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vation generally of these symphonies in Austrian cloisters, where the love of music formed, of old, an especial feature. Numerous indications as to place or time of performances are recorded; thus we read in teatro (in the theatre), ad prandium (at breakfast), in horto (in the garden), post cœnam (after dinner), in refectorio (in the dining-hall), in Regens-choriatu (in the rooms of the choirmaster). Very remarkable appears to us the Trio from Haydn's Eleventh Symphony-quoted on page 305-in which the composer has apparently made use of an original Slavonic melody--a supposition which brings it into close relationship with not a few of Chopin's Mazurkas, which are likewise founded on similar subjects. Possibly never before have points of contact been traced between these two composers; as shown, however, by the example quoted on pages 305-306 -which, notwithstanding the peculiar interest attaching to it, we have not space here to insert-they are to be met with, if only in rare instances."

by the great composer, could be at all tolerat-
ed. They were unable to discover that below
this playfully-rippled surface there was an un-
dercurrent of earnest thought which, at the
right moment, would rush to the surface too,
although in but rare cases it would lend itself
to the expression of deep, genuine sorrow.
Wit and humor (the latter, however, never de-
generating into caprice) would still be upper-
most, growing more refined, more manly, as it
were; and thus to the present day Haydn re-
mains the greatest humorist in the realms of
sound, he who, already greatly advanced in
age, still knew how to preserve the freshness
of youth, and to conquer our hearts by his
naïve kind-hearted cheerfulness, expressed by
means the most simple and the most natural.
It is impossible not to admire the moderation
which guided his hand at all times, the wise
economy he practised, in the whole as well as
in the detail of his works, and which invaria-
bly taught him to stop at the right time; for
hazy and ambiguous passages were as distaste-
ful to Haydn as aimless wandering or empty
phraseology in music. Finally, we may point
out his never-ceasing flow of ideas, his fruitful
imagination, which constantly supplied him
with new conceptions. Innumerable as are the
compositions of the master, he has but very
rarely repeated himself, while every one of his
works bears the unmistakable stamp of his
genius, and of his truly German spirit, in depth
of feeling and richness of humor. 'Truly in
Haydn's vein' we say whenever we hear the
first bars of one of his compositions, and we
know then that for the next moments to come
the cares of life will be dispelled in a manner
refreshing to both our heart and mind."

We have given these extracts in order to
dle among our readers the desire to become ac-
quainted with the whole of this first volume of
a work the merits of which we cannot insist
upon too emphatically. If they have, with us,
perused its contents, they will, doubtless, like
ourselves, receive with delight the author's sa-
lute at the end of the book, "Au revoir at Es-
terhaz!" and the promise thus implied of our
soon meeting again the master upon his further
onward career!
F. W.

Mr. W. H. Cummings on Purcell.
(From the London Musical Times.)
(Concluded from Page 380.)

Upon Haydn's importance to art it is hardly possible to say much more that is new; nothing, however, can be more to the point than the characteristic given us by Herr Pohl: "Haydn's merits in relation to instrumental music are universally recognized. He has raised the crude forms from the primitive state in which he found them, giving them that firm basis from which alone further development was possible. The forms themselves have expanded under his hands, have become enriched by fresh elements of vitality and expression; from the Sonata he transplanted them into Quartet and Symphony, enlarging indefinitely the sphere of the orchestra by imparting to it greater depth of thought, and by assigning its due place to every instrument according to its character. Most justly, therefore, is he looked upon as the father, the true originator, of all instrumental music; for no other composer of the past century has done so much for its progress and development as he, who had been both a witness and a mediator in all the phases of modern musical history-from Bach to Gluck, Mozart and Beethoven. On the other hand, the fact that from the very beginning of his career he had interwoven his works with healthy and simple (volksliedmässig) melodies has imparted to the creations of his genius that character of unobtrusive, yet deep and intense, feeling which has, at the same time, stamped him as the most popular of composers. The leading features in Haydn's works are truth and unaffected simplicity. Hearing them, we breathe the fresh air of health and cheerfulness. His artistic organization favored a bright, sunny display of poetic emotions, and his works, in consequence, are the expression of a cheerful, childlike mind, of an unssauming, complaisant self-contentedness (Behaglichkeit), which, however, if more immediately touched by a sense of the surrounding joys of life, may at any moment break forth into manifestations of the most sprightly humor. According to Haydn's own admission, these musical drolleries emanated from a distinct trait in his character, and were owing formerly to an exuberance of health-'one is seized by a certain waggishness which will not be subdued.' Because of this never-failing source of humor, which he so well knew how to impart to his works, Haydn has often been called the German Sterne. Although in his later years this playfulness, this almost unbounded merriment preponderating in his earlier works, was kept more and more within its proper limits, this characteristic element in his music still sufficed, in the eyes of superficial observers, to make him appear little more than a musical jester. The comic element was not as yet recognized as having a legitimate place in music. Thus for a long time the Vienna professors of the art would not acknowledge Haydn as their equal, still less their superior, looking upon his humoristic style as an absolute fault, and seriously discussing the question whether the ignoring lished, and copies may be obtained by all admirers of of established rules, so deliberately persisted in

and succeeded his father in his organ appointments. So much for the family of Purcell, musicians, as we have seen, for four generations.

Purcell was pre-eminent above all his predecessors and contemporaries—a composer of vocal and instrumental, orchestral, harpsichord, and organ music-sacred, secular, and dramatic. He was an

accomplished organist and also a finished vocalist.
tion we cannot tell, but I will now play a little mel-
How early he commenced the practice of composi-
ody or song, "Sweet Tyranness," of his, published
when he was only nine years of age. To be able to
appreciate the value of his work, we must first con-
sider what was the state of music just prior to his
day. The civil wars and the Protectorate had de-
stroyed organs, music books, and dispersed and
banished choirs so effectually that at the Restora-
tion of Charles, music had to be composed for men's
voices only, or if soprano parts could not be dis
pensed with they were played on cornets, for there
were no treble boys capable of singing. Dramatic
music there was none: it is true Locke had attempt-
ed something in that line, but the very piece on
which his fame has been chiefly sustained was really
not his at all, but the composition of Henry Purcell
when a youth. I refer to the well-known "Macbeth
music." This music, however, sinks into insignifi-
cance when placed in comparison with later works
of Purcell's. Take, for instance, his little Opera
"Dido," composed when he was 22 years of age,
not 19, as stated by Sir John Hawkins.
Opera is complete, with recitative, solo and chorus
-not cne word of dialogue; it is full of beautiful
music, and one of the airs, "When I am laid in

This

earth," although constructed on the confined limits

It

of a ground bass, is most touching in its pathos. may be noted in passing that S. Bach has used nearly the same ground in his B minor Mass for the chorus to the words "Crucifixus."

