Il s'élève

Des haleines

Une flamme


similar circumstances in the fifth act of Meyerbeeris tions, and woe to the unbeliever! The overpower. (ADAM.) Ton visage est brillant comme la fraiche aurore; Huguenots," where, too, the distant voices break ing conceit of the egoism of Wagner threatens to

Tes yeux bleux sont pareils à l'azur de la mer.

(EVE.) C'est d'nin reflet du ciel que ton front se colore. out suddenly into the Lutheran choral? Another absorb in itself the independent opinion of every

Je vois dans tes regards suire un vivant éclair. mannerism, not original with Wagner, is the use of musician. Wagner's disciples would force us to say the chord of the ninth. It is a feature, which, oc yes when we think and mean no. Let no one sup

Here the composer has written a duo which, curring quite prominently in the Weber music, has pose us unmindful of the great talents of Wagner. with one exception, is the loveliest thing in the become a tiresome habit with Wagner. As our Concerning the genuineness of them there is but Mystery. article is already longer than we anticipated at the one opinion. It is of their tendency that we now

The exception is the number that succeeds it, outset, we refer only to the first act of “ Tannhaüs- speak.

after a short recitative by the Narrator. A coner" as affording examples enough of this feature. It was our lot to be reared in a household where fused, low, blurred prelude by the strings

Startling, indeed, is the indisputable fact that Bach, Handel, Haydn, Mozart and Beethoven were (which include two harps), leads up to a purely Wagner, who declares himself the open opponent of looked upon as gods. From earliest childhood the exquisite chorus, sung by the voices of nature, all musical trivialities, should be found moulding a "Well-Tempered Clavichord” of Bach, and the It is so fresh, so joyous and graceful, that I style based upon a most artful use of them. Among sonatas of Haydn, Mozart and Beethoven instilled make no apology for again quoting from the these, is further, that hacknied manner of Rossini

, into our young mind a love for the untold beauties libretto (to which we are indebted for it): Bellini, Donizetti, Verdi, and sentimental song wri- of that musical fairy-land where the imagination ters, known as the suspension of the sixth before the chases unrestrainedly the exquisite fancies which

Au premier sourire de Eve following fifth, over the chord of the dominant this language of the emotions suggests, which never

Comme un long fremissement. seventh. Compare with the close of the introduc come to the reality of thought, but tell the heart of

Par les monts et par les plaines tion to “ Lohengrin;" with the role of King Henry, a noble expansion into some great beyond. In the

Se parlent joyeusement. act 1, scene 1 ; his prayer in scene 3; Elsa, act 1, present period of musical whirl the writer gratescene 2; chorus in scene 3; Elsa again,—ditto; fully returns to the principles taught in days long Elsa, act 2, scene 2; Elsa and Lohengrin, act 3, gone by, as the only safe ground upon which to

Et des lèvres de la Femme scene 2; and very numerous others, in any of the stand. operas, as the musical reader may easily discover. Years of study do but strengthen a thousand fold

Sur tous les êtres descend, We see, then, in all this, a want of sincerity on the the conviction that musical purity can be preserved

La création divine part of Wagner. Hear again, what he says of that to us only by following the maxims of these masters.

De son regard caressant. dlererbeer who has furnished hiin so often with the In taking leave of them with whom in our historimeans by which he produces many of his realistic cal concerts we have in the past few months spent

With this the first part of "Eve" closes. effects : "Our theatres are filled mostly with that many delightful hours, the approach to the atmos

Part II, is devoted to the temptation of woportion of our society whose sole reason for going phere of modern effect-music was chilling. The man by Satan. In the voluptuous stillness of is ennui."

passing tribute which we paid to these heroes of a summer night Eve is pensively wandering The disease of ennui, however, cannot be cured music was but the natural and uppermost feeling in alone in the forest, while ber husband sleeps. by any artistic enjoyment, for it cannot be design. our own nature, and a logical result of the lessons She is happy, and yet vaguely conscious of edly dissipated, but only deceived, by another kind we had always learned from their delightfully genial there being something, she knows not what, of ennui. It is the preparing of such a deception teachings.

GEORGE L. Osgood.

lacking in her happiness. Then comes to her as this that the noted opera composer has made his April 5.

the Serpent, not in the vulgar, literal shape, lise mission in art. It is needless to point out more definitely the means he made use of to reach this

but in the far more dangerous and insidious,

M. Jules Massenet's “Eve." desired object of his life. Enough, that he under

because formless, form of the voices of the stood completely how to deceive, as we see from the

(Correspondence of the London Musical Standard.] night, and offers to reveal to her the secret of result he accomplished by imposing upon his wea

PARIS, March 23rd.

her being. Eve listens, and the Tempter bids ried audience the jargon we have already character.

"Eve: a Mystery,” M. Jules Massenet's latest that is to say, according to M. Gallet, passion.

her eat of the fruit of the tree of knowledge, ized as modern, piquant expression of all that is trivial, and which already has been heard in all its

production, is a musical translation of a remarknatural absurdity. This “ deceitful composer goes able poem from the pen of M. Louis Gallet,

Veux-tu posseder la puissance humaine?

Femme, l'amour seul te la donnerą. so far as to deceive himself; and this, perhaps, just

who may fairly claim a large share of the as designedly as he deceives his wearied audience."

