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Books,

Sacred

Jider Sunday Schol Bonds The River of Life! Scantatas,

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Although not the newest, the following have a good reputation, have had a good measure of success, and are, of course, new to those who have never used them.

Sparkling Rubies.

By ASA HULL. 35 cts.

Truly sparkling, crisp, bright and taking songs throughout.

Glad Tidings.

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Which may be performed by the older members of a Sabbath School. Music is not difficult, stories are Bible Stories, and when given in costume, the effect of the spectacle presented is remarkably beautiful.

ESTHER

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Oldest & Youngest The Beautiful Queen.

MEMBERS

OF THE SCHOOL.

AVING a book that "they believe in," the publishers have been encour

aged to place this beautiful affair prominently before the public; and the
great demand justifies all anticipations of success. Prominent points
of interest are:

-1. It is enriched by contributions of poetry and of music from a large number
of the most prominent writers in the country. This secures the very best
quality, and the greatest variety.

2.

A list of the International Lessons" for 1874 is given, accompanied by
reference to appropriate songs, thus adding interest and variety to these
lessons.

3. The songs are arranged in Departments, that is, there are Songs for Opening,
Songs for Closing, Songs for General Purposes, Songs for Special Occa-
sions, Anniversary Songs, Concert Songs, Infant Class Songs, Home Circle
Songs, Chants, and hymns for Funerals, and for Praise and Prayer Meetings.
Most of the Songs may be sung in one, two, or four parts, as all are given,
and there are abundant opportunities for Solos, Semi-Choruses, and Choruses.
5. The River of Life is already a success, as large numbers of young
singers have proved it and endorse it.

4.

BY WM. B. BRADBURY.

Price 50 Cts.

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The following Titles of Songs will give some idea of the happy selection of THE FALL OF BABYLON.

subjects.

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By George F. Root.

PRICE 50 CENTS.

DANIEL,

OR

The Captivity and Restoration.

PRICE 50 CENTS.

By Root and Bradbury. The above are not dramatized, but may, if thought best, be casily costumed and accompanied by tableaux.

THE

Pilgrim Fathers.

By George F. Root.

Price 50 Cents. Illustrates musically, early "Plymouth' times.

OUR SAVIOUR,

By W. WILLIAMS. 45 Cts.
A "Children's Oratorio."

The Children of Jerusalem.
30 CTS.

BY J. G. JOHNSON. Music For young singers only. classical, and the story is one of Jewish History.

A Catalogue describing the above and about 1,000 other books published by Ditson & Co., sent free on application. Also, all books mailed, postpaid, for retail price.

OLIVER DITSON & CO.

277 Washington St., Boston.

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Dwight's Journal of Music,

'WHOLE NO. 888.

A Paper of Art and Literature.

BOSTON, SATURDAY, MAY 1, 1875.

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20 Superior Music Books.
NATIONAL HYMN AND TUNE BOOK

New. For Opening and Closing Schools, 40 cents.
For Note Reading in Schools,

VOL. XXXV. No. 2.

New Music for May.

VOCAL.

What does Little Birdie say? 3. Eb to e.
Molloy. 30

American School Music Readers. Twilight Fancy, or Dresden China. 3. D to f.

Vols. 1, II and III. 35c., 50 c., 50 c.

TERMS.—If mailed or called for, $2.00 per annum; Cheerful Voices.

delivered by carriers, $2.50. Payment in advance. Advertisements will be inserted at the following rates: One insertion per line 30 cents.

Each subsequent insertion, per line, 20 cents.

Cards, 6 lines Nonpareil, (one-half inch of space), per annum, $10.00 in advance. Other spaces in proportion. J. S. SPOONER, PRINTER, 17 PROVINCE ST.

Advertisements.

USICAL DIRECTOR.

