert's 23rd Psalm, and so on, with Miss Rivé for solo pianist. For their third concert they give "St. Paul " with orchestra. vening, he showed himself the possessor of a splendid technique and of considerable musical feeling. He plays Bach extremely well, making it interesting (where Essipoff made it charming). I do not find Mr. Liebling distinctively a poetic player-though this may be my own fault. concert. The Concerto was rather thin, the young lady being not yet a virtuoso. The audience was small, but I hope they'll try it again. Meanwhile I remain DER FREYSCHUETZ. I came near forgetting the first concert of the Chicago Philharmonic Society, which came about two weeks ago. We also have had the pleasure of hearing the fair Rus- The principal numbers were the Weber "Jubilee " Ovsian pianiste. She has played here seven times, with I erture, the Chopin F minor Concerto (by Miss Bertha suppose her usual programmes. Her first season here Burg), Beethoven's Fifth Symphony, and a Meyerbeer was Jan. 8, 10, 12, and 13. Her last, Jan. 29, 31, and Feb. Fackeltana. The orchestra numbered about forty, under 2. As her first programme brought the Beethoven Son- the direction of Mr. A. Liesegang, who seems to have ata, Op. 53, and the Schubert Air and Variations (Im-something in him; the playing was good for the first promptu), we had at the very beginning the faults which you had pointed out in Boston, brought prominently before us. On the other hand the Tausig arrangement of the Bach Toccata brought her in her better light. Why she should bring out the melody so over-much is certainly a mystery. But that she does so was uniformly noticed by good judges. Certainly she is a beautiful' player. In point of elegance and refinement and finish of playing I doubt whether we have had her superior. During her last season here she played the Saint-Saëns Concerto, and Chopin's in E minor, with second piano. In both these, I need not say, she was all that could have been desired. On the other hand she gave a very shabby performance of the Liszt-Wagner Tannhäuser March, and a rendering of the Liszt second Rhapsody that was little better. In summing all up the Tribune critic (who is not only the leading authority here, but one of the very best critics on the daily press in America) gave Essipoff the credit of having sounded "the whole gamut of piano Dwight's Journal of Music. BOSTON, FEB. 17, 1877. Concerts. HARVARD MUSICAL ASSOCIATION. It is safe to say, that not halt a dozen finer concerts of orchestral music have been heard at any time in Boston, than the sixth Symphony Concert, which occurred on The audience was Thursday afternoon, Feb. 1. music." She gave of Beethoven only two pieces: the C-larger than usual, and the satisfaction universal. sharp minor Sonata, Op. 27, and that in C, Op. 53; and This was owing partly to the happy construction of of Chopin only three important pieces: the Polonaise in the programme; partly to the excellent manner in A flat, the Barcarolle, and Concerto in E minor; and of Schumann nothing great (the Carnaval being chief); which nearly every number of it was performed ; and while her selections of virtucso tasks were not at all co- partly to the fresh attraction of a peculiarly interpious. Considering this, I find it difficult to agree with esting singer. So far, then, as it concerns the inthe Tribune. To my mind the gamut here sounded seems strumental pieces, it is enough simply to record the strangely lacking in the more weighty and profound programme with little or no special comment. Overture to "Medea". Recit.: "Abscheulicher! wo eilst du hin?" Aria: (Adagio) "Komm Hoffnung," (Allegro) "Ich folg' dem innern Triebe," from "Fidelio," Beethoven Miss Nita Gaëtano. Symphony, in A major (" Italian,") No. 4, Allegro vivace-Andante-Menuetto-Saltarello. notes. As I mentioned before, the Hershey Music Hall was opened Jan. 23 and 25, with local assistance, and Miss Drasdil of New York and Mr. Wm. H. Sherwood of Boston. Mr. Sherwood made a fine impression on the public and critics, except on one of the morning papers, whose critic accorded him a fine technique but denied everything else—especially any musical quality in his playing! This entire criticism was one of the most sagaciously wrong-headed pieces of writing I ever saw, and I regret that I haven't it by me for the sake of some extracts. My own opinion is that in Mr. Sherwood you have a treasure For although it is plain enough that he is not yet mature, there are such decidedly good qualities