Purcell was gifted with a soul for melody, and possibly it was the unwonted exhibition of this kin-heaven-born faculty in his works which first attracted and captivated the public ear, for before his time we English as a nation had cultivated madrigals and part-songs with diligence and success; but in all solo songs, till those of Purcell appeared, the chief effects were produced by the words, not by the melody. As for the airs," they were, till this time, in general as unformed and misshapen as if they had been made of notes scattered about by chance." This last quotation, from Burgh's “ Anecdotes of Music," is too sweeping. Dowland had printed some most melodious songs in 1597. Mor ley, his contemporary, and other names could also be cited as melodists; but the Puritans had probably swept away both the memory and practice of all such compositions, and Purcell's immediate predecessors were not remarkable for tunefulness. As a scientific musician and harmonist Purcell was equal. ly great and successfui. At the age of twenty-four years he published a set of "Twelve Sonatas for Two Violins and Bass, with Organ or Harpsichord." From that work I have selected a fugue, which I will now play. One of the favorite exercises of learned musicians in his time was canon-writing, and you need only examine the four volumes of his sacred music, collected and edited by Vincent Novello, to see that Purcell was not a whit behind the most accomplished of his brethren in that cramped and fettered school. The volumes published by Novello contain 123 sacred compositions, chiefly anthems, and there are many still remaining in Purcell's harmonical progressions were so remarkable that they may truly be termed discoveries; so much in advance of the age were they that I have frequently heard foreign musicians to whom his works were previously unknown exclaim on examining them, “Õh, that is Schumann: that is Beethoven," etc. There are some remarkable harmonies in Purcell's Latin Psalm Jehovah quam multi." When you hear them you may possibly doubt their authenticity, but as I enjoy the friendship of the present owner of the original autograph MS., I can vouch for their correctness.

Let me now direct your attention to the portrait of Purcell kindly lent for this occasion by that admirable and benevolent institution the Royal Society of Musicians. This interesting picture has somewhat of a romantic history attached to it, which has never before been made public. A parchment deed in possession of the Royal Society of Musicians runs thus: "Redmond Simpson having presented the portraits of Handel, Corell:, Geminiani, and Purcell to the Directors of the Ancient Concerts (now held in Tottenham Street), of which Sir Watkin William Wynn, Baronet, is Treasurer, so long as the said concerts shall continue, upon condition that when the same shall break up then the portraits are to be given and delivered over to the Roy. al Society of Musicians, to be by them kept for ever after. In witness and testimony whereof the said Redmond Sim son and Sir Watkin William Wynn have hereto set their hands this 25th day of April 1785." Mr. Simpson, the donor of the pictures, left a statement in writing that the portrait of Purcell was painted by Closterman in 1694, and was many years in possession of Purcell's son, Edward, who said it was very like his father, but that the latter had grown very thin before he died. From the son, Edward, the picture passed to the grandson, Edward Henry, who sold it to Dr. Boyce, from whom it was bought by Mr. Simpson, and at the dissolution of the Ancient Concerts it can.e to the Royal Society of Musicians.*

I have only time to say that the son, Edward Purcell, became an organist, report says, of modereducated in the Chapel Royal under Bernard Gates, ate ability, and that his son, Edward Henry, was

An admirable engraving by Zobel from this picture, originally intended for private circulatio 1, 18 now pub

Purcell.

MS.

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Purcell wrote more music than we can ever hope, after these long years of neglect, to recover. Still, fresh material is turning up in various quarters, and I trust before long it will be possible to point to a considerable series of his published composi tions. I have made a catalogue or list of works for which he composed music, and it includes 47 operas or dramas, 28 odes, and 202 short fugitive pieces of various kinds, vocal and instrumental. I have spoken of his skill as composer, organist, and vocalist. In the latter capacity he assisted in the choir at the coronation of James II, and there is a quaint record of his having sung one of his own songs at Station

ers' Hall with "incredible graces." We must not forget also that he stood at the head of his profession as a teacher. One of his pupils-his brother Daniel, older than himself-was no mean composer, but he has suffered partial eclipse by the superiority of the genius of the younger Henry. Another pupil-Weldon-is renowned for his exquisite compositions. Witness his anthems "Hear my crying" and "In thee, O Lord." Purcell's Lessons for the Harpsichord formed the model for most of the suc ceeding writers for that instrument, and his treatise on "The Art Descant" is remarkable for its clearness and conciseness.

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of counterpoint as his cook." This was of the worst style of the then bad Italian opera; with the failure of "Piramis e Thisbe." Gluck left the country. He began to see his defects, the defects of Italian music: he tried the superior French dec'amatory excitation, and he set to work to cultivate his own mind, his taste in poetry as well as in music. From 1750, when he wrote "Il Telemacco," to 1756, when he wrote "Il rè pastore" he continued in a transition state verging towards the new German opera style. The intermediate operas are, "La Clemenza di Tito," “Antigone,” “Clelia," "Baucis e Philemone," and "Aristeo." At this juncture he met Cazalbigi, a Dr. Crotch has said of Purcell: "He was the man who understood him, and agreed fully with greatest master this country ever produced, and the him, in thinking that in the lyrical Drama music greatest composer of the latter part of the 17th cen- had hitherto attained so great an ascendancy over tury. Eminent both in the sublime and the beauti-poetry that the two must be united. Orpheus ful styles, and blended with them a considerable and Eurydice" was performed at Vienna in 1762. proportion of the ornamental, he composed for the It met at first, so different was it to the ordinary Church, oratorio, stage, and chamber, and thus style, with but doubtful success; but little by little rested his character both on his individual and on it made its way. It is the most characteristic of his collected talents. His productions are some- Gluck's operas; its structure is very simple, its times simply beautiful, but are generally in a great characters few-only three- besides those who degree pathetic and scientific, and that without any make the choruses. It contains the ever beautiful apparent effort; but when he manifestly endeavors air "Che farò senza Euridice!" Compared with to exert all his powers of expression, and to show his predecessors, Gluck's style is wonderfully bold, the whole depth of his learning, then indeed he sur- original, and independent; "Alceste," "Paride e passes all his rivals." I wish we had the means at Elena," quickly followed, and were both successful. hand for immediately proving the truth of this elo- "Orfeo" was first performed in England in 1770, quert passage, but that is of course impossible. I when Guadagni sustained the principal part. But trust before long frequent opportunities will be af- the opera was spoilt by all sorts of emendations and forded of hearing Purcell's music with the coloring interpolations. Dissatisfied with German actors of orchestra and chorus. To make this practicable, and German stage, Gluck turned his eyes to Paris, publication is the first and chief necessity. To res- and was eagerly received by the manager there, cue and publish what remains to us of this master- who since the death of Gretry had been bringing musician-described by all who have had the oppor out the works of Sacchini, his contemporary: "Ritunity of judging as the greatest we ever possessed naldo," "Chimene," founded on the name of Corneille's -is a work which commends itself to the sympathy Cid, "Œdipe a Colonne," and "Erdina." N. Dalof all-to us Englishmen in particular, for the honor ayrac also lived at this time, and composed "Nina," of our Fatherland, and to the universal nationality which was the foundation of Paesiello's piece of same of musicians generally, for the glory of their art, name. Gossec, who wrote "Le Faux Lord," "Les which alone has the power toPêcheurs." Salieri, who composed "Les Danaïdes," and "Tarare." To return to Gluck, who now devoted his talents for the rest of his life principally to the French Stage. "Iphigénie," founded on Racine's play, was brought out in Paris in 1774. Pat ronized by royalty, armed with a libretto by one of their great poets, simplified by Du Rollet, Gluck had it all his own way. The Abbé Arnault, one of his enthusiastic admirers, is said to have ex c'aimed on hearing it" With such music we might found a new religion." "Orfeo" he dedicated to Marie Antoinette, who describes in a letter to her But sister, the success, the struggle of this work. enemies were not far off. The opponents of Gluck got over from Italy Piccini, a musician of some repute. Both he and Gluck produced an opera on

