tions, and woe to the unbeliever! The overpower- 66 similar circumstances in the fifth act of Meyerbeer's 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." "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 (ADAM.) Ton visage est brillant comme la fraiche aurore; 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 Comme un long fremissement. Et des lèvres de la Femme Sur tous les êtres descend. 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. swells for an instant and sinks again in a series L'Homme sommeille sous les palmes; Dans la solitude premiére. To the physical sense, both in word and in tone, 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 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 M. Franck's oratorio "Redemption," given recently at the Salle Ventadour, is commented 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 Haydn's Seasons. The HANDEL AND HAYDN SOCIETY, after giving us a very pleasant taste of "Spring" in their last May air of Simon, describing the husbandman in the field, "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- Mr. Osgood seemed to catch the character and spirit of each little song, and reproduced it to a charm. The same may be said of the more artistic Italian songs by Carissimi, Salvator Rosa, and the elder These are more conventional in style, more formal and artistic, with perhaps less individuality, and Most interesting of all was the melody from a der Storm, so skilfully prepared with recitatives and rific climax with chorus and orchestra. The transi tion to the softer chorus after the passing of the storm: "Welcome, gentle sleep!" seems too abrupt, | and lacks the true sense of Beethoven. But the Summer" has many very fine traits. The bass air about the shepherd driving out his flock, the glorious mounting of the Sun (trio and chorus); and especially the tenor Cavatina and recitative about the intense heat: "Distressful nature fainting sinks," | In the "Autumn" we have the most stirring of Besides the Bach Chorale, the work of the choir was limited to three short specimens: a five part chorus: * 'Blessed are they" by Heinrich Schütz (1636); a Miserere by Caldara (1720), and a Regina Angelorum by Durante (1740),—all good, effective pieces of harmony, especially the second. They Mr. Boscovitz, who has the art of making these old things interesting,-even the more dry and for- mal of them,-by a certain piquancy of touch, and perhaps more light and shade than they have any pretention to in themselves, chose, for his first exam- ple, and by far the most important and the best, the not quite unfamiliar "Chromatic Fantaisie and Fugue" by J. S. Bach; then a Prelude and Fugue by Kirnberger, one of the most genial as well as contrapuntally learned of Bach's immediate succes- sors; then a Chacoane, an Air, and a Hornpipe out of Handel's Suites; a so-called "Sonata" by the younger Scarlatti, very slight in respect of musical contents, but made to be very swiftly, deftly played, as an astonishing display of skill in the finger virt- uoso of that day. He ended the concert with a per il Cembalo, by Bach's son Philip Eman- uel (1714-1788); if we could remember our impres- In the third programme we find ourselves in what ter to Spring, is a fine orchestral piece, answering tender pathos! Such were the various German ject in the prelude to the Walpurgis Night." | no one knows how, nor just precisely when; bear- The chorus: Come, gentle Spring," is simply ing no author's names; the music of a "sad sinceri- us the Sonata in its glory à la Beethoven. It was the third Sonata, Op. 10, in D, that with the sub- lime slow movement (Largo) in D minor, which made a profound impression. There could be no source); and Mr. Boscovitz went to the opposite Sonata after that (except from the same exhaustless extreme in his remaining illustration, that of a finger exercises into a Sonata form for pupils, with- out much thought of contents (Inhalt). The selec- tion really served no purpose, unless it were to show that Sonata-writing was a matter of course with mu- sicians in that day; but where it was creation, po- The Choral pieces were: one in five parts by fessel. Mr. Osgood sang two of the less familiar and Musical Festival in Cincinnati. Encouraged by the success of their first experi- has been done there or elsewhere heretofore. It will occupy four days (May 11, 12, 13 and 14). Its rify as the man to whom we in this country owe all best in music," even "what is known as classic mu- Second Night. Oratorio Elijah, Mendelssohn The Solos by Mrs. Smith, Miss Whinery, Miss Cary Anglais obligato; Air from Mignon, (Miss Cary); | ent season; and for the simple reason that the mu- Second Matinée, with chorus of the school child. Mendelssohn's "Son and Stranger." The orchestra plays a Festival Overture, by Ed. Lassen, "Huldi- Third Night, Thursday, offers two great works: Bach's Magnificat in D, (first time in America), for Third Matinée. Beethoven's Overture, op. 124, ("Consecration of the House"); Beethoven's Arietta: Bischoff); "Pietà," from Le Prophéte (Miss Cary); The fourth evening Concert begins with Schu- from Boston. There is also to be a chorus from the 'cellos, 9 double basses, 3 flutes, besides piccolo, 4 oboes and English horn, 4 clarionets, 1 bass clari- The scheme embraces four evening Concerts and three Matinées. Brahms heads the grand tone-pro- cession, on the opening night, with his "Triumphal Hymn,” op. 55, for baritone solo, eight-part chorus, organ and orchestra; and the Seventh Symphony of Beethoven follows. Then an intermission of from half an hour to an hour, for promenade, etc., and the second part consists of the Prelude and selected First Matinée, Wednesday. Second Overture to Leonore, Beethoven; "In native Worth," from the Creation, (W. J. Winch); Aria from Mozart's Tito: "Parto ma tu ben mio," (Miss Cranch, with clarion- et obligato); Scherzo from Mendelssohn's "Refor- mation" Symphony: Aria from Meyerbeer's L'Etoile du Nord, (Mrs. Smith); Hungarian Dances, Brahms. -After Intermission: Overture and Wolfram's Ro- Surely variety enough, and much that will be most interesting! The "classics" of the Future (if The term is not too strong a one for such love as one may feel for music of Beethoven, Bach, etc.; are 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 "PARADISE AND THE PERI." The repetition of But Cecilia had her revenge, in a more private social way, by inviting her friends to Horticultural Hall, on Wednesday evening, and there singing it with simply the pianoforte accompaniment. And the entertainment was really delightful. What was lost in some degree in the great spaces of the Music Hall, was here appreciated more nearly at its full value. The remarkably fine voices which com- pose this chorus, were at least fairly heard for once, and the excellence of their singing was appreciated; their sound was neither covered up by an overpow- ering orchestra, nor lost in space. The singers, too, had given it further practice, and felt more at home in the music; and it was sung much better than before. The chorus with Soprano solo at the end of the second part: Sleep on," was as pure and perfect a piece of chorus singing as we ever heard; equally fine was the solo in it by Miss Beebe, (who sang the part of the Peri throughout with great sweetness of voice, purity of style, and true artistic feeling); and how rich the undercurrent of the bass voices as they came in with their suggest- ive independent motive! The series of choruses with solos which compose the grand exciting scene at the end of the first part, were given with great 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- preserving. It has shown what it can do; we look The only drawback in this repetition was, as we N. Y. Philharmonic Society, on Saturday evening March 20, the following programme was given: 1. Adagio ed Allegro. 2. Andante. 3. Finale Symphony No. 3, in A minor, op. 56 [Scotch.] In Mozart's graceful work passages of airy playfulness alternate with themes of grave tenderness, almost sadness Both these works, as well as the "Leonora" overture, 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. 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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