in him that I cannot but hope his name is to be added to the small but creditable list of American planists who play good music well-at the head of which stands the name of Julia Rivé. If we had ten such players, or rather ten unlike players of equal excellence, music would become better known and loved here. What I liked about Sherwood was his clean playing and his original and interesting readings, together with his fine touch. As a composer, his notions of form seem rather misty, but the ideas are many of them fresh and freshly treated. the way of virtuoso playing I have seldom heard better work than his performances of the Liszt-Wagner "Tannhäuser march," and the "Isolden's Liebes-Tod," the latter in particular being extremely impressive. In The older I get the more artistic it seems to me to open a piano-concert with something from Bach. Not entirely for the reason I once heard assigned, that "anything sounds well after Bach"-though this also is not without weight. But because, owing to the intellectual interest of the Bach pieces (especially the great Liszt transcriptions), a pianist can fully absorb himself in them and produce a certain effect upon the audience, without depending on a fortunate emotional state which may or may not come. After the ice is once broken in this way, everything warms up. I noticed this again in Essipoff's concert, opening with the Bach-Taussig "Toccata," and in Sherwood's Bach-Liszt G-minor Fugue,as well as in Mr. Liebling's example with the two Bach pieces. Never ..Bargiel Mendelssohn C. ...................... Pergolese .Gordigiani ....Gounod .Beethoven "Au Printemps". Miss Nita Gaëtano. Overture to "Leonore," No. 3, in C. Bargiel's Medea Overture is one of the best products of the modern school, and it improves on repetition. The theme is tragical and sombre, to be sure; but the work is not monotonous, and in the development has not a few strong points of interest, as well as complete artistic unity. The genial grace and sunshine of the "Italian" Symphony was in welcome contrast, and we know not when we have heard it more delicately or appreciatively reproduced. The exquisite beauty and the sweet, deep tender feeling of the Aria by Bach were not at all dulled by familiarity. The Gigue, which was given instead of the usual Gavotte, has much of the same hearty, sturdy jollity; but this, we own, did suffer somewhat in the execution; more rehearsal would have made it clearer. And what could have ended such a concert with the certainty of holding every listener to the last chord, but the great Leonore Overture? The only want felt in the bringing out was of a much greater mass of strings for the immense crescendo near the close. Miss NITA GAETANO, if not quite equal to the inspired and thrilling passion of the great Aria in Fidelio, being alike in voice and style and nature of a gentler character, and losing confidence a little at the start, nevertheless showed a true conception of the task, and sang it artistically, with a fine senti. ment and faultless taste. For she has a lovely voice, of very sympathetic quality, rich and evenly developed, trained in the best school; her execution is exquisitely finished and refined in the best sense, free from every affectation. And the good impression is helped by the quiet, serious, modest manner, which is as much a part of her as her own rich Southern beauty. It is not at all a "stage manner," but that of the drawing room and home of true refinement. Strength was the main thing wanting; feeling, expression, taste were there, and every tone was pure and sweet and musical. But in those passages where the voice rushes upward to a thrilling climax, the ear sometimes lost the intermediate notes before the splendid tone was reached. To be sure, the orchestra is very full here, and it could hardly be more subdued than it was and yet be what Beethoven meant. The choice of such an aria certainly did honor to the artistic aspiration of the singer. But what was wanting here was more than made good in the songs she sang with the inspiring accompaniment of Mr. DRESEL. Here she was in her element and sang with a charming freedom and with fervor. The group was changed somewhat; the song by Pergolese was dropped out, and she began with the graceful Barcarolle by Gordigi ani; then the "Au Printemps" by Gounod; and for a third, another Barcarolle, or rather Gondolier's song, by Meyerbeer, a quaint and subtle blending of sentiment and humor. The applause was more and more enthusiastic after each