"Dissolve us into ecstasies, And bring all heaven before our eyes."

The Rise of Opera. (Continued from Page 388.)

The

A few words may be said about the Conservatories where the great Italian musicians were instructed. There were schools of this sort at Bologna, Naples, Venice, and other cities. The Conservatorio di Santa Maria di Loretto, at Naples, was the most famous of them all, and was intended for boys, who were admitted from the age of eight to twenty. and received teaching in composition, singing, and playing on various instruments. Leo and Durante were masters at the above Conservatorio. principle was, for the master to give lessons to half. a-dozen of the most advanced pupils, and each of these repeated his lesson to others below them, and so on, to the lowest grade. The pupils composed and per ormed oratorios, operas, and smaller pieces of music, and performed the musical services in the different churches; and, in this way, gained money for the support of the institution. The Conservatorios at Venice were for girls; and they also learnt all manner of instruments. The hours of practice were very long, and the discipline severe.

In a preceding paper we have given a sketch of the German opera till the time when Metastasio arrived in Vienna (1730). He was here received with every respect and attention by the Emperor Leopold, who was a patron of the arts, and who had established the Italian opera in Germany. His successor, Charles VI., supported it, and Maria Theresa was a great admirer and friend of Metastasio. Caldara set a great deal of his poetry to music, and died at Vienna, after being 50 years in the Imperial Service. Fux, now only known by his treatise "Gradus ad Parnassum," was at that time one of the composers at Court, and wrote music for Metastasio, Such was the state of things, foreign opera, foreign music, when Christopher Gluck, the founder of German opera, perhaps we may say of modern opera, was born (1714-1787). Finding his way in great poverty to Bohemia, he came to Vienna and studied under Fux, Conti, and Caldara, and then at Milan under Sammartini. His first opera, "Artaxerxes," was brought out here in 1741. It was suc cessful, and procured for him engagements in Turin, Venice, and Cremona. Thence he was summoned to London by the managers of the Haymarket. Here he failed before Handel, who, after hearing his "Caduta dei Giganti," said "he knew about as much

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Iphigénie in Tauris." Gluck won the victory; but his next piece, "Echo and Narcissus," fell flat. Marie Antoinette in vain implored him to stay and redeem his fortunes. Disgusted with France, he left it and sank into complete inactivity. Notwithstanding his great opinion of himself, and confidence in his powers, Gluck was thoroughly generous to all other musicians, and to the cause of music general ly.

About this imputed vanity, and inordinate sense of his own power, Haweis says: "If ordinary men are permitted to be anxious of life, why should we grudge to genius the anxiousness of its own immortality?" Gluck's chief excellence lies in the dramatic truth and power he lent to operatic music. Some say he sacrificed melody in these high artis tic aims. At any rate, he first conceived the germ of those ideas, which under Mozart blossomed into the classical school of opera.

Franz Joseph Haydn (1730-1809) was born in Hungary, and was the reformner of instrumental music, and the father of symphony. At the age of eighteen he wrote his first stringed quartet, and supported himself by teaching. At Vienna he com"Der Kummer Teu posed his first German opera fel;" at the age of twenty-eight, his first symphony. Then he filled the position of kapell-musicus, and kammer-musicus to the Princes Esterhazy; and then lived a life of dulness, and yet great activity. At the death of his patrons he came to England, and after a second visit to this country retired with a fortune, and the degree of Doctor of Music from the University of Oxford, an honor which Handel in his impatience had refused. After a life singularly free from the trials of a public character, though unhappy in its domestic arrangements, Haydn died at the age of seventy-eight. He left behind him an immense number of symphonies, oratorios, masses, a Stabat Mater, eight German, and fifteen Italian operas; but it is not by his operas that we ought to judge him.

IV.

64

It was time now for the world to see Mozart. Born in 1756, at Salzburg, he early showed a great musical talent, and when only six, he and an elder sister with their father set forth on a musical tour through Germany, and were patronized and petted by the Empress Maria Theresa, as they were later by Marie Antoinette at Versailles. A visit to England and Holland followed, then a year's serious study of Italian and German composers, after which Mozart received the appointment of concert-meister from the Prince-Archbishop. According to the fashion of the times, he made an Italian tour, receiving at each great town, Bologna, Verona, Milan, the honor of being received into the membership of the Philharmonic societies, and at Rome he accomplished the "extraordinary feat of transcribing from memory Allegri's Miserere," which the Pope had strictly forbidden to be performed anywhere but in the Papal Chapel, or copies of it to be kept anywhere but in the sacred precincts At Rome he had the title of Cavaliere with the order of the Golden Spur given him, the same that was bestowed on Gluck. At Milan he wrote " 'Mitridate, Re di Ponto," which was performed twenty-one nights in succession. "Lucio Silla," "La finta Giardiniera" quickly followed with others; but of all these the name only remains, and though exceedingly popular at the time, there is no doubt that they were very immature. The two years he passed in France were most distasteful to him. He disliked the people, and he did not admire their music, and this visit cured him of any leaning he may have had to Italian or French style. Henceforth, he devoted himself to the cultivation of real German music, and wrote "Idomeneo." His marriage with Constance Weber, a cousin of the musician, took place about this time. Il Seraglio" was produced in the same year, 1782. The "Goose of Cairo," a comic opera in 1783; in the ten subsequent years the "Le Nozze di Figaro," "Don Giovanni," La Clemenza di Tito," the "Flauto Magico," and the Requiem. His intention of following his old friend, Haydn, who had the most idolatrous attachment for him, to London, probably occasioned his being offered the post of Imperial Chamber Musician in succession to Gluck. For this, his salary was 800 gulden. "Too much for what I do and too little for what I could do," he writes himself. Worn out by disease, by penury, by disappointment, by professional persecution from the Italian party at Vienna, with Salieri at their head, Mozart died at the early age of thirty-five. To his wife he continued to bear his first great affection; she seems to have returned it but coldly, and to have been wholly unworthy of him. Of his two surviving children, the one who bore his name of Wolfgang Amadeus, inherited some part of his father's talent and was patronized by Albrechtsberger, Haydn and others. Mozart was great in everything that concerned his great art; his melody, his harmony were perfect, his knowledge of the theory perfect. His " Idomeneo" is founded on a story of the Trojan war. In this early opera he adhered closely to his Italian models and carried on the dialogue of the drama in recitation; he gave each character a long scena, and the long drawn out airs took away from the artistic effect of the whole. The great beauty is its "O voto tremendo!" and "Scenda, amor," choruses each in its different subjects. In no other of his operas is the instrumentation finer. Nevertheless Idomeneo " has never been performed in this country. Mozart's "Il Seraglio" is his oldest German opera which is still performed from time to time. Of its reception, when it appeared, the composer writes himself, "They say people are quite wild It is still occasionally heard in about my opera." Germany. In 1827 an English version of it was brought out at Covent Garden, very much altered. The words of the "Nozze di Figaro" were by Da Ponte and it was composed at the Emperor Joseph's request on the story of the Beaumarchais comedy, Le Marriage de Figaro." Michael Kelly, Madame Camporese, Berenici played in it, and of no opera was the success more complete. The airs are short and simple, free from the florid ornamentation of the Italian school. The only objection to the piece is that the music is not gay enough, it is all taken too much au grand sérieux." Don Giovanni" was as a subject favorite with many dramatists of other countries. It was written for L. Bassi; and the gifted Mesdames Camporese, Damoreau, and Foder acted in it. This drama was also received with success, which came up to the composer's hopes. The action of the piece is carried on by means of long and highly wrought concerted pieces: the airs

