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tions, and woe to the unbeliever! The overpower-
ing conceit of the egoism of Wagner threatens to
absorb in itself the independent opinion of every
musician. Wagner's disciples would force us to say
yes when we think and mean no. Let no one sup-
pose us unmindful of the great talents of Wagner.
Concerning the genuineness of them there is but
one opinion. It is of their tendency that we now

66

similar circumstances in the fifth act of Meyerbeer's
Huguenots," where, too, the distant voices break
out suddenly into the Lutheran choral? Another
mannerism, not original with Wagner, is the use of
the chord of the ninth. It is a feature, which, oc-
curring quite prominently in the Weber music, has
become a tiresome habit with Wagner. As our
article is already longer than we anticipated at the
outset, we refer only to the first act of “Tannhaus-speak.
er" as affording examples enough of this feature.
Startling, indeed, is the indisputable fact that
Wagner, who declares himself the open opponent of
all musical trivialities, should be found moulding a
style based upon a most artful use of them. Among
these, is further, that hacknied manner of Rossini,
Bellini, Donizetti, Verdi, and sentimental song wri-
ters, known as the suspension of the sixth before the
following fifth, over the chord of the dominant
seventh. Compare with the close of the introduc-
tion to "Lohengrin;" with the rôle of King Henry,
act 1, scene 1; his prayer in scene 3; Elsa, act 1,
scene 2; chorus in scene 3; Elsa again,-ditto;
Elsa, act 2, scene 2; Elsa and Lohengrin, act 3,
scene 2; and very numerous others, in any of the
operas, as the musical reader may easily discover.
We see, then, in all this, a want of sincerity on the
part of Wagner. Hear again, what he says of that
Meyerbeer who has furnished him so often with the
means by which he produces many of his realistic
effects: "Our theatres are filled mostly with that
portion of our society whose sole reason for going
is ennui."

The disease of ennui, however, cannot be cured by any artistic enjoyment, for it cannot be designedly dissipated, but only deceived, by another kind of ennui. It is the preparing of such a deception as this that the noted opera composer has made his life mission in art. It is needless to point out more definitely the means he made use of to reach this desired object of his life. Enough, that he understood completely how to deceive, as we see from the result he accomplished by imposing upon his wearied audience the jargon we have already characterized as modern, piquant expression of all that is trivial, and which already has been heard in all its natural absurdity. This "deceitful composer goes so far as to deceive himself; and this, perhaps, just as designedly as he deceives his wearied audience." Wagner says this of another; but who will deny that the sentimental mannerisms which Wagner has appropriated from others, whom he would have us believe to be worse than mere ciphers; what musi

It was our lot to be reared in a household where Bach, Handel, Haydn, Mozart and Beethoven were looked upon as gods. From earliest childhood the Well-Tempered Clavichord" of Bach, and the sonatas of Haydn, Mozart and Beethoven instilled into our young mind a love for the untold beauties of that musical fairy-land where the imagination chases unrestrainedly the exquisite fancies which this language of the emotions suggests, which never come to the reality of thought, but tell the heart of a noble expansion into some great beyond. In the present period of musical whirl the writer gratefully returns to the principles taught in days long gone by, as the only safe ground upon which to stand.

Years of study do but strengthen a thousand fold the conviction that musical purity can be preserved to us only by following the maxims of these masters. In taking leave of them with whom in our historical concerts we have in the past few months spent many delightful hours, the approach to the atmosphere of modern effect-music was chilling. The passing tribute which we paid to these heroes of music was but the natural and uppermost feeling in our own nature, and a logical result of the lessons we had always learned from their delightfully genial teachings.

April 5.

GEORGE L. OSGOOD.

M. Jules Massenet's "Eve."
[Correspondence of the London Musical Standard.]
PARIS, March 23rd.

"Eve: a Mystery," M. Jules Massenet's latest production, is a musical translation of a remarkable poem from the pen of M. Louis Gallet, who may fairly claim a large share of the applause which greeted the cantata on Thursday last at the Cirque d'Eté. Let me endeavor to give you an outline of the story from which M. Massenet has drawn inspiration. In the poem M. Gallet has borrowed but sparingly cian can deny them to be purely realistic, and a from the book of Genesis. His imagination conventional concession to the excitable senses of clothes the simple, wonderful history of our those who form the majority of a theatre public? first parents in a dress at once French, free and In the quotation from our "Historical Notes." effective, but certainly fanciful. The dramatis given at the beginning of this article, reference was made to the noisy din of modern effect-music. In persona of the Mystery are Adam, Eve, and the addition to what we have already given in evidence Narrator, and the conflicting spirits of good 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 in the instrumentation of Wagner, where he pro- Voix du Ciel, Les Voix de la Nature (forming duces effect by sheer physical excitement of the the Angelic element); Les Voix de la Nuit and nerves. Take the well-known music of "Tannhaus-les Esprits d l'Abime (the infernal element or er." Is not the never-ending movement of that Satan). These voices of heaven, nature, night, rapid violin figure with its ceaseless mechanical rep- and spirits of the deep, are of course rendered etition enough to affect the nerves through pure by the chorus. exhaustion? Again, in the introduction of “ "Lohen

grin," we are fairly wrought upon physically by that endless series of simple triads in the highest positions of the violins, alternating with the chords

tion by the orchestra descriptive of the serenity
The cantata opens with a subdued introduc-
of nature during the sleep of Adam. The mu-