little piece, and finally she was obliged to reappear and sing again the song by Gounod. So general was the desire to hear Miss Gaëtano once more before her return to England, that Miss Fanny Kellogg obligingly made place for her last Thursday, postponing her own appearance till the next(eighth) con cert, March 1, for which the programme is as follows: PART I. Overture to "Iphigenia in Aulis," Gluck; Recit. and Aria, with chorus of Priestesses, from Gluck's ("Iphigenia in Tauris" (Miss FANNY KELLOGG); Symphony No. 8 in F. Beethoven -PART II. Female Chorus, in three parts. with Orchestra, from Cherubini's" Blanche de Provence," (pupils of Mme. RUDERSDORFF); Piano Concerto in G minor, SaintSaëns, (B. J. LANG); Songs, Miss KELLOGG; Overture to "Fidelio," in E, No. 4, Beethoven. SHERWOOD RECITALS. The fourth (Feb. 2) had the most interesting programine so far, namely: Concerto, C minor, for two pianos and string instruments.. ..J. S. Bach Mrs and Mr. Sherwood, and Messrs. Bernhard Listemann, F. Listemann, Ad. Belz and Ad. Hartdegen, Of the Boston Philharmonic Club. Four Songs... ...Edv. Grieg Miss Julie W. Thornton. "Kreutzer" Sonata, for piano and violin, Op. 47, Beethoven Mr. Sherwood and Mr. B. Listemann. Impromptu. F minor, Op. 142. No. 4.... Schubert "Kassandra," Op. 44. No. 1 (meln Buhle war er! und er hat mich sehr geliebt)..... A. Jensen a. b. a. Sonata, F minor (arr. by Tausig) Allegro Scarlatti ...Chopin Mr. Sherwood. Quintet, E flat major, Op. 44....... Robert Schumann Mrs. Sherwood, and Messrs. Listemann, etc. The Bach Concerto, a cheerful, wholesome, everyday sort of composition (but Bach's every day is something finer than a common mortal's or musician's best),—a work full of vigor and of life, the best of tonics at the beginning of a feast, was brilliantly and clearly executed, although we felt some lack of poetic sentiment and shading in the slow middle movement. The two movements of the "Kreutzer" Sonata were superbly played, especially the contrasted variations of the Adagio. Of Mrs. SHERWOOD'S group of pianoforte solos the Schubert Impromptu was incomparably the most in teresting, and was played with a piquancy and grace quite captivating. The Kassandra" piece (whatever the name may mean) seemed to be a passionate lament of love bereft, of whose merit we are not prepared to judge. It was expressively rendered. The Etude by Tausig, a turbulent and rapid stream of crowded and strange harmonies, appeared to have no motive for its existence but the heaping up of difficulties, which verily the lady ov. D minor, of which only the dirge-like second movement (Andante con moto), with its fine variations, had become in any degree familiar here. But the first Allegro, and the Scherzo, and the Presto, too, are full of fire and beauty and of the imaginative quality; so that the whole work is one of Schubert's the charge of prolixity. best, while far less than most of them it is open to It was exquisitely rendered by the brothers Listemann and Messrs. Belz and Hartdegen. Next came a Mendelssohn part song for male voices: " Waken, lords and ladies MR ERNST PERABO gave an extra Chamber Concert (the fourth of his eleventh season) in Wesleyan Hall, on Friday afternoon, Feb. 9. The room was crowded to a degree more flattering to the artist than comfortable to his audience. The programme had the usual fault of extreme length, ag gravated by the strain it costs to hear rightly, and with endeavor to appreciate, so many new things in immediate succession. We think the generous ercame with thoroughness and a sufficient show of gay," from Walter Scott, sung with spirit and pre- ardor of the interpreter carries him a little too far ease to make it not seem painful. Mr. SHERWOOD'S solos, particularly that fine Nocturne by Chopin, were among his happiest interpretations. But the great feature of the programme-pity only that it came so late (the concert was too long)-was the Schumann Quintet, an inspired creation from the beginning to the end. In her rendering of this Mrs. Sherwood placed herself in her best light as a competent and conscientious artist; it was spirited and effective throughout, with good light and shade; and that the strings did well their part may pass without saying. Miss THORNTON has a clear and pleasing voice, of good power; but her singing was crude, and without life or particular expression; nor were the songs selected of much interest in themselves.