A gentleman (German) of

Mhighest Musical Culture and considerable experi

ence as Conductor, will be disengaged from Sept. 1st. A high salary not the primary object but rather to be associ ated with a society cultivating Classical Music, both Vocal and Instrumental. Address, (with full particulars) Musical Director, care of W. Koabe & Co., Pianoforte Makers, Baltimore. Md. Applications should be made before June as the Professor contemplates visiting Europe early in the 887-9

season.

G. W. FOSTER,

TEACHER OF VOCAL CULTURE. The Italian Method taught on a new and original plan, by which unusually rapid progress may be made. TERMS.-Private lessons per quarter, $80.00; Class Lessons, 2 pupils each, $40.00; Class Lessons, 4 pupils each, $20.00.

Rooms 154 Tremont Street. Boston. For personal interview call Mondays from 11 to 12 A.M. For further particu858-tf lars address, care Mason & Hamlin Organ Co.

G. W. DUDLEY,

Teacher of Singing and Voice Building.

(Dr. H. R. Streeter's Method) Room No. 3, Mason & Hamlin's Building, 154 Tremont St.

[797]

For Sabbath Schools,

50 cts.

River of Life. New Ed. $30 per 100.

For High Schools and Academies,

Hour of Singing.
Orphean.

For Home Entertainment,

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$1.00

$1.00

or Ab to a.
Song of a Barge. 2. F to d.
Beauties of Giroflé-Girofla
Brindisi

4. Ab to b. O Pretty Girofla. Duet.. Pa, 'tis the Day.

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Faure. 40 Molloy. 35

35

4. Eb to b. 3. G to a.

35

35

Piano at Home. 4 hands. $2.50 Deborah. Lyric Opera in 4 acts. By Harrison

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Music Books for the People. ORIGINAL HYMN TUNES, By #r. K. Olier, the

FATHER KEMP'S OLD FOLK'S CONCERT
JUNES. (40 CTS).

CONTINENTAL HARMONY.

$1.50.

Ye Olde Folkes Note Bookes are printed at our Shoppe, from whence we send them, Poste-Payde, on ye receipt of ye retaile price, Olde and Yunge love ye Ancient tunes.

POPULAR CANTATAS.

and more popular every season, are ESTHER, THE BEAU-
TIFUL QUEEN, [50 cts], DANIEL, [50 cts], BELSHAZZAR'S
FEAST, [50 cts], FLOWER QUEEN, [75 cts] PICNIC, ($1.00],
HAYMAKERS, ($1.00), CULPRIT FAY, ($1.00], MUSICAL
ENTHUSIAST, [50 cts], WINTER EVENING ENTERTAIN-
MENT, [$1.00]. May be given with or without costumes.

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Millard.

No. 1. How beautiful. (Di vaga). Chorus. 4. E to g.

66 2.

On Chariot of Fire. (Su carro).
Cavatina. 4. Ab to f.

"" 3.

Now the Hope. (Or la brama).

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Sextette. 4. Eh to b.
Horrid Darkness. (Cupa notte).

Sweet Molly Moreland. 2. Eb to e.
Mr. Varley's Songs.

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Cavatina. 4. Eh to e.

Molloy. 30

ea. 40

No. 10. No more.
Sleep On. (Cradle Song). 4. G to a. Warren. 30
Down in the dewy Dell. Trio. 4. Ab to f.
Smart. 50
Tell, Sister, tell. Duet. 4. F to f.

3. C to g.

Boott.

White. 60

INSTRUMENTAL.

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of "Federal St.," and other favorite tuner, contains 100
Tunes, Chants and Anthems, all original and of the best
quality. Price, Boards, 80 cts; Cloth, $1.00.
GERMAN FOUR PART SONGS, FIXED Charming Compositions of Teresa Carreno,

Just
published, is an unusually good collection of entirely
new music, by the best modern German composers. Just
right for Musical Societles. Price $1.50.