(ADAM.) Ton visage est brillant comme la fraiche aurore;
Tes yeux bleux sont pareils à l'azur de la mer.
(EVE.) C'est d'un reflet du ciel que ton front se colore.
Je vois dans tes regards luire un vivant éclair.
Here the composer has written a duo which,
with one exception, is the loveliest thing in the
Mystery.

The exception is the number that succeeds it, after a short recitative by the Narrator. A confused, low, blurred prelude by the strings (which include two harps), leads up to a purely exquisite chorus, sung by the voices of nature. It is so fresh, so joyous and graceful, that I make no apology for again quoting from the libretto (to which we are indebted for it):

Au premier sourire de Eve
Il s'élève

Comme un long fremissement.
Par les monts et par les plaines
Des haleines
Se parlent joyeusement.

Et des lèvres de la Femme
Une flamme

Sur tous les êtres descend.
La création divine
S'illumine

De son regard caressant.

With this the first part of "Eve" closes. Part II, is devoted to the temptation of woman by Satan. In the voluptuous stillness of a summer night Eve is pensively wandering alone in the forest, while her husband sleeps. She is happy, and yet vaguely conscious of there being something, she knows not what, lacking in her happiness. Then comes to her the Serpent, not in the vulgar, literal shape, but in the far more dangerous and insidious, because formless, form of the voices of the night, and offers to reveal to her the secret of her being. Eve listens, and the Tempter bids her eat of the fruit of the tree of knowledge, that is to say, according to M. Gallet, passion.

Veux-tu posseder la puissance humaine? Femme, l'amour seul te la donnerą. of the second part, which falls far below the This quotation gives the key-note to the whole ful whether M. Massenet would care to disstandard of the first in every way. It is doubtclaim the impeachment of its being too dramatic, but such is the case.

is that of an operatic writer, and every note The conception of it might have been written rather for a stage Marguerite than for Eve. This is not surprising; indeed, the matter for wonder is rather that the composer has been able to shake off the theatrical shackles so utterly in the first part, than that he should have failed to do so in the second (and third)—acts (?)

Fall, and of the quickly following curse and The last part of the cantata treats of the which mar the preceding pcrtion of the work banishment from Eden. The same qualities here re-appear yet more strongly. Despite the voice of Satan, and in her turn communicates warning of the Narrator (who is a sort of guardian angel) Eve succumbs to the seductive 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

single examples of Wagner's habit.

Another and most fatal-fatal to the art of pure music-feature in Wagner's orchestration, is the want of musical form. The form, such as it is in the Wagner instrumentation, is radically opposed to those indefinable axioms upon which is based pure music as an art. The attempt to paint in orchestral coloring every new turn of the words of the declaiming singer, stifles in the bud the very germ of musical life, viz: organic development of a theme; and we see here Warner precipitating himself into the depths of sharply defined realism. We refer the reader to the score of the Meistersinger," and again, to the first act of "Lohengrin." Would there were space here to comment at length upon the libretti of Wagner, and their æsthetical purport. A strong conviction of a tremendous, sensuous under current will take possession of him who reads them, not for the words merely, but their suggestions.

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swells for an instant and sinks again in a series
of beautiful modulations, and the chorus sings
(piano)—

L'Homme sommeille sous les palmes;
Des parfums montent dans les airs:
Sous les splendeurs des grands cieax calmes
Tressaillent la terre et les mers.
Dans la solitude première
Où s'est endormi l'Homme-roi
S'ébauche un être fait de grâce et de lumière
Homme, tu n'est plus seul. Lève-toi, lève-toi.
Where the italics appear, the voices change
from piano to forte, and at the concluding
"Lève-toi" Adam awakes and finds that he has
a companion. I have only one reproach to
make M. Massenet concerning the whole of this
very fine prologue, and that is, an occasional
want of originality, as in the line

Dans la solitude premiére.
which recalls memories of Gounod. Then fol-
lows a long scene between Adam and Eve, who
lose no time in forming themselves into a lim-
ited mutual admiration society (if I may say so
without failing in respect to the charming stan-