This quotation gives the key-note to the whole applause which greeted the cantata on Thurs- of the second part, which falls far below the that the sentimental mannerisms which Wagner has to give you an outline of the story, from which ful whether M. Massenet would care to disWagner says this of another; but who will deny day last at the Cirque d'Eté. Let me endeavor

standard of the first in every way,

It is doubtappropriated from others, whom he would have us M. Massenet has drawn inspiration. In the claim the impeachment of its being too dramatbelieve to be worse than mere ciphers; what musi poem M. Gallet has borrowed but sparingly ic, but such is the case. cian can deny them to be purely realistic, and a from the book of Genesis. His imagination

The conception of it conventional concession to the excitable senses of

is that of an operatic writer, and every note clothes the simple, wonderful history of our those who form the majority of a theatre public? In the quotation from our " Historical Notes."

first parents in a dress at once French, free and might have been written rather for a stage

effective, but certainly fanciful. The dramatis Marguerite than for Eve. This is not surprisgiven at the beginning of this article, reference was made to the noisy din of modern effect-music. In personæ of the Mystery are Adam, Eve, and the ing; indeed, the matter for wonder is rather Narrator, and the conflicting spirits of good the theatrical shackles so utterly in the first

that the composer has been able to shake off addition to what we have already given in evidence of the purely realistic tendencies of Wagner, we call

and evil, who, for the better carrying out of the attention of the musical reader to certain points the author's idea, are happily divided into Les part, than that he should have failed to do so in the instrumentation of Wagner, where he pro- Voix du Ciel, Les Voix de la Nature (forming in the second (and third)—acts (?) duces eftect by sheer physical excitement of the

The last part of the cantata treats of the the Angelic element); Les Voix de la Nuit and Fall, and of the quickly following curse and nerves. Take the well-known music of “ Tannhaus-les Esprits d l'Abime (the infernal element or

banishment from Eden. er." Is not the never-ending movement of that Satan). These voices of heaven, nature, night,

The same qualities rapid violin figure with its ceaseless mechanical rep- and spirits of the deep, are of course rendered which mar the preceding portion of the work etition enough to affect the nerves through pure by the chorus.

here re-appear yet more strongly. Despite the exbanstion ? Again, in the introduction of “Lohengrin” we are fairly wrought upon physically, by tion by the orchestra descriptive of the serenity voice of Satan, and in her turn communicates

The cantata opens with a subdued introduc- warning of the Narrator (who is a sort of

guardian angel) Eve succumbs to the seductive that endless series of simple triads in the highest of nature during the sleep of Adam. The mu

her newly acquired knowledge to Adam. He of the highest wind instruments. These are but sic of the organ, and, strings rises and falls; is not proof against its fascination, and under

swells for an instant and sinks again in a series the sinister auspices of the powers of darkness single examples of Wagner's habit. Another and most fatal-fatal to the art of pure of beautiful modulations, and the chorus sings

man and woman learn to love (for the which music-feature in Wagner's orchestration, is the (piano)

sad blunder posterity has since suffered). Here want of musical form. The form, such as it is in the L'Homme sommeille rous les palmes;

another duo by Adam and Eve is characterized Wagner instrumentation, is radically opposed to Des parfums montent dans les airs: those indefinable axioms upon which is based pure

Sous les splenrleurs des grands cieax calmes

by much force and passion, and the introducTressaillent la terre et les mers.

tion of the harps has a pleasing effect. Of the music as an art. The attempt to paint in orchestral

Dans la solitude première coloring every new turn of the words of the de. Où s'est endormi l'Homme-roi

epilogue, “La Malédiction,” the less said the claiming singer, stifles in the bud the very germ of

S'ébauche un être fait de grace et de lumière

better. It is artistically worthless, and could musical life, viz: organic development of a theme;

Ilomme, tu n'est plus scul. Lève-toi, lève-toi.

be shortly described as pantomime music. The and we see here Warner precipitating himself into

Where the italics appear, the voices change theme of the “Dies iræ " appears in it by fits the depths of sharply defined realism. We refer the from piano to forte, and at the concluding and starts, accompanied by a din of drums, reader to the score of the “ Meistersinger," and “Lève-toi" Adam awakes and finds that he has cymbals, and trumpets calculated to make the again, to the first act of “ Lohengrin.” Would there a companion. I have only one reproach to very meekest worm turn in disapproval. What were space here to comment at length upon the make M. Massenet concerning the whole of this I remember most clearly in the malediction” libretti of Wagner, and their æsthetical purport. A very fine prologue, and that is, an occasional is a terrific crash, as of a hundred cannons bestrong conviction of a tremendous, sensuous under. want of originality, as in the line

ing discharged, with which the final phrase of current will take possession of him who reads them,

Dans la solitude première

a chorus of the “ Voix de la Nature" not for the words merely, but their suggestions. To the physical sense, both in word and in tone.

which recalls memories of Gounod. Then fol. emphasized by the orchestra. As an honest Wagner speaks. This is the very ground-work of lows a long scene between Adam and Eve, who chronicler I must record that this noise seemed, his creatious. Nor do we like the nianner of their lose no time in forming themselves into a lim- however, quite to the taste of the audience, presentation. We are told in the scores as well as

ited mutual admiration society (if I may say so which called loudly for M. Massenet, who, in programme notes-invalnable in their place sure without failing in respect to the charming stan- with a modesty very creditable to him, bowed ly-to believe thus and so of the Wagner composi- zas of M. Gallet.) Example:

his acknowledgments and retired.



The soloists, M. Lassalle, of the opera (Adam), air of Simon, describing the husbandman in the field, Mr. Osgood seemed to catch the character and spirit

Mdme. Brunet-Lafleur (Eve), and M. Prunet old as it sounds, recalls the character to the life; of each little song, and reproduced it to a charm.

(Narrator), also came in for their share of ap- | all the more that its phrases are familiar, that the The same may be said of the more artistic Italian

plause. Mdme. Brunet Lafleur has a sympa- | tune is almost the same that Rossini caught again songs by Carissimi, Salvator Rosa, and the elder

thetic, well-trained voice, admirably suited to

her rôle; but both she and M. Prünet found from nature afterwards, at a quicker tempo, in his Scarlatti (1660-1700).

their powers rather overtaxed by the size of the Zitli, zitti, and that the orchestra, so richly occupied These are more conventional in style, more formal

hall. The chorus, under the direction of M. (how friendlily the bassoon runs along by the side and artistic, with perhaps less individuality, and

Lamoureux, left nothing to be desired; and of the voice !), borrows a hacknied subject from the yet quaint and graceful; but the wild strawberry

the orchestra was well up to the mark, as "Surprise" Symphony. The Trio and Chorus: flavor has become tamer in the garden fruit.


