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* The Choruses of these Oratorios are published in separate volumes. See List 2. *
This majestic composition, full of fine effects, is, to the American public, less known than most others. But its stately choruses at Gilgal, at Jericho, by the Vale of Ajalon;
such duets as “Our Limpid Streams, such Composed A. D. 1747, by songs as “O had I Jubal's Lyre," and those Handel.
belonging to the parts of the Angel, of Joshua,
of Caleb, and of Othniel, are quite sufficient Boards $1.00, paper 80 cts. to make it one of the most interesting of
Handel's great works.
Although published after the death of the author, it is a complete composition, and
Mendelssohn, if living, night have enlarged, Composed by Mendelssohn but probably would not have otherwise Boards $1.00, paper 80 cents. changed it. Founded on Racine's Athalie.
This is one of the easier Oratorios, and follows the story of the aged high priest, in
his relation to the young Samuel, to sinful Composed A. D. 1855, by Israel, and to the taking of the Ark by the Costa.
Philistines. Boards $1.78, paper $1.60.
“Naaman" is, like the preceding, an easy, Oratorio, and might as well be called "Elisha,” as the text has reference to the works and miracles of that prophet. The changing scenes: at Damascus, at Samaria, at iho
Jordan: the affecting incideut of the jaisComposed A. D. 1864, by ing of the Shunamite's son; the war-songs of Costa.
Syrians; and the lyrical picture of the heal
ing, of the warrior-leper, constitute a great Boards $1.75, paper $1.60. and pleasing variety, and add to the effect
of the music.
The sacred drama of passion week, taking shape about the year A. D. 1250, became grad ually clothed with music. Of all composit
ions of the kind, this is doubtless the most After St. Matthew, by best of all sacred compositions.), It is very
beautiful. (To some music lovers, it is the J. S. Bach.
difficult, and as a whole, beyond the reach of
any but the best performers. But the easy Cloth $2.00; boards $1.60; parts, including the chorals, are quite attainapaper $1.25.
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Other compositions, sometimes called “Oratorios” will be described under the head of “Cantatas."
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Musical Socirties, Chorus Choirs, &. MASSES, ANTHEMS & TUNE BOOKS.
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(Mentioned in List No. 4.) Mozart, Huydn, and others.
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By C. Everest. trins inany members who are able to sing common Sacred Music, or Price $1.50; Per dozen $13.50. Tunes and easy Anthems, and nothing more.
The above 7 books are all well arranged collections of Church Music, It is therefore, wisc to spend tho first season in singing from such
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Harp of Judah.
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Dwight's Journal of Music,
2 Paper of Art and Literature.
WHOLE No. 936.
BOSTON, SATURDAY, MARCH 3, 1877.
VOL. XXXVI. No. 24.
New Music for March.
d to g.
Theis is carried in the hand' or pocket; but
DWIGHT'S JOURNAL OF MUSIC,
Published every other Saturday
ONE cannot read far through the
admirahy Songs of the Swedish Ladies' Quartetto. EDITOR. STERMS.—!! mailed or called for, $2.00 per annum; coming convinced that Harmony is here to be thmic and Melodic arrangements, without be
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who cannot spare us the brain-work wbich Home Treasures. Song and Chorus. F. 3. properly belongs to Harmonic progress, but
Danks. 30 who defends us from false moves, and who will Mollie Avourneen. Song and Chorus. F. not let us work in darkness.
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Summer Friends. C. 4. c to E. Pinsuti. 35
THIS is a book of great merit, so small as to Hark! how sweet the thrushes sing. E. 4. Six distinguished Artists added to its eminent faculty; it contains, on 240 pages, about 100 Chants, all What we have loved, we love forever. F. 3.
E to E. Eichberg. 30 J. H.ORTH, W. H. SHERWOOD, A. W. FOOTE, W.J. WINCH, S. B. WAITSEY and N. Cyr, making 52 instrucof the Psalter, marked so that it can be chanted,
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Secret Love. Gavotte. G. 4.
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WHOLE No. 936.
BOSTON, SATURDAY, MARCH 3, 1877.
VOL. XXXVI. No, 24.
Translated for this Journal. will follow my advice in regard to the tempo, the first to teach them the right understanding Gluck's Overture to "Iphigenia in
which, conceived in my sense, -and, as I think of their own heroes and their works. But
I have shown, the right one-gives of itself the there you mistake my motive; so far from Aulis,"
right clew for the rendering of the overture. seeking to shame or teach these happy souls, I (Letter from RICHARD WAGNER to the Editor of the I will only add, for any such sympathizers in loathe the utter fruitlessness of such an under“Neue Zeitschrift für Musik," Leipzig, June, 1854.)
my views, that, in the last performance in Zu- taking, and I feel the greatest desire to shelter (Concluded from l'age 386.)