To the physical sense, both in word and in tone,
Wagner speaks. This is the very ground-work of
his creatious. Nor do we like the manner of their
presentation. We are told in the scores as well as
in programme notes-invaluable in their place sure-
ly to believe thus and so of the Wagner composi-zas of M. Gallet.) Example:-

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the sinister auspices of the powers of darkness man and woman learn to love (for the which sad blunder posterity has since suffered). Here another duo by Adam and Eve is characterized by much force and passion, and the introduction of the harps has a pleasing effect. Of the epilogue, “La Malédiction," the less said the better. It is artistically worthless, and could be shortly described as pantomime music. The theme of the "Dies ira" appears in it by fits and starts, accompanied by a din of drums, cymbals, and trumpets calculated to make the very meekest worm turn in disapproval. What I remember most clearly in the malediction " is a terrific crash, as of a hundred cannons being discharged, with which the final phrase of a chorus of the "Voix de la Nature" was emphasized by the orchestra. As an honest chronicler I must record that this noise seemed, however, quite to the taste of the audience, which called loudly for M. Massenet, who, with & modesty very creditable to him, bowed his acknowledgments and retired.

The soloists, M. Lassalle, of the opera (Adam),

Mdme. Brunet-Lafleur (Eve), and M. Prunet

(Narrator), also came in for their share of ap-

plause. Mdme. Brunet Lafleur has a sympa-

thetic, well-trained voice, admirably suited to

her role; but both she and M. Prunet found

their powers rather overtaxed by the size of the

hall. The chorus, under the direction of M.

Lamoureux, left nothing to be desired; and

the orchestra was well up to the mark, as

usual.

Example is contagious in music as in most

things. There are more cantatas promised us

shortly, conspicuous amongst them one by M.

Saint-Saens, entitled "Sampson," and a work

of M. Gounod, "Jesus on the Lake of Tiberi-

as:" both announced for performance at the

Concert du Chatelet next Friday, together

with the finale of Beethoven's "Choral Sym-

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

gantic work was executed at the Conservatoire

on Sunday.

M. Franck's oratorio "Redemption," given

recently at the Salle Ventadour, is commented
on favorably by the critics. Good Friday will
be celebrated in the churches here by the per-
formance of Haydn's "Seven Words of Christ,"
at the Eglise St. Paul, and by the execution of
the unfailing "Stabat Mater" at St. Eustache.
A version of the "Sept Paroles de Christ" is
also promised at the Madeleine.

As to the "Fête d'Alexandre," in consequence

of the success of "Eve," and of M. Gounod's

"Gallia," its production this season may be

looked upon as problematical. .

Dwight's Journal of Music.

BOSTON, APRIL 17, 1875.

Haydn's Seasons.

The HANDEL AND HAYDN SOCIETY, after giving us

a very pleasant taste of "Spring" in their last May
Festival, are now ready to fulfil the promise and,
with the charm of Haydn's music, lead us round the
circle of the "Seasons." It may help to interest
some, who are meaning to attend the concert of
Wednesday evening, April 28, to add here a few
words about the work,- not altogether new, nor
could anything new be easily said. Still these hints
may be a reminder of some of the good things in a
work long out of mind.

air of Simon, describing the husbandman in the field,
old as it sounds, recalls the character to the life;
all the more that its phrases are familiar, that the
tune is almost the same that Rossini caught again
from nature afterwards, at a quicker tempo, in his
Zitti, zitti, and that the orchestra, so richly occupied
(how friendlily the bassoon runs along by the side
of the voice!), borrows a hacknied subject from the
'Surprise" Symphony. The Trio and Chorus:
'Be propitious,' the Duet of Jane and Lucas:

"Spring, her lovely charms unfolding," the chorus

of girls and youths, in short all of this Spring music

is delicate and full of Spring; and the closing cho-

rus of thanksgiving is impressive in spite of what

we have said above.

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Most interesting of all was the melody from a
Glee by Hassler (1601): "A pretty face has turned
my head"; for the reason that the tune of the Cho-
rale: "Herzlich thut mich verlangen," which occurs
so often, harmonized so variously, in Bach's Passion
Music, is evidently borrowed from it; when the
In the "Summer," the salient point is the Thun-choir sang the Chorale, there was no mistaking it
and yet how different the expression under its new
harmonic dress!

der Storm, so skilfully prepared with recitatives and
lowering accompaniment, and worked up to a ter-

rific climax with chorus and orchestra. The transi

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In the "Autumn" we have the most stirring of
hunting choruses, followed by the still more rousing
Wine chorus, with the imitation of the bagpipe and
the fiddle: is there not wonderful vivacity and pow-
er here for an old man of seventy! But perhaps
the original thing of all is the song and chorus of
the 'Spinning Wheel" in the "Winter;" the
"Wheel moves gaily," but the mood is minor and the
pensive mind broods on. The instrumental picture
of the approach of Winter, and the tenor air de-
scribing the traveller perplexed and lost amid the
snow, are quite as characteristic as the music of the
other seasons.