“ Be propitious,' the Duet of Jane and Lucas: Most interesting of all was the melody from a

Example is contagious in music as in most
things. There are more cantatas promised us

“Spring, her lovely charms unfolding,” the chorus Glee by Hassler (1601): “ A pretty face has turned
shortly, conspicuous amongst them one by M.

of girls and youths, in short all of this Spring music my head”; for the reason that the tune of the Cho-
Saint-Saens, entitled “Sampson,” and a work is delicate and full of Spring; and the closing chorale: “ Herzlich thut mich verlangen,” which occurs
of M. Gounod, “ Jesus on the Lake of Tiberi-

rus of thanksgiving is impressive in spite of what so often, harmonized so variously, in Bach's Passion
as:" both announced for performance at the we have said above.

Music, is evidently borrowed from it; when the
Concert du Chatelet next Friday, together
with the finale of Beethoven's “ Choral Sym- der Storm, so skilfully prepared with recitatives and and yet how different the expression under its new

In the “Summer,” the salient point is the Thun-choir sang the Chorale, there was no mistaking iti

phony.” The whole of the last-mentioned gi-

gantic work was executed at the Conservatoire lowering accompaniment, and worked up to a ter- harmonic dress !

on Sunday.

rific climax with chorus and orchestra. The transi. Besides the Bach Chorale, the work of the choir

M. Franck's oratorio “ Redemption,” given tion to the softer chorus after the passing of the was limited to three short specimens: a five-part
recently at the Salle Ventadour, is commented storm : “Welcome, gentle sleep!”seems too abrupt, chorus : ""Blessed are they" by Heinrich Schütz
on favorably by the critics. Good Friday will

and lacks the true sense of Beethoven. But the (1636); a Miserere by Caldara (1720), and a Regina
be celebrated in the churches here by the per-

Summer” has many very fine traits. The bass Angelorum by Durante (1740),--all good, effective
formance of Haydn's “Seven Words of Christ,
at the Eglise St. Paul, and by the execution of air about the shepherd driving out his flock, the pieces of harmony, especially the second. They
the unfailing “Stabat Mater” at St. Eustache. glorious mounting of the Sun (trio and chorus); and were beautifully sung.
A version of the “Sept Paroles de Christ” is especially the tenor Cavatina and recitative about Mr. Boscovitz, who has the art of making these
also promised at the Madeleine.

the intense heat: “ Distressful nature fainting sinks,” | old things interesting,-even the more dry and for-
As to the “Fête d'Alexandre," in consequence
of the success of “Eve," and of M. Gounod's are, taken with the instrumental figures, singularly mal of them.—by a certain piquancy of touch, and

perhaps more light and shade than they have any
“Gallia,” its production this season may be graphic.
looked upon as problematical. ·

In the “Autumn" we have the most stirring of pretention to in themselves, chose, for his first exam-
hunting choruses, followed by the still more rousing ple, and by far the most important and the best,
Wine chorus, with the imitation of the bagpipe ant the not quite unfamiliar “Chromatic Fantaisie and
the fiddle: is there not wonderful vivacity and pow. Fugue” by J. S. Bach ; then a Prelude and Fugue

er here for an old man of seventy! But perhaps by Kirnberger, one of the most genial as well as
BOSTON, APRIL 17, 1875. the original thing of all is the song and chorus of contrapuntally learned of Bach's immediate succes-

the “Spinning Wheel” in the “Winter ;” the sors; then a Chaconne, an Air, and a Hornpipe out

Haydn's Seasons.

“Wheel moves gaily," but the mood is minor and the of Handel's Suites ; a so-called “Sonata” by the

The HANDEL AND Haydn Society, after giving us

pensive mind broods on. The instrumental picture younger Scarlatti, very slight in respect of musical

a very pleasant taste of “ Spring” in their last May of the approach of Winter, and the tenor air de contents, but made to be very swiftly, deftly played,

Festival, are now ready to fulfil the promise and, scribing the traveller perplexed and lost amid the as an astonishing display of skill in the finger virt-

uoso of that day. He ended the concert with a

with the charm of Haydn's music, lead us round the snow, are quite as characteristic as t’e music of the

other seasons.

circle of the Seasons.” It may help to interest

Concerto per il Cembalo, by Bach's son Philip Eman-

who are meaning to attend the concert of

uel (1714-1788); if we could remember our impres-


Wednesday evening, April 28, to add bere a few

Historical Concerts.

sion we would try to give it!

words about the work,- not altogether new, nor

In the third programme we find ourselves in what

The second and third Concerts of Messrs. Osgood

could anything new be easily said. Still these hints and Boscovitz, (Feb. 25 and April 2), were interest- The Sonata through Emanuel Bach and Haydn had

may be called the Sonata period of piano music.

may be a reminder of some of the good things in a ing and instructive. Of course, limited as they are

work long out of mind.

become a developed form, reaching its highest ex-

to the pianoforte alone, the specimens of instrumen pression in Beethoven. Mr. Boscovitz played first

The “Seasons” was the last work of Ilaydn, com- | tal music (without the viol family, for instance, several smaller pieces, single movements, tending

posed about the year 1798, when he was nearly sev. which played so important a part from Bach's and

enty years old, and certainly displays a marvellous Corelli's time), could only partially illustrate the Capriccio by that learned theorist, Marpurg, 1718-

that way (a strong, if somewhat formal Prelude and

degree of vigor and vivacity of fancy. In some re- stages of development. In the department of Songs 1795 ; a Bonrée, a bright and pretty play of fancy,

spects it is more interesting than the “ Creation,” it was easier to do; and in that of choral music by Krebs ; a Sindio by Grazioli, and a Fantasia by

though many of its passages are only reproduced with the aid of the well-trained small choir, signifi

. Turini). Then, jumping Ilaydn ; jumping Mozart

from that and sound, with all their elegance, but too cant examples, though necessarily few and far be-

so far as the full Sonata was concerned, but playing

familiar, As a whole, it plainly suffers from its am tween for want of much more time, could be, and

biguity of character, being secular, pastoral, alınost were presented. In the very nature of the case it Turkish March from one of his Sonatas,—the latter

en passant his first charming Rondo in C, and the

operatic in its real inspiration, prompted by the im would be unreasonable to expect much more than

pulse to paint the changing phases of Nature and the scattered, desultory hints, instead of full and satis it was in fact no representation of Mozart,- he gave

in the extravagant transcription by Tausig, so that

simple joys of country life, while at the same time factory illustration, of the music of these centuries.