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-London Musical Standard.

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him, but kills Elfrida, who seeks to save Rollo, and
the latter, in turn, puts an end to Biorn. With
the acknowledgment of the rightful monarch the op-
era ends.

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"Il mio tesoro" and "Non mi dir, bell idol mio to be postponed. It would have been better had a are the only ones in the Italian style. Beethoven, second postponement taken place, for Biorn' had in a posthumous work, blames Mozart for thus perbeen already put off from the Monday to the Wedpetuating this false syle and making the concessions nesday. Elfrida was by no means badly supported to it, which he often did, introducing bravura pas- Signor Rossi's score is not at all difficult to anal by the Biorn of Signor Mottini, who possesses a fine sages to please Italian taste. Cosi fan tutte is yze, for it is utterly unpretentious. It is quite free stage presence, acts with intelligence, and sings like most farcical and little consistent with Mozart's turn from intricacy; it has no subtle meaning; it indi- an able artist, although the quality of the voice is of mind. Hence, though, it has great musical beau-vidualizes no character; it is neither uncouth nor not so sympathetic as could be desired. There ties, the comparative unpopularity of the piece. ugly; it is not learned, much less severe; it is, in were, however, disastrous failures, which operated The "Flauto Magico" is most consonant with Mo fact, an opera of the purely modern school, full of most prejudiciously. The representatives of Hela zart's German mind. Beethoven says "it is his tune from beginning to end, and can be converted and the Three Norns (Hecate and the Three Witch. greatest work, for in it he showed himself the true into exhilarating quadrilles and waltzes for the ball-es) completely failed to realize the supernatural German composer." The subject being of such a room, whilst it will supply some charming airs for type of the Fates; they moved like automatons, mystical stamp, it is popular nowhere but in Ger- the concert halls, and for the drawing-room. The and they sang very imperfectly. The subordinate many, as a whole; but its airs are universally fa- more terrible the dramatic situation, the more pleas- male parts were fairly sustained by Messrs. Coven miliar, and its concerted pieces and choruses are ant is Signor Rossi's music. He has followed Don- try. Howard, Stone, and Dymott; but the honors the delight of all. During its composition, Mozart izetti's example in Lucrezia Borgia,' which was of the night, both vocally and dramatically, were was seized with his fatal malady, and in his last "poison in jest." There is but one mould for such gained by Miss Cora Stuart, who was Rollo (Bandays he often repeated "Oh that I could hear my settings: Vaccaj and Bellini, in Romeo and Juliet: quo). This young lady was a member of Mr. Carl 'Flauto Magico.' "Titus Andronicus" [?] and "La Pacini, in Saffo;' Carafa, in Joan of Arc:' and Rosa's company, and appeared as Amina, in the Clemenza di Tito" were brought out at Prague, the the operas of many composers of the period, in Sonnambula. There is inequality in the timbre of latter for the Emperor Leopold's coronation; and Italy, are all more or less alike. Melodious phrases her voice, the lower notes being unsatisfactory, but Braham, Mdme. Foder, and Mrs. Billington (who are sung by soprano, contralto, tenor, and bass, she has some brilliant high notes. What is still first introduced Mozart's operas to an English audi whether the characters be virtuous or villainous. more promising and satisfactory, Miss Stuart pos ence) sang in it. This, excepting the Requiem, his Signor Rossi was no doubt familiar with the trans- sesses rare energy and no little sensibility; her exdeath-soug, was his last work, and is as dramatic as lation of Macbeth' into Italian verse, made by Sig-pression in the serenade, “Wind, idle wind," with it is beautiful; and though not nearly meeting with nor Carcano, for Madame Ristori, and at all events harp obbligato in the third act, the undercurrent of the same success as his other operas, it is a fitting the composer had a good prompter in Mr. F. Mar- orchestration in which is charming, was remarka. close, in its grand subject and grand treatment, to the shall, but a change of style was out of the question; ble. It was a great triumph for her, and there were great composer's life. J. S. and Signor Rossi, therefore, who has composed the recalls after every one of her solos, but she rightly tragic opera of Cleopatra,' and the comic opera of declined the encores. The choral singing was exthe Contessa di Mons,' in Biorn' is quite himself; cellent, that of the lady choralists specially, and the exceedingly agreeable from beginning to end; | instrumentalists were efficient. In short, there were there is not a yawn, indeed, for a single bar. The all the elements for a success for Biorn,' had the admirers of Meyerbeer and of Herr Wagner will, cast of the principals, with the honorable excepof course, be horrified at such a specimen of the tions referred to, been up to the mark.—London lyric drama; but is there not a large public still, in Athenæum, Jan. 20. almost every capital, who will accept operatic music which does not require them to think, and which it is really delightful to hear? Biorn' is quite as good artistically as Verdi's Macbeth,' for it is only in his later operas that Verdi has sought after Meyerbeer's dramatic variety and power. It is in the fanciful sections of Biorn,' whenever the three Norns are on the stage, that Rossi's lack of imagination is most apparent; but his concerted pieces are often highly dramatic, especially the trio and finale of the first act, which Verdi would be glad to claim. The ballet music is ingenious and piquant. To Rollo, a soprano part, some charming solos are allotted, especially in the first and third acts. Lady Elfrida has a beautiful ballad, "Beneath the noble oak tree's shade;" but in the sleep-walking scene the composer is very weak. Signor Rossi is gener ally happy in his part-writing, as is proved partic-sic of the Future. ularly in the chorus of waiting-women in the fourth act. A military band is put in requisition in the divertissement in honor of Sigurd's visit to Biorn's castle, and in festive choral music it would seem as if the composer had been infected with Offenbach's strains.