Collections of Instrumental Music.
Musical Treasure. (Also vocal), 225 pages.
Piano at Home! 4 Hand pieces. New! Useful!
Gems of Strauss. Most brilliant collection extant.
Pianist's Album. Popular and easy music.
Pianoforte Gems. Popular, brilliant, easy pleces
Home Circle. Vol. I. Easy music.

Home Circle. Vol. II. Popular 2 and 4 h'nd pieces.
Organ at Home. 200 good pieces for Reed Organ.

Collections of Vocal Music.
Operatic Pearls. The chief songs of 50 operas.
Gems of German Song. Songs that will never die
Gems of Scottish Song. Sweetest of all ballads.
Shower of Pearls. Nearly all the good vocal duets.
Gems of Sacred Song. Pure, devout and beautiful.
Silver Chord. Wreath of Gems. Large collec-
tions of the best popular songs.

Price of each book in Bds, $2.50. Cloth, $3.00. Gilt, $4.00.
OLIVER DITSON & CO., CHAS. H. DITSON & CO.,
711 B'dway, New York.

Boston.

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Petit Carnival. 6 easy Dances for 4 hands.
No. 1. Waltz. 1. G.
No. 8. Dance de Gnome. (Octave Study).
4. C minor.
40
La Favorite Galop. 2. G.
Aronsen. 40
Meadow Pink. Brilliant pieces easily arr. by
Chas. V. Cloy, ea. 30
No. 1. Mazurka.
"2. Waltz.
"3. Po'ka.

3. Eb
2. G.

2. G.

4. Quickstep. 2. C.
Oh! Soft Sunshine. Idylle. 3. F. Lichner. 40
Waltz and Polka. 2. G. Rose Coggeshall. 30
Brilliant Arrangements. La Jolie Parfumeuse.
Waltz.
Dufils, 75
Spring-time is coming. Waltz. 3. Zikoff. 60
Beauties of Ruy Blas. By Marchetti.

3.

1. Fantasia Elegante. 4. Bucellotte. 60 Grace et Coquetterie. Caprice Etude. 4. Ab Boscowitz. 60

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American Method," Pianoforte and Harmony, VOCALIST AND TEACHER OF SINGING.

718-tf]

267 Columbus Avenue, Boston. Address, care of Oliver Ditson & Co. {798

TO ORGANISTS AND CHOIR LEADERS.

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A GREAT WANT SUPPLIED.

JUST PUBLISHED:

MASON & HAMLIN DANKS' ANTHEM SERVICES.

CABINET ORGANS.

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nary excellence as to command a wide sale there.

ALWAYS awarded highest premiums at Indus

trial Expositions, in America as well as Europe. Out of hundreds there have not been six in all where any other organs have been preferred.

BEST Declared by Eminent Musicians, in both

hemispheres, to be unrivaled. See TESTIMONIAL CIRCULAR, with opinions of more than One Thousand (sent free).

INSIST on having a Mason & Hamlin. Do not

take any other, Dealers get LARGER COMMISSIONS for selling inferior organs, and for this reason often try very hard to sell something else. with most important improvements ever made. New Solo and Combination Stops. Superb Etagere and other Cases of new designs.

NEW STYLES

An
ex-

PIANO-HARP CABINET ORGAN AD

quisite combination of these instruments.

Organs sold for cash; or

EASY PAYMENTS. for monthly or quarterly

payments; or rented until rent pays for the organ. and Circulars, with full partioulars,

CATALOGUES are free. Address MASON &

HAMLIN ORGAN CO., 154 Tremont Street, BOS-
TON; 25 Union Square, NEW YORK; or 80 & 82
Adams St., CHICAGO,

EDW. SCHUBERTH & CO.

IMPORTERS AND PUBLISHERS OF MUSIC,

No. 23 UNION SQUARE,

NEW YORK.

LYON & HEALY,

MUSIC PUBLISHERS,

CHICAGO, ILL.,

A COLLECTION FOR QUARTETTE AND CHORUS CHOIRS.