striving to secure some of the dignity of Oratorio. Some of the instances too, quite naturally, would the third Sonata, Op. 10, in D, that with the sub-

us the Sonata in its glory à la Beethoven. It was

It is in just these graver and would be grander parts seem more quaint and curious, than really signifi: lime slow movement (Largo) in D minor, which

that it is weakest. The more elaborate contrapun. cant. Still, with the help of Mr. Osgood's well

tal choruses certainly do not compare with “ The considered " IIistorical Notes,” to furnish the con-

made a profound impression. There could be no

Sonata after that (except from the same exhaustless

Heavens are telling” and the other grander mo. pecting links, the chain of continuity was obvious.

ments in the “ Creation.” But in the lighter and

descriptive portions, which form nine-tenths of the Songs, (some of which had been passed over in the merely conventional and utterly empty Sonata by

The second concert was largely occupied with source); and Mr: Boscovitz went to the opposite

extreme in his remaining illustration, that of a

work, we find it richer than the Oratorio. And preceding concert). A long and curious string of the French Méhul (1763-1817), who could write a

what variety and contrast !

them, and some of them quite quaint and sweet in good opera of “ Joseph and his Brethren,” and, like

The Overture, portraying the passage from Win their simplicity, now playful and nuive, now full of all musicians of his time, could put some graceful

ter to Spring, is a fine orchestral piece, answering tender pathos ! Such were the various German

its purpose well; though less quickening to the Volkslieder, seven of them, from the 13th to the 16th finger exercises into a Sonata form for pupils

, with-

fancy than Mendelssohn's treatment of the same sub century, melodies which sprang up like wildflowers, tion really served no purpose, unless it were to show

out much thought of contents (Inhalt). The selec-
ject in the prelude to the Walpurgis Night." no one knows how, nor just precisely when; bear: that Sonata-writing wás a matter of course with mu-
The chorus: “Come, gentle Spring,” is simply ing no author's names; the music of a "sad sinceri sicians in that day; but where it wns creation, po-
perfect, the very breath and soul of Spring is in ty” and joy alike sincere, a quality which grows etry, with one or two, it was manufacture with the
those fresh, delicious harmonies. The homely bass more and more rare in modern song composing. I hundreds.

The Choral pieces were: one in five parts by Anglais obligato; Air from Mignon, (Miss Cary); ent season; and for the simple reason that the mu-
Hrydn: “Lo, my Shepherd's hand divine," which Trio from William Tell, sung by Messrs. Bischoff, sic-loving public, probably from sheer satiety after
did not strike us as one of the choice gems of Haydn's Remmertz and Whitney; Overture to Tell.

so much musical excitement, seemed quite indiffer-
art, as did the Mozart Ave verum, which is a Second Night. Oratorio Elijah, Mendelssohn ent to so rare an opportunity. To have given it
most satisfying and perfect piece of rich, pure, de- The Solos by Mrs. Smith, Miss Whinery, Miss Cary again, at so unpropitious a moment, would have en-
vout harmony. For the rest, the concert closed Miss Cranch, Mr. Whitney (as the Prophet), Mr. tailed a serious loss. Strange, that crowds can still
with smaller part-songs: a beautiful and tranquil | Winch and Mr. Bischoff.

be drawn by the tom-foolery of “spelling matches"

one by Kuhlau (“Over all the tree-tops is rest "); Second Matinée, with chorus of the school child. (were Wagner here, he might compose a spelling

then a three-part Canon for male voices, which ren, who are to sing a Prayer by Gruck; “ Night opera,—the Meister-speller), while a great musical

Beethoven composed when a pupil with Albrechts- shades no longer," by Rossini; a Cantata in “ Praise work of genius lacks audience !

berger, but which is hardly worth more as an illus- of Friendship" by Mozart, with solos by Mrs. But Cecilia had her revenge, in a more private

tration than the classical Three blind mice ;” Smith, Miss Whinery and Miss Cranch; “Strike social way, by inviting her friends to Horticultural

probably a thing he wrote down idly on the back of the Cymbal,” by Pucitta; and “My country, 'tis of Hall, on Wednesday evening, and there singing it

the bill of fare alter dinner !-finally two rather or-


Holy Night,"

Mrs. Smith sings the "

dinary part-songs, one a Volkslied:

Spirit Song" by with simply the pianoforte accompaniment. And


the other, “German Consecration Song” by Meth- Haydn, and “Springtime" by Fesca; Miss Whinery, the entertainment was really delightful.

“Infelice" (Concert Aria), by Mendelssohn; Miss was lost in some degree in the great spaces of the
Mr. Osgood sang two of the less familiar and Cranch, “Vaga Donna” from the Huguenots ; Mr. Music Hall, was here appreciated more nearly at its
and “ Piercing eyes ; " Beethoven's sweetly solemn. Bischoff

, Schubert's “ Die Allmacht," and Aria from full value. The remarkably fine voices which com-
beautiful setting of Mignon's “Knowst thou the “ Tell”; and Mr. Whitney, the Pedlar's Song from pose this chorus, were at least fairly heard for once,
land ?”; and three well contrasted songs by Schu. Mendelssohn's “Son and Stranger.” The orchestra and the excellence of their singing was appreciated;
bert: the “ Barcarolle, ”“ Am Meer.” (By the Sea), plays a Festival Overture, by Ed. Lassen,

“ Huldi. | their sound was neither covered up by an overpow-
to us he never sang with truer feeling and with finer gang's Marsch," by Wagner, and the “Devil's Darn- ering orchestra, nor lost in space. The singers,
taste; and as he had Mr. DRESEL for accompanist, ing Needle,” which is a Strauss waltz.

too, had given it further practice, and felt more at
all of these songs had fullest justice done them. Third Night, Thursday, offers two great works : home in the music; and it was sung much better

The fourth and last Historical Concert will be Bach's Magnificat in D, (first time in America), for than before. The chorus with Soprano solo at the

April 30.

solo voices, chorus, orchestra and organ; and the end of the second part: “Sleep on," was as pure

Musical Festival in Cincinnati.