'Biorn.'

Mr. Frank Marshall, who is well known in the dramatic world as a student of Shakespeare, has broached a theory about the relationship, more or less near, between the supernatural part of Macbeth' and the Scandinavian legends-that is, he supposes that while Shakespeare has stamped his own individuality on the three Withes. there is yet a marked affinity between the Witches and the Scandinavian "Drei Nornen," the three great Fates or Destinies. This notion prompted Mr. Marshall to select the subject of supernatural influences prey. ing upon an ambitious nature (the key-note of 'Macbeth') for musical illustration in a libretto which, while it preserved the main action of Macbeth,' transferred the venue to Norway. This variation of the locality necessarily involved many changes of scene, characters, and incidents, but still maintained the Shakespearean drama as a basis. Inasmuch as Mrs, Frank Marshall, formerly of the Haymarket Theatre, possessed a voice which had been cultivated in Italy, on the advice of Sir Michael Costa, the setting of the Norwegian Biorn' (Macbeth) was assigned to Signor Lauro Rossi, who succeeded Mercadante as Principal of the Conservatorium at Naples. Signor Rossi was a pupil at the institution with Sir M. Costa, under Zingarelli, and it need, therefore, scarcely be said that Rossi is not a juve. nile professor striving to win fame; at an age ap proaching three score and ten years, to compose a five act spectacular opera-for such is Biornis indeed a tour de force. Although several musicians, native and foreign, have treated the tragedy of 'Macbeth, the music of our own composer (whoever he was, for it is a disputed question) has kept its position in the répertoire, and no stronger instance of its power need be cited than that Herr Bandmann, who is now playing Macbeth in Germany, has retained the choruses attributed to Locke. Chelard, the French composer, and Signor Verdi have set Macbeth,' but their versions have not reached London, nor are they likely to do so, for their librettists have mangled Shakespeare's tragedy awfully. M. Rouget de Lisle, in his translation of the scene of the cauldron, makes the child apparition thus speak: Monsieur Macbeth, Monsieur Macbeth, Monsieur Macbeth! prenez garde de Monsieur Macduff." In Signor Verdi's opera, Lady Macbeth, in the banquet scene, sings a drinking song of the Traviata type, of a dancing rhythm, exciting enough to make even Banquo's Ghost pirouette.

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Mr. Frank Marshall's book is a clever paraphrase of Shakespeare's play. It is a good idea to render the three Norns syrens, or tempters to evil, and their reappearances during the stages of crime are well timed. The chief changes are the introduction of Rollo (in place of Banquo), who is enamored of Elfrida (Lady Macbeth). King Duncan becomes Sigurd, Hecate is Hela, Malcolm is Magnus, and, with his army, triumphs over Biorn. Rollo is no ghost, however, for, through Hako's aid, he is not murdered. Biorn, at the banquet, imagines that Rollo is a spectre, and in an access of fury attacks

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One curious feature in the score of 'Biorn' is the introduction of Scotch tunes in the choruses. As the action of the opera passes in Norway, it would have been more characteristic and consistent if the composer had turned to account some of the charming Scandinavian melodies, such as M. Ambroise Thomas has used in his 'Hamlet,' and which have been made so popular by Madame Nilsson.

The mounting of 'Biorn' at the Queen's Theatre, where it was produced on Wednesday night, is characterized by picturesque scenery; the stage "sets" are remarkable for their completeness-the artists are Messrs. Gordon and Harford; the pine forest in Norway, with the stormy effects, and the castle scenes are fairly well painted, and would serve for Macbeth' as well as for Biorn.' Mr. Alfred Thompson has designed the costumes, which, if imaginary, exhibit good taste in the disposition of colors and ornaments.

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The cast of Biorn' introduces several singers who were unknown. Elfrida is sustained by Mrs. Fitzinman Marshall, Hela by Mdlle. Corandi, the three Norns by Mesdames Riccobuono, Warwick, and Clare; Biorn by Signor Mottino (baritone. bass); Rollo, Miss Cora Stuart; Ulf by Mr. Coventry (tenor); Eric, Mr. Stone (bass); Hako by Mr. Howard; and Sigurd (bass) by Mr. Dymott.

The execution of the work was attended with mishaps and vicissitudes after the first act, which was a signal success. Before the second act commenced came an apology from the acting manager (Mr. Everett), claiming indulgence for Mrs. Mar. shall, who had been indisposed for some days, but had consented to appear rather than allow the opera

Jakderjiantkilleren.

A Wagnerian Teatraylogy, or Art-poem-libretto, with a good deal of Cupan Sorcery in it, accompanied by some indication of the glorious Unconventional Music of the Future.

(From "Mr. Punch's Pocket Book.")

PREFACE.

This Teatraylogy consists of three parts, and occupies about as many weeks in performance. Of course what is here given can be no more than an inadequate specimen of the whole composition of the All-poe:-musician. Still we have no doubt but that it will be found quits enough for the present, without entering fully into the Mu

The First Part partakes of the character of a Preludian Prologue, and introduces the Hero, Jâk, and the chief characters, with what may be termed the basso-motivo of the Opera-Poem.

The Second Part shows how the Hero Jak, determined to rescue his Lady-love, attacks the Jiants in their Castles.

The Third Part, which is subdivided, shows how Jâk, having still to find his Lady-love, Leetelred Ridinood, seeks the Storrhausen of La Mère Hobbard, who lends him her learned Dog, Waggner, to guide him on his travels. Waggner is soon on the Wolf's trail, but unfortunately Jak's object is defeated by the elevation of the Jiant Wolf's Castle on the rock, which is some 50,000,000 feet above the sea-level. This introduces the Sclavonic

Legend of the Beanstalk. Jak goes out Beanstalking.

And, as he climbs, the elements are set in commotion,

the animal world goes mad, the astronomical system gets hopelessly muddled, and a hitherto inanimate object, suddenly becoming endued with life and motion, elopes with, as might have been expected, its own spooney one. All this offers a splendid scope for the genius of the All-Poet All-Musician Wagner.

The Orchestral Finale of this part is perhaps the finest thing that even this Great Master has ever written. It commences with a tonic description of the "Lofty Diddle diddle," or " High Diddle-diddle" movement by all the stringed instruments in fugue. The diapason is kept on throughout, and the occasional insistance on the minor seventh produces a discord which is now startling. now plaintive, according to the variations on the

Theme.