In the third programme we find ourselves in what
The second and third Concerts of Messrs. OSGOOD
may be called the Sonata period of piano music.
and Boscovitz, (Feb. 25 and April 2), were interest-
The Sonata through Emanuel Bach and Haydn had
ing and instructive. Of course, limited as they are
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 Haydn, 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 that way (a strong, if somewhat formal Prelude and
enty years old, and certainly displays a marvellous Corelli's time), could only partially illustrate the Capriccio by that learned theorist, Marpurg, 1718–
degree of vigor and vivacity of fancy. In some re-stages of development. In the department of Songs 1795; a Bourée, 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 Studio 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 Haydn; 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
en passant his first charming Rondo in C, and the
biguity of character, being secular, pastoral, almost were presented. In the very nature of the case it Turkish March from one of his Sonatas,—the latter
operatic in its real inspiration, prompted by the im- would be unreasonable to expect much more than
in the extravagant transcription by Tausig, so that
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
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
It is in just these graver and would-be grander parts seem more quaint and curious, than really signifi-
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 "Historical Notes," to furnish the con-
Heavens are telling" and the other grander mo- necting links, the chain of continuity was obvious.
ments in the "Creation." But in the lighter and The second concert was largely occupied with
descriptive portions, which form nine-tenths of the Songs, (some of which had been passed over in the
work, we find it richer than the Oratorio. And preceding concert). A long and curious string of
what variety and contrast!
them, and some of them quite quaint and sweet in
The Overture, portraying the passage from Win- their simplicity, now playful and naive, now full of

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

fancy than Mendelssohn's treatment of the same sub- century, melodies which sprang up like wildflowers,

ject in the prelude to the Walpurgis Night." | no one knows how, nor just precisely when; bear-

The chorus: Come, gentle Spring," is simply

perfect, the very breath and soul of Spring is in

those fresh, delicious harmonics. The homely bass

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The Choral pieces were: one in five parts by
Haydn: "Lo, my Shepherd's hand divine," which
did not strike us as one of the choice gems of Haydn's
art, as did the Mozart Ave verum, which is a
most satisfying and perfect piece of rich, pure, de-
vout harmony. For the rest, the concert closed
with smaller part-songs: a beautiful and tranquil
one by Kuhlau (“Over all the tree-tops is rest ");
then a three-part Canon for male voices, which
Beethoven composed when a pupil with Albrechts-
berger, but which is hardly worth more as an illus-
tration than the classical "Three blind mice;"
probably a thing he wrote down idly on the back of
the bill of fare after dinner!—finally two rather or-
dinary part-songs, one a Volkslied: 'Holy Night,"
the other, "German Consecration Song" by Meth-

fessel.

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Mr. Osgood sang two of the less familiar and
most charming Canzonets of Haydn: "Sympathy "
and "Piercing eyes;" Beethoven's sweetly solemn,
beautiful setting of Mignon's "Knowst thou the
land?"; and three well contrasted songs by Schu-
bert: the "Barcarolle," ""Am Meer" (By the Sea),
and "Frühlingsglaube " (Spring faith.) It seemed
to us he never sang with truer feeling and with finer
taste; and as he had Mr. DRESEL for accompanist,
all of these songs had fullest justice done them.
The fourth and last Historical Concert will be

April 30.

Musical Festival in Cincinnati.

Encouraged by the success of their first experi-
ment in 1873, the Cincinnati Committee have been
very busily engaged in preparing and in heralding
a second great Musical Festival, which, according to
the "official" programme, filling a pamphlet of fifty
pages, seems to be relied upon to outshine all that

has been done there or elsewhere heretofore. It

will occupy four days (May 11, 12, 13 and 14). Its
inspiration has come this time, as before, from
Theodore Thomas, who is to direct the whole, and
whom his loyal Committee, in their pamphlet, glo-

rify as the man to whom we in this country owe all
our “appreciation and love of what is purest and

best in music," even "what is known as classic mu-
sic," (though not a few of us remember at least
fancying we loved it before he was born).

Anglais obligato; Air from Mignon, (Miss Cary); | ent season; and for the simple reason that the mu-
Trio from William Tell, sung by Messrs. Bischoff, sic-loving public, probably from sheer satiety after
Remmertz and Whitney; Overture to Tell.
so much musical excitement, seemed quite indiffer-
ent to so rare an opportunity. To have given it
again, at so unpropitious a moment, would have en-
| tailed a serious loss. Strange, that crowds can still
be drawn by the tom-foolery of "spelling matches"
(were Wagner here, he might compose a spelling
opera,-the Meister-speller), while a great musical
work of genius lacks audience!