Ninth Symphony. Who would not like to be there and perfect a piece of chorus singing as we ever

and hear!

heard; equally fine was the solo in it by Miss Beebe,

Encouraged by the success of their first experi.

Third Matinée. Beethoven's Overture, op. 124, (who sang the part of the Peri throughout with
ment in 1873, the Cincinnati Committee have been

(“Consecration of the House”); Beethoven's Arietta : great sweetness of voice, purity of style, and true
very busily engaged in preparing and in heralding
a second great Musical Festival, which, according to

“ In questa tomba,” (Whitney): Mozart's “Dove artistic feeling); and how rich the undercurrent of

Sono" (Miss Whinery); “Be thou faithful,” from Sl. the bass voices as they came in with their suggest-
the “official” programme, filling a pamphlet of fifty Paul (Winch); “Che Faro,” from Orfeo (Miss ive independent motive! The series of choruses
pages, seems to be relied upon to outshine all that Cranch); Introduction to 3d act, Walther's Prize with solos which compose the grand exciting scene
has been done there or elsewhere heretofore. It
will occupy four days (May 11, 12, 13 and 14). Its Song, and the Overture, to Wagner's Meistersinger. at the end of the first part, were given with great

-Second part: Overture to Oberon, followed by spirit; and the light romantic choruses of the Genii
inspiration has come this time, as before, from
Theodore Thomas, who is to direct the whole, and Quartet from the same : “Over the dark blue waters’ of the Nile, the Houris, &c., were exquisite.

(Miss Whinery, Miss Cranch, Messrs. Winch and The solos, with the exception of Miss Beebe, were
whom his loyal Committee, in their pamphlet, glo-
rify as the man to whom we in this country ove all Bischoff); "Pietà," from Le Prophéte (Miss Cary); given as before, and all won merited applause, Miss

“Ob ruddier than the cherry,” Handel, (Whitney); | Ira Welsu still growing into favor. The principal
oar "appreciation and love of what is purest and

Liszt's Rhapsodie Hongroise, No. 2, for orchestra ; solo for the baritone : “And now o'er Syria's rosy

best in music," even "what is known as classic mu-

sic,” (though not a few of us remember at least Quartet by Verdi (Mrs. Smith, Miss Cary, Messrs. plain,” omitted before, was beautifully sung by Mr.

Bischoff and Whitney).

Winch; if it produced no marked effect, it was be-

fancying we loved it before he was born).
Mr. Thomas has for adjutants, Mr. Otto Singer, bert's great Symphony, No. 9, in C, of the

The fourth evening Concert begins with Schu-

cause the music is of a quality which (like many of

heav- the finest passages of the work), requires a closer
master of the chorus, which is very large, and Mr. enly length”, after which Wotan sings farewell to knowledge for the appreciation of its beauty.
Dudley Buck as organist. The principal vocal per- Brunhilde, and stirs up his magic wild fire. After -Altogether, the performance was a remarkable
formers are Mrs. H. M. Smith, Miss Abbie Whinery, the Intermission, the Festival concludes, as it began, success, and nobody will doubt now that The Cecil.
Miss Annie Louise Cary, Miss Emma Cranch, Mr.

with one of the prophets of the New School, name ia is one of our musical forces by all means worth
Wm. J. Winch, Mr. H. Alex. Bischoff, Mr. M. W. ly Liszt, whose Symphonic Poem “ Prometheus,” preserving. It has shown what it can do; we look
Whitney, and Franz Remmertz,-largely drawn

with solo voices, chorus and orchestra, will be for still better things from it another year.

from Boston. There is also to be a chorus from the


The only drawback in this repetition was, as we

public schools. The orchestra, carefully enlarged,

Surely variety enough, and much that will be have said, the want of an orchestra. Mr. Lana's
numbers 15 first violins, 15 second, 10 violas, 10

most interesting! The “classics” of the Future (if attention had to be divided between conducting and
'cellos, 9 double basses, 3 flutes, besides piccolo, 4 they live long enough, they may earn the title), have playing at the piano, in which latter task he was
oboes and English horn, 4 clarionets, 1 bass clari- almost the lion's share ; but whether they tend to relieved from time to time by Mr. Tucker and Mr.
onet, 4 bassoons. 4 horns, 12 cornets, (probably for

“ elevate the standard” in music, whether in excit- | ARTHUR FOOTE, a graduate of the last class at Har-
the heralds in “ Lohengrin”), 3 trombones, 2 tubas, ing wonder and sensation, they at the same time vard.
drums, etc,
The scheme embraces four evening Concerts and book has it), lacks as yet the full test of experience. N. Y. Philharmonic Society, on Saturday evening
serve the “ Religion of Art,” (as the programme

New York, APRIL 12. At the fifth concert of the

three Matinées. Brahms heads the grand tone-pro- The term is not too strong a one for such love as one

cession, on the opening night, with his “ Triumphal

March 20, the following programme was given:


feel for music of Beethoven, Bach, etc.; are

Hymn,” op. 55, for baritone solo, eight-part chorus, there, perhaps, two Religions, wide apart as these

organ and orchestra ; and the Seventh Symphony and Wagner, and will they ever meet, one going

Symphony No. 1, in D....


1. Adagio ed Allegro. 2. Andante. 3. Finale

of Beethoven follows. Then an intermission of from

East, the other West ?

Concerto for the violin (new).


half an hour to an hour, for promenade, etc., and the

second part consists of the Prelude and selected about the artists, the works to be performed, the

The pamphlet abounds in all needed information

Dr. Leopold Damrosch,

Overture, “ Leonora," No. 3....


scenes from “Lohengrin.”

hall and all the arrangements, and spares not the

Symphony No. 3, in A minor, op. 56 [Scotch.]


First Matinée, Wednesday. Second Overture to

superlatives, with a pride quite natural to so formid Overture, “Flying Dutchman".