Then follows the most exquisite, the most perfect bit of animal painting ever known in harmonics, clearly portraying-if notes can ever portray anything, if there is

as indeed there is, a true Language in Notes, a genuine expression of undying Narrative in Music-the first appearance of the Cat. The legend takes her, in the hand of the All-Poet, thus far:

"High Diddle, Diddle,

The Cat. . . ."

The first Diddle is carried as high as fingers which (were made before tuning-forks) will go on a violin, violoncello, or double-bass. But the second Diddle is taken as low as the first was high. Thus producing a striking contrast, and preparing the audience for what is immediately to follow.

-8va....

8va....

[8va....

9:

8va lower.

8va lower.

Then comes the last solo (Der Katzkey), and here Herr Richard Wagner's Mews truly inspired him. Richard Wagner makes no secret of his descent from Richard Whittington, whose family were originally German, and who, had his parents but stayed in their own native land, would never have been Lord Mayor of London. But this by the way; the cries of the Cat are marvellously rendered, piercing and plaintive, fierce and ferocious. Then just at the most intense point of the symphony is heard the the first strain of the soothing violin,

"High Diddle, Diddle,

The Cat, and the Fiddle."

The Fiddle remonstrates with the Cat. The Cat objects to the Fiddle speaking at all, when, thereupon, the Fiddle reminds the Cat of their relationship, and points out that both Fiddles and Cats owe their powers of music to the same cause. This leads to a disquisition on the relative value of Cats and Fiddles, and each discusses his and her own peculiarities in speeches (of course to touchingly and thrillingly descriptive music) of some 826 lines apiece. Finally the Cat and the Fiddle join in the nearest approach to what the "All-Poet" ever admits into his work as an Operatic Duet, which, however, is suddenly broken in upon by a Gigantic Discord. introducing a lovely pastorale. It is night, the moon is shining, the shepherds are slumbering, the flocks are sleeping, the heifers are in the paddock, the cows are in the cowhouse, all save one, which, overcome by the loss of its calf, is careering about the country refusing all consolation. Thus far have we now got in the legend which forms the finale of the first part of the third Act, or Divisional Poem of the Teatraylogy.

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And here, of course, all the resources of a stage arranged for the greatest mechanical effects are brought into play. Of the remainder it would be difficult to speak briefly.

"The Little Dog laughed to see such fun."

The Laughing Chorus of Dogs, all assembled in the Isle of Dogs, is one of those marvellous compositions of which a Mendelssohn might be proud, a Mozart boast, and which would cause a Beethoven to be astonished at his own genius. The Big Newfoundland's Barkarole is a magnificent specimen of the Composer-Poet's art of expressing animal sorrow and fury. While

"The Dish ran away with the Spoon" brings this part to a satisfactory conclusion, amid the roar of the waves, the howling of the winds, the terror of the Man in the Moon at seeing his residence leapt over by a flying Cow. as Jak places his foot on the first projection of the Beanstalk, and commences his perilous ascent. On this picture the curtain descends.

The Second Division of the Third Part, which is again subdivided (but only takes ten days in performance), shows how Jak, having climbed the Beanstalk, attacks Jiant Wolf, rescues Leetel-red-Ridinood and is joined by all the characters who have ever appeared, at any time, in the piece from its commencement. This affords an opportunity for one of the most effective finales, both musically and dramatically considered, in the whole of music.

The Finale alone lasts three days, and is divided into acts, deeds, and processions. All kinds of difficultiesexpressed by a perpetually recurring chromatic scale, interwoven among a perfect network of chords, fugues, and symphonies-are placed in the way of Jak's wedding,

but he overcomes them one by one, passing from sharps,
flats. double sharps, and incidentals into the key of a
tic Bang on the Big Drum, the Art-Poem concludes.
[To be Continued.]

calm C major. Then with one great discord, one Gigan

An Italian on Wagner.

We are indebted to the first number of a new Musical
Review, published in Chicago, for the following:-

Francisco Florimo, a high musical authority in
Italy, published an article in an Italian paper re-
cently on Wagner's music. It is extremely inter-
esting as it reflects the ideas of the Italians on the
subject. The following article is composed of short
extracts from the original, and embodies its substan-
tial points:

In their battle against the true principles of mu-
sic these innovators seek obtrusive, discordant, and
extravagant means of carrying out a conventional
idea which, however highly colored. is cold and al-
most incomprehensible to the general public who,

anxious only for emotional effects, are indifferent as
to whether they are produced by technical skill or
reckless melodies. When music which should be

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idealistic, descriptive, and natural, as conceived by
the author of musical reform and his co-religionists,
exceeds its powers it becomes ridiculous and nega
tive. Even the beautiful itself has limits which are
not to be passed unless the art be in its decline.
Wagner, by force of creating, has exceeded those
limits, and is urging his genius toward a goal un-
known perhaps to himself. He says that to be a
musician one must also be a poet. This is true, but
he should know also that in one single note of mu-
sic is concentrated a greater intensity of feeling
than in many pages of writing. And Darwin tells
us that the ideas or sensations evoked by music ap-
pear from their vague extent and profundity as
though they were mental efforts toward thoughts
and emotions of a very remote period. Italy has
never had so many composers as to-day, and never
have appeared so many operas which, enthusiasti-
cally received at first, are condemned at the third
or fourth representation, or if they outlive a season
are hardly introduced in other cities, and the next
year are consigned to oblivion by popular disappro-
bation. Now why is it that after the lapse of half a
century those works are still called for which, ac-
cording to the believers in progress, have already
had their day? Have "Barbiere," "William Tell,"
Sonnambula," Norma," "Puritani," "Elisire
d'Amore," and "Lucia," gone out of fashion? We
ask no reply nor raise any argument; men of heart
and understanding will pronounce whether such
productions will ever be eclipsed in the artistic
world. It must be reserved for future generations
to decide upon the merit and advisability of a new
style of harmony and a new method of composition.
Nevertheless, it is beyond all doubt that the art of
music is at present passing through a very grave
crisis, and one endangering even her future; but I
dare hope that the brilliant Wagnerian meteor will
be obscured even at its zenith, as soon as the star
of melody appears again on the horizon in all
its purity. When an art declines so rapidly it is
because the very principles have been falsified, and
the only way to effect a revival is by returning to
those principles in all their integrity, and accepting
both the progress made in the path pursued and all
the harmonic developments to which music has at-
tained from the first attempts at a characteristic |
style up to the present time. What do you believe
is Wagner's aim in endeavoring to upset all that has
been done hitherto, and giving to music a totally
different direction? Is it progress? No; he wish-
es to create a theatre and a music entirely national.
With his powerful and far-seeing genius, he has
reviewed the history of his nation, and found that
it possesses a literature, a philosophy, its own pecu-
liar tendencies, everything, in short, except a
national school of music. Mozart is termed by the
Germans themselves the Italian among native com-
posers; Haydn is eminently symphonial, the pre-
cursor of that immense genius, Beethoven, unequalled
up to the present time. Weber has composed one
opera in which he has attempted the fusion of the
two schools. Wagner's desire is to give the drama
a national physiognomy and to create a German
musical theatre. By the force of his genius he has
commenced the reform. but will he succeed in com-
pleting it? We cannot say. Wagner declares Ital-
ian music to be delightful but perverse, exciting,
and corrupting; a princess, perhaps, but certainly
a courtesan; beautiful as Titian's "Venus," and im-