rich. I felt moved by an inward necessity, and myself against every such imputation by here That Gluck gave no conclusion to this Over- for the satisfaction of my excited feeling for declaring openly and loudly that, in my view, ture, is evidence not only of a poetic purpose the subject, to take the first eight bars of the the most rational course would be, to perform nothlying at the foundation of it, but also of the introduction in a fine and gradual crescendo, and ing more of Gluck and his associates, for the reahighest artistic wisdom of the master, which the eleven following bars, on the contrary, in son, among others, that their crentions are for the knew precisely that which only can be reprc- an equally almost imperceptible decrescendo. most part performed 80 lifelessly, that their imsented through an instrumental piece. Fortu. Then in the great forte theme, after I had made pression, coupled with the respect we have been nately for his purpose he had no need to require the violinists execute the figures in sixteenths taught to feel for them from our youth up, can anything else from his Overture, but just what
. with as large a stroke of the bow a possible, I only make us utterly confused and rob us of our evers Overture at best can only give: incite- held to the expression marks here added for the latest productivity. ment. Had he, like later masters, wished to tender passage:
Yours, round off the introductory piece to a satisfac
RICHARD WAGNER. tory conclusion, it would have led him away
Zurich, 17 June, 1854. from his higher artistic end, which lay in the drama: and moreover, the instrumental piece
A Haydn Memorial. itself could only be brought to such a presump
(From the Neue Zeitschrift für Musik.) tive conclusion by the imposition of most by which means this motive seemed to me to
(Concluded from Page 370.) arbitrary claims upon the imagination of the preserve its peculiar charm, not possible in a hearer. rapid tempo. For the third theme, and the
In dwelling upon Haydn's compositions, the transition to it, I gave the following render- biographer proceeds with as much warmth as Now one who undertakes to furnish this oving:
justice. A perusal of his analysis of the first erture with the necessary musical conclusion
eighteen quartets will sufficiently convince the for a concert performance by itself, is met, so
reader of this. As regards the early symphosoon as he rightly comprehends its subject
nies, the point of view from which he would
have us consider them must meet with our apmatter, by the difficulty of bringing about any
proval. He says: “Inasmuch as it will always satisfying close which will not, in view of the
dim po Cmf p mf p be a source of enjoyment to us to watch the plan of the whole, as well as of the individual
development of genius, these symphonies, beity of the motives, be forced and arbitrary, and
longing to Haydn's first period, likewise afford
ample material for serious reflection. Granted prove altogether fatal to the right impression
the objection, that their resuscitation would be of the work. Shall one of the motives finally
mf po mf po
of but little use as far as the general public is become so paramount, as to crowd out the oth
concerned, we cannot but regret that at least ers, or triumphantly subdue them? That were
some of their number, which are worthy of a
better fate, should have fallen victions to Time. a very easy matter for all the Jubilee-Overture
For, apart from their unpretentious instrumenwriters of our day; but I should have felt that
tation, they have still in them sufficient vitalithereby I had given my friend just no concep
ty to be able to interest and delight smaller tion of Gluck's music, which was my only mo
Some further nuances in this sense, particu- circles; only it would be necessary to approach tive in the undertaking. larly in the connecting motives, suggest them- them in the right spirit, not forgetting that
they were, in the first place, intended only for And so it suddenly occurred to me, as the selves. The place toward the end, where I felt recreation at social gatherings, and for a very best escape from the dilemma, that I would not myself compelled to a momentary acceleration limited number of performers, for which rea
son their execution by a full orchestra of modattempt a conclusion in the sense of the cus of the time, I have already referred to. The tomary overtures of to-day; but, by the final all-important matter, as to all these sugges- at the expense of their natural proportions. It
ern pretensions would only cause them to swell resumption of the very first (slow) motive, I tions, is, that they be not executed in a sharp
was the custom of the time to which they owe would close the course of alternating motives and glaring manner, but always with the their origin to perform several of them on the in such a way, that we should reach at last a greatest fineness; and so with all similar same occasion; they had, therefore, to be com
pact in form, and modest as regards the means truce, if no full peace. Besides, what sublime nuances. Art work ever gives a full and comfortable
You see, my worthy friend, from this attempt double complement of violins, hautboys, and
employed. A quarter of an hour's duration, a peace? Is it not one of the noblest effects of at a performance of a Gluck overture in a con- horns, were the normal conditions, which were all Art, simply to excite in the highest sense ? cert hall, that I, who for the most part wish to rarely permitted to be exceeded. Nor did
It was a very favorable circumstance for my know nothing of concerts, do know how to these compositions attempt to raise the expecundertaking, that the Overture actually leads adapt myself to circumstances; but that I do tations by striking effects, or to appear more
important than they really were. It is an interback into that earliest motive with the first this out of no respect for the circumstances esting fact that symphonies by Haydn (probascene of the opera. Surely then I should do will become clear to you, if you consider the bly the slow movements only) have frequently the least possible violence to pure musical fit- above account of what led me to perform the been played at church in place of graduals,
previous to the introduction, by his brother ness, by taking up the original thought, just Iphigenia overture.
Perhaps you Michael, of vocal graduals. Thus in the musias the master himself did, only bringing it to a think it gives me satisfaction when people hold cal library of the Convent of Göttweih the simple conclusion in the tonic.
me a destroyer of our musical religion, and orchestral parts of Haydn's Symphonies show * Perhaps this or that conductor of think they must cry me down for an audacious the days marked on them on which such perconcert performances muy share my view of an denier of the glories which the musical heroes formances had taken place, either in the con
vent itself (in the crypt) or in neighboring overture, which on account of its celebrity of- of the past have created, -to feel that I punish churches. By this opportunity we also learn ten appears in programmes; perhaps too he them right sensibly, by being, to their shame, I how frequent and manifold had been the culti