Containing a great variety of ANTHEM settings to all the CANTICLES
OF THE CHURCH, for the Regular and Special MORNING
AND EVENING SERVICES, from the most eminent

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The book is of the greatest value to Organists and Choirs of the EPISCOPAL CHURCH, as here are found anthems fitted to all occasions of the regular and special service, thus forming a complete STANDARD BOOK OF SERVICES. With the exception of the Gloria Patri's, these fine anthems, with music by the best American and Foreign Composers, and noble words from the sacred scriptures, are also perfectly adapted for use in the services of ALL DENOMINATIONS,

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(Ten arrangements, by Danks, Caswell,
Bialla and Poznanski.
GLORIA IN EXCELSIS.
[795 In C, (with Solos,).....
In D..

Wholesale and Retail Dealers in Sheet Music,
Music Books, and Musical Merchandise

Of Every Description.

Our stock of Sheet Music, Music Books, Musical Instruments, etc., is the largest and most complete in the North West. Our connection with Messrs. O. Ditson & Co., enables us to furnish their publications to Western Dealers, at net Boston Prices.

In addition to the publications of Messrs. O. Ditson & Co., we keep on hand and furnish l Music and Music Books published in America, together with a choice stock of Foreign Music. [794-3m

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GLORIA TIBI.

No. 1..

66 2.

66 3.

66

4.

66 5.

OFFERTORY SENTENCES..
TRISAGION.

Phelps.
Kortheuer. CANTATE.

No. 1..
66 2.

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.Danks.

46

Caswell.

66

Bialla.

.Best.

Danks.

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.Novello.

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...Danks. .Phelps.

Ward.

.Phelps.

..Phelps.

..Barnby.

CHRISTMAS MUSIC.

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IMPORTERS OF FOREIGN MUSIC, OLIVER DITSON & CO., BOSTON.

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WHOLE NO. 888.

To A Lilac.

BY THOMAS W. PARSONS.

O Lilac, in whose purple well
Youth in perpetuo doth dwell,
My fancy feels thy fragrant spell.

Of all that morning dew-drops feed,
All flowers of garden, field or mead,
Thou art the first in childhood's creed;
And even to me thy breath, in spring,
Hath power, a little while, to bring
Back to my heart its blossoming.

I seem again, with pupil's pace,
And happy, shining, morning face,

BOSTON, SATURDAY, MAY 1, 1875.

ing more than a place to keep us in. But when
the skies and woods reveal their loveliness,
then nature seems a glorious picture, of which
our own inmost soul is the painter, and our
own loves and longings the subject. It is the
apt accompaniment to the silent song of the
beholder's heart.

The greatest blessing, which could be be-
stowed on the weary multitude, would be to
give them the sense of beauty; to open their
eyes for them, and let them see how richly we
are here surrounded, what a glorious temple
we inhabit, how every part of it is eloquent of
God. The love of nature grows with the growth
of the soul. Religion makes man sensible to

Bound school-ward, running learning's race. beauty; and beauty in its turn disposes to relig

Thou, too, recall'st the tender time,
After my primer, ere my prime,
When love was born and life was rhyme.
My morning ramble, all alone;
My moonlit walk by haunted stone;
My love, that ere it fledged was flown!
At noon, tired out with hateful task,
I fling aside my worldling's mask,
And for my bunch of lilac ask.

At vesper-time Celestial tea

Hath no refreshment like to thee,
Whose breath is nourishment to me.