-The fifth and last Recital will be on the 23d of this month. FOSTER CLUB. Choral societies, or clubs, of mixed voices, till recen tly so rare, are getting to be the order of the day. But the Foster Club is older than most of them, only it has courted the shade. The first concert of its ninth season, before invited friends, took place at Mechanics Hall on Friday evening, Feb. 2. Adhering to its chosen specialty, that of studying and bringing out new music, it had for the main features of the programme the Thirteenth Psalm by Liszt, and a setting of "John Gilpin," the whole poem, as a Cantata for Solos and Chorus, by Thomas Anderton, besides a sprinkling of part-songs and solos also new to most of us. The Psalm by Liszt, opening with the Tenor solo (finely sung by Dr. LANGMAID) is a characteristically strange and overstrained production. The anguish and the agony out of which it cries: "Lord, for how long wilt thou forget me," is more distressful, more intense, than Music ever dreamed of when she, heavenly Maid, was young; this is turning the "grossen Schmerzen” into “ Lieder" with a vengeance, aggravating every pang. There are some grand and brilliant passages, however; particularly those clear, bright Soprano harmonies (remind. ing you of the "Holy, holy" in Elijah) near the beginning; and it ends more cheerfully with song of praise. But as a whole the work impressed us as disjointed, wilful, forced, and fatiguingly long. As for the English setting of "John Gilpin," it is a long piece of musical ready writing, with very few signs of real musical vis comica, though it has some graceful and effective numbers. The hunor seemed to lie entirely in the words; it needed a fellow like Rossini to better them by music. The singing of the chorus was throughout excellent, reflecting credit on the conductorship of Mr. G. E WHIT ING. The solos, too, by Mrs. H. F. KNOWLES, Miss ITA WELSH, Mr. CYRUS BRIGHAM and Dr. E. C. BULLARD, were all well given. Indeed the choral work throughout the evening was of a superior order; although the body of sopranos sounded a little harsh in comparison with those of the Cecilia, nor was the chorus large enough for the full effect of the Liszt Psalm. cision under the direction of Mr. G. L. Osgood. This was followed by a Violoncello solo, a sweet cantabile melody, by Huber, in which Mr. Hartdegen distinguished himself by the remarkable richness, purity and sympathetic, searching quality of his tone, as well as by his tasteful and expressive phrasing; we have few such masters of this eminently human instrument, which we always prefer to hear in its own native character, and not when scrambling through difficulties in imitation of less noble instruments. Gade's "Water Lily," a partsong for mixed voices, exhibited Mr. Osgood's choir (of about a hundred) in the best light. We never heard so large a body of tone so fresh and sweet and pure, without the least perceptible alloy; and never better blending, finer shading, or more fine-felt individualization, yet perfect interweaving, of the parts; truly our Cecilia must look to her laurels ! The great Schumann Quintet, in E flat, of which we have just before had occasion to speak, introduced Mme. Madeline Schiller, with the Listemann party. Her execution was most brilliant, surpassing in the Scherzo anything that we have heard: more sure and finished technique one could hardly wish; and yet of the poetic, vital quality we have heard more from some whose fingers were less equal to it. There were moreover now and then accelerations and retardations, to which no amount of brilany or fuency can altogether reconcile us. Even more of this we felt in her otherwise extremely beautiful performance of the Chopin Polonaise in Eflat (Op. 22); why Polonaise, why any dance at all, if rhythm is to know no law? The remainder of the programme consisted of part-songs: viz., a "Night Song" by Franz, for male Quartet and chorus, in which Mr. Osgood's owd voice told with remarkable effect; "Birdling," by Rubinstein, a two-part chorus for Soprano and Contralto voices, with String quartet and imitative flute obligato, a very bright and pleasing piece; and, for conclusion of the whole, Mendelssohn's Early Spring," for mixed voices. This was the first public effort of the new chorus, and seemed very like the germ of a fair future. HARP RECITALS. One element of no small inter est, for years but little represented in our music, has reappeared among us lately in the person of Mr. APTOMMAS, one of the most gifted and accomplished harpists living, and who still asserts all his old mastery over this difficult and