Ironore, Beethoven ; “In native Worth,” from the able an enterprise. The Festival will no doubt ex-


In Mczart's graceful work passages of airy playfulness

alternate with themes of grave tenderness, almost sadness
Creation, (W. J. Winch); Aria from Mozart's Tito :

cite attention far and wide, and will repay a pilgrim- Although in all of Mozart's music there is a smile behind
" Parto ma tu ben mio," (Miss Cranch, with clarion-

age to our sister city of—not now the West—but what the composer called his misty Scotch mood;" and
et obligato); Scherzo from Mendelssohn's Refor-

a wonderfully suggestive mood it is. There is nó finer.
mation" Symphony: Aria from Meyerbeer's L'Etoile

piece of tone-painting.

Both these works, as well as the “Leonora” overture,
du Nord, (Mrs. Smith); Hungarian Dances, Brahms. “ PARADISE AND THE PERI." The repetition of were well performed. An attempt to play the overture
-After Intermission: Overture and Wolfram's Ro. Schumann's beautiful Cantata, as announced to be Wagner's earliest style, resulted in utter failure, the
mance from Tannhäuser ; a new “Meditation” by sung by The Cecilia, with the Harvard Orchestra, piece being distorted almost beyond recognition. It is no

disgrace not to be able to play Wagner's music, which

Gounod, p'ayed by all the violins, with Corno l' in the Music Hall, had to be abandoned for the pres opens a field of special study and demands an immense

Special Notices.

piano and orchestra, No. 5, in E flat, Op. 94, played by expected of her. She cannot help being the child | Down in the dewy Dell. Trio. 4. Ab to f.

amount of practice, but it is unfair to give performances interests at stake. We commend the reticence of which are merely a burlesque of the composer's style. Mr. Gye's announcement, therefore, and hope it may [Is it not sometimes a burlesque on itself? Ed.]

be accepted as a model for all future time. Dr. Daxarosch is an excellent violinist, and a musician The manager, it will be observed, has not added

DESCRIPTIVE LIST OF THE who has rendered valuable service in the advancement of many fresh names to his list of artists. Nor, on the other hand, has he taken any away from last sea

L A T E S T music in our city; but the most indulgent of his hearers

M U S I C , must have found his violin concerto disappointing and son's roll. In point of fact it may be said that, sub Published by Oliver Ditson & Co. wearisome. A good deal of skill and ingenuity as well as stantially, the troupe of 1875 is that of 1874. How hard study were shown in its construction; but the work much this statement involves need scarcely be

Vocal, with Piano Accompaniment. is not artistic nor well balanced.

pointed out. It means Patti, Albani, Vilda, Mari.
mon, D'Angeri, Sinico, Scalchi, Nicolini, Bolis,

Mr. Varley's Songs.
Next on the concert-list came Theodore Thomas' sixth

ea. 40

No. 10. No more.
Bettini, Graziani, Maurel, Cotogni, Faure, Bagagio.

3. C to g.

Boott. and last Symphony Concert of the season, which took place at Steinway Hall on Saturday evening, April 10th; lo, Capponi, Ciampi—not a bad company, we believe, “Earth looked like Heaven, a little while, two symphonies were performed in each of which the com and one that many a subventioned manager would

And then,-no more!"

All Mr. Varley's selections are characterized by a poser was represented at his best. Mozart by his Sym- give his eyes to possess. The season might run its

very perfect taste, and this is no exception to the phony in C, called “ Jupiter," and Beethoven by the sub course very well with such a band of artists, but, as

rule. the public look for some new faces, Mr. Gye prom. lime seventh symphony, which is the very crystalization of

ises five débutants

, respecting whom nothing is said Sleep On. (Cradle Song). 4. G to a. Warren. 30 the fulness of his powers. Both of these great works and nothing known. The chief of them, indeed,

Sleep on, sweet babe, were splendidly interpreted, and the concert was such as Malle. Thalberg, has never yet appeared on any

The storm dies slowly away.” befits the close of a season of more than ordinary success

Melorly and accompaniment fit together to a stage, but comes to us, so to speak out of the dark. and artistic significance. The only remaining number

charm, and the song is worth siuging to the best It is not the fault of this young lady that much is baby in the land. upon the programme was Rubinstein's new Coucerto for

of her parents, but, nevertheless, their reputation Mme. Madeline Schiller. It is a work to be read between

Smart. 50 will be present to the minds of the audience when the lines and not hastily judged; the themes as a rule are

"And the tender blue harebell, she appears; and in proportion will they raise their

Bends 'neath the Zephyr's wing.” given out boldly by the orchestra, repeated by the piano,

hopes. Report goes that Malle. Thalberg possesses An elegant trio for ladies' voices. and elaborated in a manner which would fairly test the

the requisites of eminence in her profession. This, powers of such a Titan among pianists as Rubinstein,

White. 60 we trust, will prove to be the case, for the sake of Tell, Sister, tell. Duet. 4. F to f. Mme. Schiller played the Concerto intelligently and well,

" Round about the earth we rove, the name she bears, as much as for that of the thereceiving two rounds of applause after her performance.

Weaving spells of joy and love." atre which will run the risk of her debut. The reWe have had a week of English opera, at the Academy,

One of the prettiest of fairy duets. Would be maining new comers— Malle. Proch, Signor De

very taking in a school concert or exhibition. by the Kellogg troupe, beginnivg March 29th and termi

Sanctis, Herr Seideman, and Signor Tamagnonating April 3d. Balfe's posthumous Opera, “The Tal

arouse no feeling of any sort. They will be patient- Amalia, or Roman Charioteer. 4. C to e. isman," was among the works represented. The attendly waited for, and, no doubt, received with the cold.

Millard. 60

“Sul ali del pensier.". ance was small and the performances do not call for

ness shown by a Covent Garden audience towards Italian and English words. Already noticed in extended notice. These representations are patronized all absolutely unknown people.

its Soprano arrangement, but is become so famous chiefly by a class of people who, while regarding the legit

In other respects, the personnel of the establish as to need the CONTRALTO arrangement with simimate Italian Opera as but little better than a device of ment remains unchanged. Signor Vianesi and

plified accompaniment. the evil one, take to it kindly, on local or patriotic

Signor Bevignani continue at their post as joint To the Meadow. (Il Prato). 4. Ab to g. grounds, when it is clothed in ill fitting English and interconductors ; Malle. Girod will be again the princi

Marini. 30 preted by American singers. I can imagine a kind of pal dancer, in association with two strangers, Malle.