At midnight, when my friends are gone,
And I sit down to ponder on
The day, what it hath lost or won-

Thy perfume, like a flageolet
That once, by dark Bolsena's lake,
What time the sun made golden set,
I heard (and seem to hear it yet)!
A thousand memories doth awake:
Of busied boyhood's vanished powers;
Of young ambition flushed with praise;
Of old companions, and of hours

That had the sunshine of whole days:
Of Italy and Roman ways;
Of Tuscan ladies, courteous, and fair,
And kind as beautiful,-forbear,
O Memory, these impassioned eyes!
Beware, for that way madness lies!
Sweet lilac, thou art come to June,
And all our orioles are in tune:
Thy doom is to be withering soon.
And so, farewell! for other flowers
Must have their day; and mortal powers
Cannot love all things at all hours.
Soon I shall have my flower de luce,
And the proud peony, whose use
It is to teach me pride's abuse,

For proud am I as proud can be;
But when that crimson gaud I see,
My lilac's memory comes to me!

VOL. XXXV. No. 2.

associations were the names of God and Wisdom connected in our memory! What a violation of nature's peace seemed Duty! what an intrusion upon the mind's rights! What rebellion has been nurtured within us by the ugly confinements to which artificial life and education have accustomed us! How insensible and cold it has made us to the expressive features of God's works, always around us, always inviting us to high, refreshing converse!

I hold, then, that without a cultivation of the sense of beauty, chiefly to be drunken from the open fountains of nature, there can be no healthy and sound moral development. The man so educated lacks something most essential. He is one-sided, not of a piece with naion. Beauty is the revelation of the soul to the ture; and however correct, however much senses. In all this outward beauty,-these soft master of himself, he will be uninteresting, swells and curves of the landscape, which seem unencouraging,, and uninviting. To the stuto be the earth's smile;-this inexhaustible vadent of ancient history, the warm-hearted, riety of forms and colors and motion, not pro-graceful Greek, all alive to nature, who made miscuous, but woven together in as natural a beauty almost his religion, is a more refreshing harmony as the thoughts in a poem; this mys- object, than the cold, formal Jew. And here terious hieroglyphic of the flowers; this running around us, resist it as we may, our hearts are alphabet of tangled vine and bending grass always drawn towards the open, graceful childstudded with golden points; this all-embracing ren of impulse, in preference to the stiff, insenperspective of distance rounding all together sible patterns of virtue. The latter may be into one rainbow-colored sphere, so perfect that very unexceptionable, but at the same time very unreal. The former, though purposeless and careless they play through life, yet have trusted themselves to nature, and been ravished by her beauty, and nature will not let them become very bad.

the senses and the soul roam abroad over it un

sated, feeling the presence and perfection of
the whole in each part: this perfect accord of
sights, sounds, motions, and fragrance, all
tuned to one harmony, out of which run melo
dies inexhaustible of every mood and measure;
-in all this, man first feels that God is with
out him, as well as within him, that nature too
is holy; and can he bear to find himself the
sole exception?

Does not the season, then, does not nature,
does not the spontaneous impulse of an open
heart, which has held such sublime worship
through its senses, more than justify an attempt
to show how the religious sentiments may be
nourished by a cultivation of the sense of
beauty?

This should be a part of our religious education. The heart pines and sickens, or grows hard and contracted and unbelieving, when it cannot have beauty. The love of nature ends in the love of God. It is impossible to feel beauty, and not feel that there is a spirit there. The sensualist, the materialist, the worshipper of chance, is cheated of his doubts, the moment this mystery overtakes him in his walks. This surrounding presence of beautiful nature keeps the soul buoyed up forever into its element of freedom, where its action is cheerful, healthful, and unwearied; where duty becomes lovely, and the call to worship, either by prayer or by self-sacrifice, is music to it. He, in whom this sense is open, is put, as it were, in a magnetic communication with a life like his own, which The Religion of Beauty. flows in around him, go where he may. In nature we forget our loneliness. In nature we (From the first number (July, 1840) of "The Dial.") feel the same Spirit, who made it and pervades The devout mind is a lover of nature. Where it, holding us up also. Through the open sense there is beauty it feels at home. It has not of beauty, all we see preaches and prophesies then to shut the windows of the senses, and to us. Without it, when no such sensibility take refuge from the world within its own exists, how hard a task is faith! how hard to thoughts, to find eternal life. Beauty never feel that God is here! how unlovely looks relimits us, never degrades us. We are free spir-ligion! As without the air, the body could its when with nature. The outward scenery not breathe; so without beauty, the heart and of our life, when we feel it to be beautiful, is religious nature seem to want an element to always commensurate with the grandeur of our live in. Beauty is the moral atmosphere. The inward ideal aspiration; it reflects encouraging-close, unseemly school-house, in which our inly the heart's highest, brightest dreams; it does fancy was cramped,-of how much natural not contradict the soul's convictions of a high- faith did it not rob us! In how unlovely a er life; it tells us that we are safe in believing garb did we first see Knowledge and Virtue! the thought which to us seems noblest. If How uninteresting seemed Truth, how unwe have no sense of beauty, the world is noth-friendly looked Instruction; with what mean