now rare instrument. He is a Welshman, who seems born to this art, and he does wonders with it. His execution, as well as his range of subjects, seems unbounded; witness the following programme, one of three, which he performed a few weeks since in a series of matinées in Mason and Hamlin's Organ Ware Rooms: b. Harmonious Blacksmith.. Sounds from Home... Mendelssohn ...... Handel ....Aptommas "Codiad yr Haul." "Rhyfelgyrch Gwyr Harlech," "Ab Shenkin." Mr. Perabo's programme this time included Preludes and Fugues, Nos. 21 and 8, Book 1. Bach; Larghetto and Scherzo, for piano, violin, and 'cello, op. 30 (new), J. K. Paine; Berceuse, op. 50, No. 5, Rubinstein, arranged for strings; Trio, No. 4, for piano, violin and 'cello, op. 158, Raff (first time); Posthumous quartet. movement (Allegro assai) in C. minor, Schubert; Concerto in E-flat, for horn, the orchestral score condensed into a piano accompaniment by Carl Reinecke; Adagio, for piano and 'cello, by Bargiel; Allegro Appassionato, for piano and 'cello, by Saint-Saëns (both new), and Rondo Brillant, for piano and violin, op 70, Schubert. The Bach Preludes and Fugues were clearly and beautifully played, the Fugue in E minor with great feeling. Mr. Paine's two trio movements were genial, refined and interesting, and finely played with Mr. Listemann and Mr. Hartdegen. The string quartet arrangement of Rubinstein's Berceuse sounded strangely out of tune. The new Trio by Raff interested us so much that we should like to hear it again; except perhaps the impetuous Finale which seemed too full of sound and fury." But the third movement (Andante quasi Larghetto) had depth and tenderness; only the conclusion seemed needlessly held back. All the performances were admirable. But the most interesting matter was yet to come, and just here, by an unwelcome fatality, we were obliged to leave. The second concert (Dec. 18) was by the Cecilia Quartette (Miss Abbie Whinnery, Mrs. J. W. Weston, Mrs. J. H. Long and Mrs. H. E. Sawyer), with Mr. A. W. Foote for pianist; and this the programme: a. Nocturne (Op.32, No.1.) Chopin b. Melody (Op.", No. 1.) 9. Song "Mermaid's Song.". Miss Whinnery. 10. Quartet "La Zingarella." 11. Song" Absence,' Mrs. Long. 12. Quartet-"Ye Spotted Snakes." Rubinstein ...Haydn A. H. Pease In the third concert, Jan. 8, Mr. B. J. Lang and his pu His preluding was wonderfully clever. It was a bold undertaking to play the "Moonlight Sonata” on the harp; but he did it, accurately and completely, though the work of course lost much by the transcription. The Adagio suffered particularly, sounding in parts feeble and confused, while there seemed to be a practical difficulty in rendering the pil, Miss Grace Sampson, appeared as pianists, and Mrs. pointed notes. The middle movement came out with a clearness which we had not thought possi ble, and so did portions of the very swift finale. But what proved to us most fresh, and seemed most in the character of the instrument, was the medley of old English melodies. He played other Sonatas in the following recitals. C. H. Goss, soprano, as vocalist, in these selections: 1. Variations for two Pianofortes. (Op. 46), 2. Ave Maria.... Schumann .....Cherubini 3. Sonata in D major, for two Pianofortes...Mozart Mother Sing me to Rest. } 4. ..Franz 5. Concerto in G minor. (Op. 22).......Saint-Saëns (Andante-Allegro Scherzando-Presto). NEW YORK. The Tribune, Feb. 10, speaks of the close of the Kellogg Opera season: The three weeks' season of English opera at the Academy of Music comes to a close to-day. "Mignon" was represented last night for the benefit of Miss Kellogg. and the prima donna made her reappearance on that occasion after the brief illness which has lately kept her in retirement. She personated the title rôle after her usual effective manner, overacting it, as we think, in sev eral scenes, and making the mental aberrations of Mignon nnpleasantly and unnecessarily prominent. There can be no doubt, however, that her voice is well suited in the light, graceful, and sentimental music of the French composer, nor, considering the care and intelligence which she has bestowed upon the part, can we wonder that she has made this opera one of the most popular in her repertory. She was well seconded last night by Mr. Maas as Wilhelm and indifferently supported by the Filina of Mrs. Rosewald, while the pretty character of Frederick, so often intrusted to an incompetent performer, was charmingly rendered by Mrs. Seguin. The Lothario was Mr. Henry Peakes. The house was