modest as the nymphs of Pietro d'Arezzo. Its only aim, he declares, is to please and enfeeble the mind; to triumph over strong natures by its very weakness, making winning and enticing advances, Lut lowering the effect of its beauty by trivial concessions. It is in this connection that Wagner does not understand Italian music. Instead of being a siren who destroys by her fatal charms, it is the daughter of that divinity whose influence inspired the Greeks to comprehend and portray the eternal type of beauty in their plastic arts, and ourselves to perceive and bring forth the same in song and harmony. Those restless souls who have tenderness and evince a spasmodic sympathy for the music of the future, will learn by comparison to respect in a continually increasing degree the treasures of the Italian musical Parnassus, and will be taught that a school like ours may be reformed, but not extinguished. Italy is the cradle of the sublime and beautiful. Here art is a worship; talent and inspiration the priests, and the public the admiring appreciators of their performances. The palladium of our music will be ever revered. History declares Rossini, from Bellini to Verdi our march has been that from Pergolese to Paisiello, from Cimarosa to from glory to glory, from triumph to triumph; and it is a crime of nationality to attempt to bring into that we may learn from history the true secret of discredit the sacred dogmas of our art. It is said all arts and sciences, since she is the faithful mirror of humanity, in which every art, science, or human undertaking is shown in its proper place and in its proper light, and with its proper degree of importance absolute or relative. Italian music confirms the maxim of the illustrious naturalist, and will find in the experience of the past the way of traversing the future.

Mendelssohn's Birthday at the Crystal
Palace.

(From the London Times.)

That Mendelssohn was born on the 3rd of February, 1809, all who, appreciating his music at its worth, rank him among the very greatest of composers, are aware; and it was no less fitting than graceful on the part of those in authority so to arrange their programme as to make it, to the best of their ability, commemorative of an event of such importance to art. Beethoven alone excepte, no one has helped more towards making the Crystal Palace Concerts, in their most legitimate features, attractive to the public than Mendelssohn. programme of Saturday offers an excellent idea of the varied phases in the composer's many-sided tal. ent, but might with greater advantage, we think, have been so devised as to represent his progress from early youth to maturity. It is, at any rate, well worth quoting:

The

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The adagio in E flat, from the early symphonythe

No. 12," in F-should certainly have come first, and doubtless would have headed the programme, but for the sake of Herr Joachim, who undertook the violin solos, and had also the more responsible task before him of playing the concerto. Beyond that, little mattered. First, or last, the unknown movement would have been welcome, and doubly so had the entire symphony been produced -an example of precocity for which scarcely a parallel could be cited. In his remarks upon this adagio, "G," the always well-informed annotator of the Crystal Palace programmes, furnishes his readers with a very interesting catalogue of the twelve early symphonies of Mendelssohn, now, with the remainder of his manuscript compositions, deposited in the Imperial Library at Berlin, where every amateur may obtain access to them. The specimen brought forward on Saturday can only have engendered a strong desire on the part of the audience to know the entire work, of which it forms the third in a series of five movements. Beautiful from beginning to end, it is not the less valuable on account of the manifest indications as to how the aspiring young musician was influenced by the example and attracted by the ideas of composers whom he naturally must have regarded with veneration. Scored for quintet of stringed instruments, with solo obbligato for violin as principal feature, the adagio has quite a solemn effect, and the studied carefulness of

the execution brought all its merits conspicuously into light. Herr Joachim's interpretation of the solo part for leading violin was worthy himself and the master to whom in his early youth he owed so much, and who entertained for him so deep and lasting a regard.

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down the broad stream of father Rhine. The easy,
independent swing of the Scherzo is full of health
and high spirits as of a young party of foot travel-
lers upon its banks. The Andante, serious and ten-
der, is of exquisite beauty. The Religioso is inex-
pressibly solemn, a very palpable reminder of the
scene, the tone, the atmosphere of high Mass in a
Cathedral like that of Cologne, of which we can
speak from experience; in the startling passage
where the trombones enter in long, bold chords it
reaches the sublime and almost takes your breath
away; there is a strange little melodic figure (a
sort of "Leit-motive,") echoed about from bassoon
to various instruments, which seems like the voice

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Symphonic Poem, Danse Macabre.......Saint-Saëns
Siegfried's Death, Die Götterdämmerung. (New),
From "Der Ring der Nibelungen."
Overture, Fidelio.
Sicilienne.

Rigodon de Dardanus, first time, {

Wagner Beethoven Bach

.....Ramean ....Goldmark

Ballet Music, Queen of Saba. New. Vor der Czarda, (In front of a Hungarian Inn,)..Raff of officiating priests. The final Allegro takes you Schumann's Op. 52,-almost a Symphony, alout into the free air and sunshine, and you seem to go off down the river-side together, full of talk and though it lacks the breadth and weight of thought humor, reminding one another of this or that in which characterize his four great Symphonies-has what has just been witnessed, some one of the party not been heard here for quite a number of years, now and then quaintly imitating (in a playful, rapid with the exception of the Scherzo, which is much manner) that quaint motive in the Religioso. The the most interesting part of it, and which is often rendering of the Symphony was for the most part played by itself. We confess to feeling a certain very satisfactory, although the chances for rehear- dryness in the other two parts, masterly as they are in treatment. The work was finely rendered. sal had been very few and the work had not been given here for several years; but there is this vir. Gade's "Noyellettes" are very graceful, smoothly tue in these great things, that the musician who has flowing little pieces, full of sentiment; yet they once played them never loses the impression. seemed monotonous, and to lack positiveness of Miss GAETANO'S singing confirmed the fine impres-like the old drawings in India ink, or mezzotint encharacter as well as color; affecting us somewhat