Consider a few of the practical effects upon the whole character of a growing love of beauty in the young mind.

It disposes to order. It gives birth in the mind to an instinct of propriety. It suggests imperceptibly, it inclines gently, but irresistibly, to the fit action, to the word in season. The beauty which we see and feel plants its seeds in us. Gazing with delight on nature, our will imperceptibly becomes attuned to the same harmony. The sense of beauty is attended with a certain reverence; we dare not mar what looks so perfect. This sense, too, has a something like conscience contained in it; we feel bound to do and be ourselves something worthy of the beauty we are permitted to admire. This feeling, while it makes alive and quickens, yet is eminently conservative, in the best sense. He, who has it, is always interested on the side of order, and of all dear and hallowed associations. He, who wants it, is as destructive as a Goth. The presence of beauty, like that of nature, as soon as we feel it at all overcomes us with respect, and a certain sensitive dread of all violence, mischief, or discord. The beautiful ideal piece of architecture bears no mark of wanton penknife. The handsome school-room makes the childreɛ neat. The instinct of obedience, of conciliation, of decorum, reverence, and harmony, flows into the soul with beauty. calm spirit of the landscape takes possession of the humble, yet soul-exalted admirer. harmony compels the jangling chords within himself into smoother modulations. Therefore 64 walk out," like Isaac, at even-tide to meditate," and let nature, with her divine stillness, take possession of thee. She shall give thee back to thyself better, more spiritual, more sensible of thy relationship with all things, and that in wronging any thou but woundest thyself.

The

Its

Another grace of character, which the sense of beauty gives the mind, is freedom-the freedom of fond obedience, not of loose desire. The man, whose eyes and soul are open to the beauty there is around him, seos everywhere

encouragement. To him the touch of nature's hand is warm and genial. The air does not seem to pinch him, as it does most narrowminded ones, who can see no good in anything but gain; to whose utilitarian vision most that is natural looks hostile. He is not contracted into himself by cautious fear and suspicion, afraid to let his words flow freely, or his face relax in confidence, or his limbs move gracefully, or his actions come out whole and hearty. He trusts nature; for he has kissed her loveliness; he knows that she smiles encouragement to him. Now think what it is that makes virtue so much shunned. Partly, our depravity, if you please. But partly, also, her numerous ungraceful specimens. For it is the instinctive expectation of all minds, that what is excellent shall also be beautiful, lovely, natural, and free. Most of the piety, we see about us, is more or less the product of restraint and fear. It stands there in spectral contrast with nature. Approve it we may; but we cannot love it. It does not bear the divine stamp; it chills, not

converts. The love of nature wakes in us, an

life of Jesus did.

Again, the love of beauty awakens higher aspirations in us. He, who has felt the beauty of a summer like this, has drunk in an infinite restlessness, a yearning to be perfect, and by obedience free. He can never more rest con

tented with what he is. And here is the place, to attempt some account of the true significance of beauty, and of what is its office to the soul.

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The New College of Music.