full, and so a singularly successful season comes to an appropriate end. The popularity of English opera in New York has been strikingly confirmed by the recent ventures of the Hess and Kellogg company, and it seems now to have reached a point where the manager may be expected to show a zeal for artistic and thorough performances and the critic may be expected to be some what exacting. By the same paper we learn, that: The second appearance of Miss Emma Abbott in this country since her return from Europe was made at Chickering Hall last evening, before an audience which in point both of numbers and sympathy was all that could be desired. So much has been written of late about both the business and domestic difficulties of Miss Abbott, of her marriage, and the unfortunate connection which she had with London managers, that public curi. osity was widely awakened, and a desire was felt on all sides to know whether she was really all that her friends have claimed for her, and whether she would prove to be the representative American prima donna that we had been led to expect. It must be confessed that we have experienced some feeling of disappointment in hearing her. Miss Abbott has naturally a good voicenot by any means a phenomenal one, eithe in point of quality or volume or range-but one of those useful, reliable soprano voices, of which we already have several in the city. It is fairly flexible, light but generally agreeable in quality, but in the upper register there is an edge which grates very unpleasantly on the ear, and it is essentially metallic. In matter of cultivation, Miss Abbott seems to have been well taught, yet she has unpleasant tricks, such as “pumping " the voice on particular notes, and an excessive use of diminuendo effects, and her runs are often slovenly. She has intelligence, however, and sings with taste and feeling, and her work is almost always carefully done. But she is not great in any way, and it is not to be wondered at that she met with no greater success in England than she did. If she pursues her career, she will in all probability remain a useful and respectable concert singer; we doubt if she ever will become anything more than this. Miss Abbott sang last night an aria from Gomez's opera. "Guarany." the romance Non conosci." from "Mignon," and Arditi's duet, "A Night in Venice." with Brignoli. The last of the three was altogether the best. Miss Abbot has the assistance of Signors Brignoli and Ferranti, who were good as usual, of Mr. W. R. Case, a promising pianist from Paris, and of Emil Seifert, a violinist who did not impress us at all favorably. The troupe as a whole is a strong one. There was an orchestra, conducted by Max Maretzek, and it was very poor. PHILADELPHIA. The third classical soirée of Mr. Charles H. Jarvis took place on Saturday evening last, and the fine programme presented was attentively listened to by an appreciative audience. The Beethoven trio in B flat for piano, clarinet and 'cello, was given in a spirited manner, the clarinet playing of Mr. W. H. Scheider being unexceptionable. Mr. Engelke played a 'cello solo by Ernst, and, unhappily, on account of the band music at the meeting on Broad street, could not be heard very distinctly. The event of the evening was the Weber sonata in C, for piano, which was rendered perfectly by Mr. Jarvis. The immense difficulties of this work seemed but to call forth his varied resources, and the last movement, generally called the "perpetual," was so resolutely played, and with such electric precision, that it carried the audience away with enthusiasm. The two Liszt solos were as successfully conquered, while, in his interpretation of the Chopin numbers, he had the subtle sentiment and delicate touch so much needed in the works of that composer. The concert closed with a novel duo for two pianos by St. Saëns, being variations on a theme (the trio of the Menuetto, Op. 31. No. 3) by Beethoven, and was effectively rendered by Messrs. Jarvis and Warner. February 24 is the date of the next soirée.