How Herr Joachim plays the violin concertothe only one published, although we find another, in D minor, among the manuscripts—is unnecessary to say. To render it more perfectly seems to us impossible. A peculiar interest must always be attached to this concerto when publicly introduced by the Hungarian violinist. The last concert to which Mendelssohn himself ever listened was held at the Leipsic Gewandhaus in 1847, a very short time before his death, when Joachim, still a boy, was the executant. Often as it has been heard in this country, where it was first brought forward at a Philharmonic concert, in 1846, by the Italian virtuoso. Camillo Sivori (shortly before the production of Elijah at Birmingham). it always sounds fresh and young, and on Saturday, as may be imagined, was more than ordinarily welcome. The warmth of his reception appeared at first somewhat to disturb the constitutional equanimity of Herr Joachim; but he was soon thoroughly master of his exceptional means, and played more magnificently than ever. His delivery of the exquisite andante in C major sounded almost like an elegiac tribute to the master whom he loved so much, and the irresistible finale given, in accordance with Mendelssohn's own idea, as quick as possible," an essential condition of the Mendelssohnian family of scherzos, where rapidity and accuracy can be combined, both astonished and enraptured everybody, and the customary enthusi astic demonstration followed. About the Ruy Blus overture and the symphony in A minor ("Scotch ")sion of her lovely voice, her refined taste and exto write a single word that has not been written pressive art. The Mozart aria, to be sure, is of too over and over again would be difficult; but to say uniformly quiet a character for concert effect in a that they have never in our remembrance, here or large hall; besides that the melody is somewhat too elsewhere, been more splendidly executed than on sustained for her best power; yet it was beautifully the present occasion, by the orchestra under the di rection of Herr August Manns, is only a just tribute sung and sincerely enjoyed by those whose tastes to the admirable conductor and the skilled profes- are least corrupted by the high artificial flavors of sors who follow the indications of his bâton. The the modern music. The songs were simply perfect overture was, indeed, as impressive a beginning as both in singing and accompaniment (by Mr. DREthe symphony was a triumphant climax. The two solo songs, both familiar, were given by Mr. SEL). That by Franz: "Im Herbst," is one of the Edward Lloyd with the utmost care and artistic most passionate, intensely sad, yet thoroughly beautiful songs which even he has written; and the singer threw her soul into it with superb effect. Mr. Dresel's charming "Maud" song was sung con amore, with most delicate appreciation; and the quaint Bar carolle of Meyerbeer had all the subtle grace and piquancy required. In response to a persistent encore Miss Gaëtano sang a pleasing song by Gounod. Mr. PETERSILEA played the Rubinstein Concerto, not to be sure with the fire (not to speak of the original improvising force) of its composer, but with a straight-forward, thorough, conscientious execation, avoiding all extravagance, and bringing out its outline and whole structure clearly, winning great credit by the effort. The work itself is full

taste.

Dwight's Journal of Music.

BOSTON, MARCH 3, 1877.

Concerts.

HARVARD SYMPHONY CONCERTS. The seventh programme (for Feb. 15), as finally remodelled to gratify the general desire for more of Miss GAETANo's singing, was as follows:

1. Overture to "Faust"

.Spohr 2. Recit.: "Solitudini amiche," and Aria: "Zeffiretti lusinghieri," from Idomeneo,". Mozart Miss Nita Gaëtano.

44

3. Piano-Forte Concerto, No. 4, in D minor,

Op 70...

......Rubinstein

Moderato-Moderato assai-Allegro

assai.

Carlyle Petersilca.

1. Songs, with Piano-Forte:-

a.

"Autumn Song"

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b. "Come into the Garden, Maud "..O. Dresel "Venetian Gondolier's Song Meyerbeer Miss Nita Gaëtano.

C.

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2. Symphony in E flat. No. 3.............. Schumann
Vivace-Scherzo-Andante-Religioso
(suggested by a religious ceremo-
nial in the Cologne Cathedral)
-Allegro.

of interest; an earnest consistency is felt at least
in the first two movements; although the Cossack

gravings. They were very beautifully played. The "Danse Macabre" always startles and even delights on a first hearing by its quaint audacity; we confess the charm of such things does not last for us.

Of course Mr. Thomas would do his possible to gratify the general curiosity to hear the famous Funeral March in Wagner's Göllerdämmerung,

though the attempt might be beset with as many practical difficulties as Wagner himself found in trying to give his friend an idea of Gluck's music [See first page of this number]. We had expected a whole scene with the Dirge in its connection. Instead of that we had it isolated; moreover those who experienced it in the orthodox way of the Bayreuthian baptism assure us that the instrumen

tation exceeded the means of the Thomas orchestra,

while, even had that been complete, a true idea could only be formed of it in the midst of its theatrical surroundings. Anyhow, it left the audience in a kind of vague wonderment and stupor. No one knew what it meant musically, although dram atically the story had been told us. No one dared In truth the only impression was of a strange, vague, to say he did or did not like it; none applauded. formless mass of most dark, sepulchral tones, with wild bursts of passion, sudden tremendous fortissimos, here and there the rudiments of a march

breaks out in the freakish and rather frivolous Fi-rhythm for a bar or two, but for the most part no

nale. There are passages of extreme difficulty, to
which Mr. Petersilea proved himself fully equal.

march discernible; a vast "wide weltering chaos" of crude harmonies expressing grief and rage, but all tending nowhere, without course or progress, like a land-locked sea upheaving in a storm. Fidelio Overture after it was like passing out of a dark cave, haunted by terrific groans, into a world full of light and beauty,-though the juxtaposition was a strange one. The graceful, unpretending little Sicilienne of Bach was highly enjoyable; and the Rigodon of Rameau seemed so perfect in its quaint, prim way, and was so perfectly executed, that a repetition could not be refused. Goldmark's Queen of Sheba music rather puzzled us; some of it seemed more its coloring, richly and ingeniously instrumented, full of melodic themes; but this one hearing left us rather in the vague. The single movement from the Hungarian Suite by Raff (of which Mr. Thomas gave us the whole last year) confirmed the impression we then got of it as one of the most interesting of Raff's compositions.

THEODORE THOMAS. The return of this celebrated leader with his admirable orchestra has given us more concerts during the last fortnight than any common musical appetite could easily digest:-four in his own name, two in aid of the Old South presThe audience was notably the largest of the sea- ervation fund, one with Misses Adelaide and Magon, and none, apparently, were disappointed. The thilde Phillipps, and two in the Sanders Theatre brilliant Overture to Spohr's Faust-a work con- course at Cambridge-nine concerts in nine days! taining other instances of his happiest and freshest The first was on Monday evening, Feb. 19, when inspiration was played with spirit and precision; the Music Hall was but sparsely filled; it would and it was warmly received. The breadth and maj-seem that people felt fatigued in the mere anticipa-like tragedy than ballet. It was quite Oriental in esty, the depth of feeling, wealth of imagination, perfect consistency, and gorgeous coloring of Schumann's "Cologne, or "Rhenish" Symphony, grows upon one with every hearing. There is no grander opening than this has, with its broad syncopated rhythm; indeed the whole first movement gives you a buoyant and triumphant sense of floating

tion of so great a surfeit. The orchestra showed
the same strength as on the previous visit,-eight
first violins, eight second, 'cellos and basses four
each, etc. The string department has been brought
up again to the unity and precision which it had
before so many members left the organization; the
reeds have all the smoothness, if not all the vitality

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