Second Matinée, with chorus of the school child.
ren, who are to sing a Prayer by Gluck; "Night
shades no longer," by Rossini; a Cantata in "Praise
of Friendship" By Mozart, with solos by Mrs.
Smith, Miss Whinery and Miss Cranch; "Strike
the Cymbal," by Pucitta; and My country, 'tis of
thee." Mrs. Smith sings the " Spirit Song" by
Haydn, and "Springtime" by Fesca; Miss Whinery,
'Infelice" (Concert Aria), by Mendelssohn; Miss
Cranch, "Vaga Donna" from the Huguenots; Mr.
Bischoff, Schubert's "Die Allmacht," and Aria from
'Tell"; and Mr. Whitney, the Pedlar's Song from

Mendelssohn's "Son and Stranger." The orchestra

plays a Festival Overture, by Ed. Lassen, "Huldi-

gang's Marsch," by Wagner, and the "Devil's Darn-

ing Needle," which is a Strauss waltz.

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Third Matinée. Beethoven's Overture, op. 124,

("Consecration of the House"); Beethoven's Arietta:
"In questa tomba," (Whitney): Mozart's "Dove
Sono" (Miss Whinery); "Be thou faithful," from St.
Paul (Winch); "Che Farò," from Orfeo (Miss
Cranch); Introduction to 3d act, Walther's Prize
Song, and the Overture, to Wagner's Meistersinger.
-Second part: Overture to Oberon, followed by
Quartet from the same: "Over the dark blue waters'
(Miss Whinery, Miss Cranch, Messrs. Winch and

Bischoff); "Pietà," from Le Prophéte (Miss Cary);
“Ob ruddier than the cherry," Handel, (Whitney);
Liszt's Rhapsodie Hongroise, No. 2, for orchestra;
Quartet by Verdi (Mrs. Smith, Miss Cary, Messrs.
Bischoff and Whitney).

The fourth evening Concert begins with Schu-
Mr. Thomas has for adjutants, Mr. Otto Singer, bert's great Symphony, No. 9, in C, of the "heav-
master of the chorus, which is very large, and Mr.enly length", after which Wotan sings farewell to
Dudley Buck as organist. The principal vocal per- Brunhilde, and stirs up his magic wild fire. After
formers are Mrs. H. M. Smith, Miss Abbie Whinery, the Intermission, the Festival concludes, as it began,
Miss Annie Louise Cary, Miss Emma Cranch, Mr. with one of the prophets of the New School, name-
Wm. J. Winch, Mr. H. Alex. Bischoff, Mr. M. W. ly Liszt, whose Symphonic Poem "Prometheus,"
Whitney, and Franz Remmertz,-largely drawn
with solo voices, chorus and orchestra, will be

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

performed.

public schools. The orchestra, carefully enlarged,

numbers 15 first violins, 15 second, 10 violas, 10

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Surely variety enough, and much that will be

most interesting! The "classics" of the Future (if
they live long enough, they may earn the title), have
almost the lion's share; but whether they tend to
"elevate the standard" in music, whether in excit-
ing wonder and sensation, they at the same time
book has it), lacks as yet the full test of experience.
Religion of Art," (as the programme

The term is not too strong a one for such love as one

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

there, perhaps, two Religions, wide apart as these

and Wagner, and will they ever meet, one going

East, the other West?

The pamphlet abounds in all needed information

about the artists, the works to be performed, the

hall and all the arrangements, and spares not the

superlatives, with a pride quite natural to so formid-

able an enterprise. The Festival will no doubt ex-

cite attention far and wide, and will repay a pilgrim-

age to our sister city of-not now the West-but

Centre.

"PARADISE AND THE PERI." The repetition of
Schumann's beautiful Cantata, as announced to be
sung by The Cecilia, with the Harvard Orchestra,
in the Music Hall, had to be abandoned for the pres-

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The solos, with the exception of Miss Beebe, were

given as before, and all won merited applause, Miss

ITA WELSH still growing into favor. The principal

solo for the baritone: "And now o'er Syria's rosy

plain," omitted before, was beautifully sung by Mr.

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

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

the finest passages of the work), requires a closer

knowledge for the appreciation of its beauty.

Altogether, the performance was a remarkable

success, and nobody will doubt now that The Cecil-
ia is one of our musical forces by all means worth

preserving. It has shown what it can do; we look
for still better things from it another year.

The only drawback in this repetition was, as we
have said, the want of an orchestra. Mr. LANG'S
attention had to be divided between conducting and
playing at the piano, in which latter task he was
relieved from time to time by Mr. TUCKER and Mr.
ARTHUR FOOTE, a graduate of the last class at Har-
vard.