(From the New York Tribune, April 17.)

together; if it could be assured that here from week to week-or why not from day to day?-the masterpieces of music should be executed in perfection under an able director and at a moderate charge to the public, music in America would receive a new impulse. We should have enlightened audiences and ambitious performers, an appreciative reception for deserving works of art, a field for the employment of whatever talent the classes of the Conservatory might develop, a standard for the measurement of humbugs, and the nucleus of a truly musical public. All the rest would be easy.

A BRILLIANT
DECA-

The Opera Season in London.
THE INTERIOR OF COVENT GARDEN
SPECTACLE-LONDON SOCIETY IN LAYERS
DENCE OF OPERA IN ENGLAND-A GLOOMY CRITI
CISM.

Correspondence of the Boston Post.

LONDON, APRIL 1, 1875. In Paris everybody who aspires to the designation of "bon ton" considers it an essential point to be present at the first representation of a new opera or play. Especially is this the case when in the early autumn the Grand Opera is reopened for the season. Then you see Parisian toilettes at their best, and Parisian notabilities in greatest number; and nothing, in a social point of view, is more brilliant than the opera house on an opening night. The managers bring out on that occasion the choic est selection from their repertoires and parade their first night is a sort of advertisement of the whole trump cards in the way of artists and artistes. The ensuing season. It decides the fate of a new play, and gives prophecy of what the lyrical season is to be. It is very different in more prosaic London. Majesty's open in the early Spring; but nobody is Everybody is glad when Covent Garden and Her especially anxious to be present on the opening night. Messrs. Gye and Mapleson precede the season by a great flourish of trumpets, with pronunciamentos which take up a column in the Times, and which make the ears tingle with anticipatory harmonies. But they begin their actual work with modesty and moderation. The first night, with chosen for the occasion is not that intended to be them, is by no means a "great night." The opera the sensation of the season; the star prima donna is not called upon to appear; the season reaches its climax by a gradual ascent. Yet the first night, as all nights, is apt to be profitable to the managers, for it is rarely that you will see a vacant seat in Covent Garden, vast as it is, after the performance has begun. The first performance at this house for the present season took place night before last. The opera chosen was Rossini's "William Tell," and in the role of performers there was not a single name ever heard of in England three years ago. Yet there was one of those eminently satisfactory houses which the eye of one interested in observing London

preparations of the unknown benefactor who The mysterious hints of the purposes and is getting ready to give us a free college of ideal of moral beauty, of an elevation of char-music in this city leave no doubt that the acter which shall look free and lovely, somescheme is well advanced, and that money in thing that shall take its place naturally and as a matter of course in the centre of nature, as the tion. The endowment, we are assured, is likely abundance will be supplied to put it in operastitute in any part of the world; and if money to be the largest ever given to a musical inalcne could create a great school of art we should feel a reasonable certainty that New York would soon rival Paris and Leipsic as a centre of musical culture. So much depends, however, upon intelligent direction, that we confess we look upon the promised gift with no slight apprehension. It is offered as a blesssing; it may easily be converted into a curse. Instead of advancing art it may encourage charlatanism, debase the popular taste, and make us the laughing stock of the world. So much will either do great good or incalculable harm, money expended on one branch of æsthetics and we devoutly hope the kind-hearted and public-spirited founder will put his money into the hands of trustees or directors who understand art as well as finance, and who realize what it is that our people really need. After all, it may be questioned whether our want of schools as by the ignorance and indifference of the general public. The country is full of singers and pianists who have acquired in one way or another, some at home and some abroad, a good musical education, yet are doing nothing for art, and earning neither wealth nor credit by the exercise of their special gift, merely because they find no market for their best work. Any of our readers could name at this moment twenty or thirty musical perform-society in gala delights to range over. ers in New York alone whose names are forever