“Gia nel ciclo amica stella, English Opera which would be a very pieasing addition to

Lo! the friendly star of evening.”
Ricci and Travelli; Mr. Carrodus · leads " the

The words have the advantage of Mr. T. T. Barour fund of entertainments and doubtless we may some orchestra, Mr. Betjemaun the ballet ; Mr. Pittman is

ker's fine talent for translation, and this and similar time bave a theatre, like the Opera Comique in Paris, again organist; Signor Corsi superintends the cho songs are heartily commended as having the grace where the performances are artistic and refined without rus, and M. Desplaces acts as stage-manager. With

and easy flow of Italian music without its usual dif

ficulty. being stilted, and where the singers attempt no more than regard to the chorus and orchestra, Mr. Gye bids

Instrumental. they can fairly perform. Miss Kellogg is admirably fitted us look for considerable augmentation on particular to take part in such an enterprise, as all know who have occasions, which means, it is to be presumed, when

Charming Compositions of Teresa Carreno. heard her sing in “ Crispino" or “Fra Diavolo," and kin Herr Richard Wagner dominates the scene. Other

No. 8. Dance de Gnome. (Octave Study). wise, these important bodies will be in numbers as

4. C minor. dred works. Max Maretzek began a brief season of Italian Opera on in excellence, what they have been in seasons past.

Somewhere about the 5th page of this, to rest his Friday last with Flotow's. L'Ombra.” This opera which It must be granted that Mr. Gye has done well to

aching wrists, the player will naturally stop, and

turn to the title to see if it really says "charming.' is written for four voices only, without chorus, is said to keep his “old guard” about him. They have done But it is splendid “ wrist” practice, and good bear a striking resemblance to “Martha." The affair their devoir in by-gone campaigns, and nobody who

music after it is learned. seems to be arranged for the purpose of enabling two owns a sword of proof lightly throws it away for & La Favorite Galop. 2. G.

Aronsen. 40 young debutants to sing in public on the stage, and it is new weapon, however the virgin steel may glitter.

Commences in C, and ends in G. Very ncat and probably highly gratifying to all concerned.

Turning to the repertoire of the season we find a bright Galop. The Mendelssohn Glee Club gave their third concert list of four operas, concerning which it is said that (ninth season) on Tuesday evening last. These concerts, at least three will be produced. Two of the four are

Meadow Pink. Brilliant pieces easily arr. by revivals: Gounod's Romeo et Juliette being promised

Chas. V. Cloy, ea. 30 being private affairs, do not come within the line of newsafter a retirement of seven years; and Semiramide

No. 1. Mazurka. paper notice; but I may say that the programme was very

3. EO

66 2. Waltz

Rossini's opera is

after a much longer withdrawal. interesting, embracing songs by Schumann, Mendelssohn,

2. G. often played at the other houses, and, therefore,

" 3. Polka. Schubert, Wagner and others. At this concert I heard

2. G. will hardly excite curiosity, even with Mdme. Vilda

14. Quickstep. 2. C. several pieces of Chopin-music charmingly played by Mr. Richard Hoffman, who also played two of his own compoas the Queen, and M. Faure as Assur. The case is

Truly the “ Pinkings of Perfection” for easy difterent with regard to Romeo et Juliette. We have,

pieces. Intended, perhaps, for beginners, but are sitions.

good enough for anybody. its true, no longer a Mario to look and act the Mr. Thomas announces two extra concerts, the last of lover in perfection; but Nicolini is a good substi

Oh! Soft Sunshine. Idylle. 3. F. Lichner. 40 the season, for Friday evening April 16th and Saturday tute as times go, and Patti remains, a better Juli

An exceedingly graceful and neat piece, such as afternoon April 17th. At the evening concert Beethoven's

one might suppose to have been writien under the ette, if possible, than ever. For others reasons it is influence of the soft, hazy sunshine of Mayor symphony No. 2 in D will be performed, and at the mat

well that Mr. Gye has succeeded in removing the October. inée Mendelssohn's “Reformation symphony. Miss

obstacles to our further acquaintance with an im Waltz and Polka. 2. G. Rose Coggeshall. 30 Annie Louise Cary will sing at both concerts.

A. A. C.

portant, and, in some respects, very interesting Two short pieces; the "Hope Waltz," and the work. Herold's Le Prés aux Clercs is the third “Spring Flower Polka.” Both very musical and

Royal Italian Opera (Covent Garden.) opera promised, but we fear that our chances of
hearing it are not great. Mr. Gye announces no

Beauties of Ruy Blas. Marchetti.
(From the Musical World.)
cast, neither does he say to whom the labor of

No. 3. Waltz.

3. G. Knight. 30 Mr. Gye has issued his prospectus of the coming adapting the opera for an Italian stage has been A bright waltz with a favorite air for basis. season, which will begin on Easter Tuesday, with a entrusted. This disappointment, however, can be

Books. performance of Guillaume Tella good beginning, borne, provided the promise of Wagner's Lohengrin as far as choice of opera goes, and a vast improve

LOUIS KÖHLER'S PIANO STUDIES. be faithtully carried out. Hardly, we imagine, ment upon the Trovatore and Traviata of a few

would an manager venture now to trifle with the Op. 166. Technics for Middle Classes. years back. The document will strike every one as public curiosity about Wagner's operas.