N. Y. Philharmonic Society, on Saturday evening
NEW YORK, APRIL 12. At the fifth concert of the

March 20, the following programme was given:

PART I.

Symphony No. 1, in D....

Mozart.

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

Concerto for the violin [new].......

Dr. Leopold Damrosch.

Overture, "Leonora," No. 3....

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

Overture, "Flying Dutchman”.

In Mozart's graceful work passages of airy playfulness

alternate with themes of grave tenderness, almost sadness
Although in all of Mozart's music there is a smile behind
the tears. The Mendelssohn Symphony is the outcome of
what the composer called his misty Scotch mood;" and
a wonderfully suggestive mood it is. There is no finer.
piece of tone-painting,

Both these works, as well as the "Leonora" overture,
were well performed. An attempt to play the overture
to the "Fying Dutchman," an interesting specimen of
Wagner's earliest style, resulted in utter failure, the
piece being distorted almost beyond recognition. It is no
disgrace not to be able to play Wagner's music, which
opens a field of special study and demands an immense

amount of practice, but it is unfair to give performances which are merely a burlesque of the composer's style. [Is it not sometimes a burlesque on itself? ED.]

Dr. Dazarosch is an excellent violinist, and a musician who has rendered valuable service in the advancement of music in our city; but the most indulgent of his hearers must have found his violin concerto disappointing and wearisome. A good deal of skill and ingenuity as well as hard study were shown in its construction; but the work is not artistic nor well balanced.

Next on the concert-list came Theodore Thomas' sixth and last Symphony Concert of the season, which took place at Steinway Hall on Saturday evening, April 10th; two symphonies were performed in each of which the composer was represented at his best. Mozart by his Symphony in C, called "Jupiter," and Beethoven by the sublime seventh symphony, which is the very crystalization of the fulness of his powers. Both of these great works were splendidly interpreted, and the concert was such as befits the close of a season of more than ordinary success and artistic significance. The only remaining number upon the programme was Rubinstein's new Coucerto for piano and orchestra, No. 5, in E flat, Op. 94, played by

Mme. Madeline Schiller. It is a work to be read between the lines and not hastily judged; the themes as a rule are given out boldly by the orchestra, repeated by the piano, and elaborated in a manner which would fairly test the powers of such a Titan among pianists as Rubinstein. Mme. Schiller played the Concerto intelligently and well, receiving two rounds of applause after her performance.

We have had a week of English opera, at the Academy, by the Kellogg troupe, beginning March 29th and terminating April 3d. Balfe's posthumous Opera, "The Talisman," was among the works represented. The attendance was small and the performances do not call for extended notice. These representations are patronized chiefly by a class of people who, while regarding the legitimate Italian Opera as but little better than a device of the evil one, take to it kindly, on local or patriotic grounds, when it is clothed in ill fitting English and interpreted by American singers. I can imagine a kind of English Opera which would be a very pleasing addition to our fund of entertainments and doubtless we may sometime have a theatre, like the Opera Comique in Paris, where the performances are artistic and refined without being stilted, and where the singers attempt no more than they can fairly perform. Miss Kellogg is admirably fitted to take part in such an enterprise, as all know who have heard her sing in "Crispino" or "Fra Diavolo," and kindred works.

Max Maretzek began a brief season of Italian Opera on Friday last with Flotow's' L'Ombra." This opera which is written for four voices only, without chorus, is said to bear a striking resemblance to "Martha." The affair seems to be arranged for the purpose of enabling two young debutants to sing in public on the stage, and it is probably highly gratifying to all concerned.

The Mendelssohn Glee Club gave their third concert [ninth season] on Tuesday evening last. These concerts, being private affairs, do not come within the line of newspaper notice; but I may say that the programme was very interesting, embracing songs by Schumann, Mendelssohn, Schubert, Wagner and others. At this concert I heard several pieces of Chopin-music charmingly played by Mr. Richard Hoffman, who also played two of his own compositions.

Mr. Thomas announces two extra concerts, the last of the season, for Friday evening April 16th and Saturday afternoon April 17th. At the evening concert Beethoven's symphony No. 2 in D will be performed, and at the matinée Mendelssohn's "Reformation" symphony. Miss Annie Louise Cary will sing at both concerts.

A. A. C.

Royal Italian Opera (Covent Garden.) (From the Musical World.)

No com

Mr. Gye has issued his prospectus of the coming season, which will begin on Easter Tuesday, with a performance of Guillaume Tell-a good beginning, as far as choice of opera goes, and a vast improvement upon the Trovatore and Traviata of a few years back. The document will strike every one as almost stern in its business simplicity. mercial "report" could be less marked by gush. Nothing, save the orchestra, has a word of praise; and even the prime donne are passed with a simple mention of their names. This is as it should be, for two reasons; first, because only thus can the operatic prospectus redeem its character; and next, because the public do not want to be told through its means who and what they are to admire. Familiar operas and well-known artists have had their merits appraised already; while with regard to new works and débutants, the proof of the pudding is in the eating, and not in the words of those who have

interests at stake. We commend the reticence of Mr. Gye's announcement, therefore, and hope it may be accepted as a model for all future time.