-Bulletin, Jan. 29. In his book upon America, Offenbach says that "while on all sides intelligence and labor have produced wonders, it is sad to notice that America has neglected to cultivate those arts which charm the mind." The sadness with which the soul of Offenbach is clouded as he contemplates our neglect of those arts which charm the mind is of a kind calculated to fill Americans not only with sympathy but with deep remorse. When we reflect how much Offenbach has done to encourage in us a love for art by sending us musical jimcrackery, by occupying our stage with obscene dramas, and by securing as interpreters of them women with insufficient clothing, cracked voices and no morals, we can hardly be surprised at his reproaches. No wonder his great heart is filled with pain, and it will be no wonder if he shall turn from the melancholy spectacle of a people loathing art, and find relief from his feelings in writing out another opera in which adultery will be adorned with musical fireworks and sin will hop about to the fantastic screech of fiddles.-Philadelphia Bulletin. A Good Orchestra for Boston. Now Mr. Hassard is out in the New York Tribune with a suggestion. Since Strakosch's opera house has proved what he calls the "bursting of the enormous bubble blown by the most prismatic of managers" he would suggest the building of a music hall for Theodore Thomas. It is perfectly true, as he says, that New York capitalists can comprehend the value of painting or statuary, or see the beneficence of founding free libraries; but the place which music ought to hold has not been yielded to it. It is perfectly certain that it is a calamitous state of affairs which allows one of the first orchestras in the world, built up by fifteen years of hard work, to be disbanded for want of “a room to play in," and it is likewise time that the great public appreciated what Mr. Thomas has done for general musical culture. If the capitalists can be made to see these two points, perhaps they will compensate for the loss of the Central Park Garden by providing some support for the orchestra which shall be more stable than purchasing tickets to a few symphony concerts. So much for New York. as to our own city, it is no more than proper to say tha we need a first-class orchestra as well as Gotham. There has been an honest endeavor, it would seem, on the part of the orchestra at the Harvard Symphony concerts this year, to provide us with the desideratum so far as they were able. They utter no new cry when they ask for liberal patronage. So far as we have learned, they have not asked for a garden to sell beer or to give the people a chance to promenade, but for a hearty co-operation on the part of the public. There seem yet to be several things needful to complete the desired end. In the first place our recognized artists, such as the Philharmonic Club or the Mendelssohn Quintette, ought always to fill a place in the ranks; no pains should be spared to have them arrange their outside trips so as not to interfere with playing at every Boston symphony concert. Then there ought to be some scheme dev sed by which we could have more than one musician of a kind in town. If, as at a recent concert, the first oboe man should be taken ill again, there ought to be some one ready to take his place, without resorting to such lame ex] edients as the necessities of the case have often enforced. As to thorough rehearsals, we have no doubt that they are now the order of the day; but there ought certainly to be something like a dictatorial will in conducting them, irrespective of manifold suggestions from the less-informed. Then there should be a most ready desire to please the public and to satisfy their demands so far as a generous sympathy goes. And further, said public should exercise a lenient charity rather than proffer a critical coldness. In this everybody is concerned. To provide instrumentalists and make it worth their while to stay here, is something about which the moneyed part of the population should be consulted. These things have perhaps been said a hundred times, but the hundred-and-first may show the importunity with which it is hoped the matter will be urged till we are better off musically than we are now; till we have as good and as large a force of orchestral as of piano players, and till we shall gain what New York lacks-the sympathy of the people of means, and acquire what she already has-the sympathy of the people with their own orchestra.Globe. "Ye swallows gay, I love you not, Ye are but summer friends." Something like the German "Ye merry birds," and will please the lovers of that song. Hark! how sweet the thrushes sing. E. 4. E to E. Eichberg. 30 "Summer's glory is begun, Beauty, beauty holds the world!" A gem. Words by Celia Thaxter. What we have loved, we love forever. F. 3. Pinsuti, 35 "It swells with the tears of darker days, But fills all the past with a golden haze." Beautiful throughout. Words from "The Af terglow." c to D. |