Time was
Book 1. Scale Studies,

$2.00. almost stern in its business simplicity. when only a few cared for them, the rest being con

2. Studies in Chord Form, 2.00. mercial “report” could be less marked by gush. tent to remain in ignorance. But now amateurs are One must consider Köhler a teacher of great exNothing, save the orchestra, has a word of praise ; in earnest, and indisposed to put up with further perience ind great success. None provide better and even the prime donne are passed with a simple disappointment.

than he for the technical needs of scholare. In mention of their names. This is as it should be, for Mr. Gye, we feel sure, will do what he has said

Book 1st are Scale passages, arranged so as to give

an immense deal of practice in a short time. In two reasons; first, becanse only thus can the oper.

and the event of the season, the talk of the Book 20 are Chords, Arpeggios, etc., skilfully atic prospectus redeem its character; and next,

season, we may, perhaps, add the success of the sea adapted to the same end. because the public do not want to be told through

The books are warmly commended to the notice son, cannot fail to be Lohengrin. In the cast we

of practical teachers. its means who and what they are to admire. Fa find the names of Albani, D'Angeri, Proch, Maurel, miliar operas and well-known artists have had their

Bagagiolo, and Nicolini; and as scenery and deco. ABBREVIATIONS. Degrees of difficulty are marked merits appraised already; while with regard to new

rations will, doubtless, prove worthy of the Royal 1 to 7. The key is marked with a capital letter: as C, B works and débutants, the proof of the pudding is in

flat, &c. Asiall Roman letter marks the highest note, Italian Opera, we may expect a performance of

if on the staff, an italic letter the highest note, if a bové the eating, and not in the words of those who have

merit sucli as the composer himself would applaud. the staff.


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OLIVER DITSON & CO., BOSTON. All Accompaniments of the Vocal Pieces can be Played either on the Piano or Reed Organ. . Either of the following Pieces will be sent by mail, post-paid, on receipt of the retail price. Try this mode of buying music! Persons living among the Rocky Mountains can procure music in this way

quite as conveniently as those near a great city.

Old and Young alike will be pleased with
An American Song with Italian Translation.


Song and Chorus by C. E. PRATT. "Breathe again those Sweet Words, Darling."

“ You were dear when life was summer,

Beauty shone upon your brow." Solo and Chorus, by CHAS. D. BLAKE.

Or, THE ROMAN CHARIOTEER." Answer to the immensely popular song, “ Bye and bye has come and vanished,

Words by GEO. COOPER.

And our locks are streaked with gray,
Cares your loving words have banished,

Price 30 Cents.
They grow sweeter every day.”
" Awake! Arise, at Love's sweet prayer,

In Mr. Wilson's best style is his
Amälia! Amälia!

A song and chorus written in Mr. Blake's best

SONG." I win or die for thee." manner;—which is sufficient recommendation.

A Reminiscence of Saratoga Lake. By G. D. Wilson. Highest note on E, (fourth space). Picture Of uncommon merit. One is inclined to cred

Price 60 Cents. Title. Price 50 cents. it Mr. M. with a sort of “Beethoven” inspira

Reminiscence or not, it is a sweet, simple and tion as the style is something like that of richly melodious piece. Fine Picture Title.

Adelaide" by the great master.
A fine Picture Title adorns
Highest note on Ab above the staff. Key of

Brilliant Military Music, is
Eb for Sopr. or Tenor. Also published in the 16

Key of C, for Baritone. Price 60 cents.
Song and Chorus, by W. H. BROCKWAY.

Esquisse Militaire, by F. BoscovITZ. Op. 60. A really fine Song, made out of # My joy each day, my dream by night,

This lively music is introduced by a few measures imi. My rose in winter drear.”

tating“ a flourish of trumpets,” which is speedily followed Words by George Cooper, and the words, music

by a quick, rattling fire of notes, which is continued to and general appearance of the piece are alike taking and

the end. One can almost see the gay ranks of cavalry as elegant. Highest note on E, (fourth space).


they prance past to the inspiring strains.
Price 40 Cents.
"The year grows green, and the year grows brown,

Price for 2 Hands, 50 cents; 4 Hands, $1.00.
And what is it all, when all is done?
Grains of sombre or shining sand,
Sliding into and out of the hand.

Millard and Thomas combine to give us
A deeply poetic Song of pure and elevated
sentiment, is

A song of very marked character, both words “I Could Live in a Desert, if Only and music being first class.

with Thee." "WHAT E'ER BETIDE.” highest note ikad, (fourth line). "Frice 30 cts,

A BALLAD. Music by J. R. THOMAS.


A beautiful response to "Sweet By and By," is

“I would watch o'er thee, guard thee, and love faithfully, Music by HARRISON MILLARD. “Hold me in thy tender arms,

ON THE BRIGHT SHORES OF GOLD." For the wealth of thy heart love, one moment to know." O Great Ileart, strong and true;

Full to overflowing with rich, sweet melody. Kiss down my eye-lids, wet with tears,

Song and Chorus. by Chas. D. BLAKE. Highest note on F, (fourth line). Price 40 cts. Thine own are dewy, too."

Words by Geo. COOPER. Mr. Millard had excellent words to set to

"On the bright golden shore erer gleaming, music, and has done full justice to the theme

Very Sweet Chimes are the

There our world-weary feet soon shall be. and the fine poetry.

'T is the sweet angel thought of our dreaming, Highest note, G, above the staff. Price 50 cts. And by faith all its joys we may see."

This class of sung, embodying bright thoughts of the

world that is alway so near us, must always be a favorite. A new musical thought by the author of The since every one has one or more cherished friends who Morceau for Piano, by G. D. WILSON.

have“ Northern Pearl," is

The song is a pleasing one, every way quite easy. The Mr. Wilson will add to his reputation by his attrartive highest note is on E, (fuurth spacej. Price 40 cents. piece, which, like his previous favorite compositions, has

a beautiful, simple melody, with tasteful combinations and A very brilliant Piano Picce is GRAND I'ARAPIIRASE

variations, all fitting easily to the hand of the player, and DE CONCERT, on

is easily learned. Price 50 cents. OLD FOLKS AT HOME."

Graceful, rather than brilliant, is
Idylle for Piano, by CHAs, V. CLOY.

It is difficult to define an Idylle. Only we The favorite old melody seems to fit itself

Dream at Twilight Waltz." know it cannot be noisy, and must be sweet, very cheerfully to its new suit of triplets, quick

By Chas. V. CLOY. neat, graceful, and its beauty must be of a quiet arpeggios and runs, chords with intermediate type. All these characterize the piece now de- flourishes, and other fashionable ornaments. It is in the key of D, is not difficult, has the scribed, which is not difficult, and is pretty and Well fitted for concert playing. Moderately "art of pleasing," in a high degree. Price 30 elevating throughout. Price 40 cents. difficult. Price 75 cents.



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