Special Notices.

DESCRIPTIVE LIST OF THE

LATEST

MUSIC

Published by Oliver Ditson & Co.

Vocal, with Piano Accompaniment. Mr. Varley's Songs. No. 10. No more. 3. C to g.

"Earth looked like Heaven, a little while, And then,-no more!"

ea. 40 Boott.

All Mr. Varley's selections are characterized by a very perfect taste, and this is no exception to the rule.

The manager, it will be observed, has not added many fresh names to his list of artists. Nor, on the other hand, has he taken any away from last season's roll. In point of fact it may be said that, substantially, the troupe of 1875 is that of 1874. How much this statement involves need scarcely be pointed out. It means Patti, Albani, Vilda, Marimon, D'Angeri, Sinico, Scalchi, Nicolini, Bolis, Bettini, Graziani, Maurel, Cotogni, Faure, Bagagio lo, Capponi, Ciampi-not a bad company, we believe, and one that many a subventioned manager would give his eyes to possess. The season might run its course very well with such a band of artists, but, as the public look for some new faces, Mr. Gye promises five débutants, respecting whom nothing is said Sleep On. (Cradle Song). 4. G to a. Warren. 30 and nothing known. The chiet of them, indeed, Mdlle. Thalberg, has never yet appeared on any stage, but comes to us, so to speak out of the dark. It is not the fault of this young lady that much is She cannot help being the child expected of her. of her parents, but, nevertheless, their reputation will be present to the minds of the audience when she appears; and in proportion will they raise their hopes. Report goes that Mdlle. Thalberg possesses the requisites of eminence in her profession. This, Tell, Sister, tell. Duet. 4. F to f. we trust, will prove to be the case, for the sake of the name she bears, as much as for that of the theatre which will run the risk of her début. The remaining new comers- Mdlle. Proch, Signor De Sanctis, Herr Seideman, and Signor Tamagno

Sleep on, sweet babe,

The storm dies slowly away."

Melody and accompaniment fit together to a charm, and the song is worth singing to the best baby in the land.

Down in the dewy Dell. Trio. 4. Ab to f.

Smart. 50

"And the tender blue harebell, Bends 'neath the Zephyr's wing." An elegant trio for ladies' voices.

White. 60

"Round about the earth we rove, Weaving spells of joy and love." One of the prettiest of fairy duets. Would be very taking in a school concert or exhibition.

Millard. 60

arouse no feeling of any sort. They will be patient- Amälia, or Roman Charioteer. 4. C to e. ly waited for, and, no doubt, received with the coldness shown by a Covent Garden audience towards all absolutely unknown people.

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In other respects, the personnel of the establishment remains unchanged. Signor Vianesi and Signor Bevignani continue at their post as joint conductors; Mdlle. Girod will be again the principal dancer, in association with two strangers, Mdlle. Ricci and Travelli; Mr. Carrodus leads" the orchestra, Mr. Betjemaun the ballet; Mr. Pittman is again organist; Signor Corsi superintends the chorus, and M. Desplaces acts as stage-manager. With regard to the chorus and orchestra, Mr. Gye bids us look for considerable augmentation on particular occasions, which means, it is to be presumed, when Herr Richard Wagner dominates the scene. wise, these important bodies will be in numbers as in excellence, what they have been in seasons past. It must be granted that Mr. Gye has done well to keep his "old guard" about him. They have done their devoir in by-gone campaigns, and nobody who owns a sword of proof lightly throws it away for a new weapon, however the virgin steel may glitter.

Other

Turning to the repertoire of the season we find a list of four operas, concerning which it is said that at least three will be produced. Two of the four are revivals: Gounod's Romeo et Juliette being promised after a retirement of seven years; and Semiramide after a much longer withdrawal. Rossini's opera is often played at the other houses, and, therefore, will hardly excite curiosity, even with Mdme. Vilda as the Queen, and M. Faure as Assur. The case is different with regard to Romeo et Juliette. We have, its true, no longer a Mario to look and act the lover in perfection; but Nicolini is a good substitute as times go, and Patti remains, a better Juliette, if possible, than ever. For others reasons it is well that Mr. Gye has succeeded in removing the obstacles to our further acquaintance with an important, and, in some respects, very interesting work. Herold's Le Prés aux Clercs is the third opera promised, but we fear that our chances of hearing it are not great. Mr. Gye announces no cast, neither does he say to whom the labor of adapting the opera for an Italian stage has been entrusted. This disappointment, however, can be borne, provided the promise of Wagner's Lohengrin be faithfully carried out. Hardly, we imagine, would an manager venture now to trifle with the public curiosity about Wagner's operas. Time was when only a few cared for them, the rest being content to remain in ignorance. But now amateurs are in earnest, and indisposed to put up with further disappointment.