Beauty always suggests the thought of the perfect. The smallest beautiful object is as infinite as the whole world of stars above us. So we feel it. Everything beautiful is emblematic of something spiritual. Itself limited, its meanings and suggestions are infinite. In it we seem to see all in one. Each beautiful thing, each dew-drop, each leaf, each true work of painter's, poet's, or musician's art, seems an epitome of the creation. Is it not God revealed through the senses? Is not every beautiful thing a divine hint thrown out to us? Does not the soul begin to dream of its own bound-progress in music is retarded so much by the less capacities, when it has felt beauty? Does not immortality then, for the first time, cease to be a name, a doctrine, and become a present experience? When the leaves fall in autumns they turn golden as they drop. The cold wind, tell us of coming winter and death; but they tell it in music. All is significant of decay; but the deep, still, harmonious beauty surpasses all felt in summer or spring before. We look on it, and feel that it cannot die. The Eternal speaks to us from the midst of decay. We feel a melancholy; but it is a sweet, religious melancholy, lifting us in imagination above death-since above the grave of the summer so much real beauty lingers.

The beautiful, then, is the spiritual aspect of nature. By cherishing a delicate sensibility to it, we make nature preach us a constant lesson of faith; we find all around an illustration of the life of the spirit. We surround ourselves with a constant cheerful exhortation to duty, We render duty lovely and inviting. We find the soul's deep inexpressible thoughts written around us in the skies, the far blue hills, and swelling waters.

But then to this desirable result one stern condition must be observed. If the sense of

beauty disposes to purity of heart; so equally purity of heart is all that can keep the sense of beauty open. All influences work mutually. "One hand must wash the other," said the poThe world is loveliest to him, who looks out on it through pure eyes.

et.

Sweet is the pleasure,
Itself cannot spoil!

Is not true leisure

One with true toil?

Thou that wouldst taste it,
Still do thy best;
Use it, not waste it,
Else 'tis no rest.

on concert programmes, and whose ability as
executants is beyond question; but how many
of them are making any permanent impression
upon the public, or doing anything to improve
the general taste or raise the standard of musi-
cal culture? The quality of their performance
is not regulated by their previous education,
but by the applause of the concert-room, and
level of the community out of which they get
so nine-tenths of them sink at once to the
their living. Perhaps what we really need is a
Conservatory which shall instruct audiences as
well as performers; teach young people the
technicality and theory of art, and at the same
time show the world the value of such lessons
in practice.

There was

no cramming and jamming crowd such as flocks to Covent Garden on a first night of Patti or Nilsson; the house was just full, and here you have an epitome of every grade of British society, except that which honorable gentlemen in the House of Commons are in the habit of characterizing as the "lower classes." Majesty sits in the satin-draped boxes which you see on the right of the stage, with the royal coat of arms above them. The ing round the semi-circle, which we should call the greater nobility occupy the larger boxes near and opposite. Then, in the lower range of boxes sweepbalcony, are the nobility in general, the wealthier gorged "city-men." What we should call the "pargentry, with here and there a sprinkling of goldquet" and the English the" stalls " are occupied by people in the "best society," here and there a man and woman of title, in some part bachelor club loungers, and dowagers, and other "detached " folks of high life who have not enough of a family to jus

tify a box. The " stalls " are comfortable, red-cushioned, single seats, ranged in straight lines across

Incidentally we know the new college promises to attempt this, but in the wrong way. The pupils are to give public performances, with the proceeds of which it is supposed the institution can be supported. This is a misthe floor; and “evening dress" is the regulation take from every point of view. The effect which must absolutely and positively be observed would be equally bad upon the pupils, the pub-second and third galleries (the ten shilling, sevenby those who wish to occupy them. Rising to the lic taste, and the exchequer of the college. and-six-pence, and five shilling places), you find But if there could be established in connection eminent but untitled respectability. If Belgravia with the Conservatory a regular annual series and Eaton square are found in the boxes and stalls, of the best classical concerts-and perhaps op- Bloomsbury and Russell square may be said to eratic performances likewise-with the finest swarm in the second and third tiers. There is still orchestra and chorus that could be brought one step, in one sense higher and in another lower,

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