Mr. Gye, we feel sure, will do what he has said he will; and the event of the season, the talk of the season, we may, perhaps, add the success of the season, cannot fail to be Lohengrin. In the cast we find the names of Albani, D'Angeri, Proch, Maurel, Bagagiolo, and Nicolini; and as scenery and decorations will, doubtless, prove worthy of the Royal Italian Opera, we may expect a performance of merit such as the composer himself would applaud.

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OF VOCAL AND INSTRUMENTAL

MUSIC.

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.

A FINE POPULAR SONG.

"Breathe again those Sweet Words, Darling."

Solo and Chorus, by CHAS. D. BLAKE.

"Bye and bye has come and vanished,
And our locks are streaked with gray,
Cares your loving words have banished,
They grow sweeter every day."

A song and chorus written in Mr. Blake's best
manner; which is sufficient recommendation.
Highest note on E, (fourth space).
Title. Price 50 cents.

A fine Picture Title adorns

Picture

An American Song with Italian Translation.

"AMALIA;

Or, THE ROMAN CHARIOTEER."
Words by GEO. Cooper.

Music by HARRISON MILLARD.
"Awake! Arise, at Love's sweet prayer,
Amalia! Amälia!

I win or die for thee."

Of uncommon merit. One is inclined to cred-
it Mr. M. with a sort of "Beethoven" inspira-
tion as the style is something like that of
"Adelaide" by the great master.

Highest note on Ab above the staff. Key of
Eb for Sopr. or Tenor. Also published in the

"My Heart's Best Love." Key of C, for Baritone. Price 60 cents.

Song and Chorus, by W. H. BROCKWAY. "My joy each day, my dream by night, My rose in winter drear."

Words by George Cooper, and the words, music and general appearance of the piece are alike taking and elegant. Highest note on E, [fourth space].

Price 40 Cents.

A deeply poetic Song of pure and elevated

sentiment, is

A really fine Song, made out of
"NOTHING."

By H. MILLARD.

"The year grows green, and the year grows brown,
And what is it all, when all is done?
Grains of sombre or shining sand,
Sliding into and out of the hand."

Old and Young alike will be pleased with

"GOLDEN LOCKS ARE SILVER NOW."

Song and Chorus by C. E. PRATT. "You were dear when life was summer, Beauty shone upon your brow."

Answer to the immensely popular song,

"SILVER THREADS AMONG THE GOLD." Price 30 Cents.

In Mr. Wilson's best style is his
“ВОАТ SONG.”

A Reminiscence of Saratoga Lake. By G. D. Wilson.
Price 60 Cents.
Reminiscence or not, it is a sweet, simple and
richly melodious piece. Fine Picture Title.

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A song of very marked character, both words "I Could Live in a Desert, if Only

and music being first class.

It is for Mezzo Soprano or Baritone, and the

“WHAT E’ER BETIDE." highest note is D, (fourth line). Price 50 cts,

Words by HELEN ASHLAND KEAN.

Music by HARRISON MILLARD.

"Hold me in thy tender arms,

O Great Heart, strong and true;

Kiss down my eye-lids, wet with tears,
Thine own are dewy, too."

Mr. Millard had excellent words to set to music, and has done full justice to the theme and the fine poetry.

Highest note, G, above the staff. Price 50 cts.

A beautiful response to "Sweet By and By," is
ON THE BRIGHT SHORES OF GOLD."
Song and Chorus. by CHAS. D. BLAKE.
Words by GEO. COOPER.

"On the bright golden shore ever gleaming,
There our world-weary feet soon shall be.
'Tis the sweet angel thought of our dreaming,
And by faith all its joys we may see."

This class of song, embodying bright thoughts of the
world that is alway so near us, must always be a favorite.
have "gone before."

A new musical thought by the author of "The since every one has one or more cherished friends who

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The song is a pleasing one, every way quite easy. The highest note is on E, [fourth spacej. Price 40 cents.

A very brilliant Piano Piece is GRAND PARAPHRASE
DE CONCERT, on

"OLD FOLKS AT HOME."

By ROBERT CHALONER.

The favorite old melody seems to fit itself
very cheerfully to its new suit of triplets, quick
arpeggios and runs, chords with intermediate
flourishes, and other fashionable ornaments.
Well fitted for concert playing.
difficult. Price 75 cents.

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Moderately

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LYON & HEALY, CHICAGO.

OLIVER DITSON & CO., BOSTON.

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