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they were well known; and they ceased to be loved, because they were known too well.. And then the music is no more than a dried up flower, which has outlived its colors and its fragrance, a noble wine, which has lost its fine aroma.

This mournful type, and yet too true, of our enjoyments gives the true measure for both styles of music, viewed from their opposition and their equipoise, since they both have a for and an against. The enjoyments, which Melody creates, are incomparably more lively; those of Counterpoint on the contrary far more enduring. The former are had gratis, the latter must be purchased by labor and study, like the pleasures of the mind which they represent in music, so far as it is possible to represent them in that. In the analogies of the melodic style we find again all the expression and emotional power of speech, the passions with their joys and sorrows. Counterpoint occupies the opposite psychological domain; its serious expressions do not harmonize much with sensuality; they touch the Infinite on all sides; they address ineffable words to the soul; they talk with it the exalted language of Poesy, which flashes from the vaulted firmament in characters of fire; and the thought readily suggests itself, that, had the stars an audible as they have a visible voice, the mathematical laws, having become euphonious, would spread abroad the combinations of the Fugue; and that the harmony of the spheres would then be a song of innumerable themes, as many as there are separate, and yet united worlds, to sing the praise of the Father of all worlds. [To be continued.]

A Reminiscence of Bosio.

[From a article about the Opera Singers.]

And, first; of the "bright, particular star," Signora Bosio, or "My lady Beaux-yeur," as some New Yorker wittily and aptly hath it. For, those dark, speaking eyes, at once innocent and arch, are full of soft light and beauty as a gazelle's. The lustrous, massive, jet black hair reminds you of Milton's "smoothing the raven down of darkness till it smiled." The face, small-featured, pure-complexioned, beaming with intelligence, and changing with the quick and subtle play of feeling; the light and slender figure, at once lady-like and fairy-like, graceful, harmonious, spirituel in every motion; combine with a rare dramatic talent, and a voice fine, pure, penetrating, flexible, and of a most vital quality in all its tones (it is a high soprano,) to make a prima donna such as we Americans have not before heard on the stage. The refinement of the woman and the versatility of the actress are equalled by the thorough vocal schooling of the artist. Her vocalization is faultless, her execution remarkable for ease and finish. Her economy of her voice is indeed consummate; in itself it seems but a fine, silvery thread of melody; yet, without overstraining, it is always ready for the most trying passages, and, as if by a spiritual reserved energy, it tells in the strongest and most impassioned bursts. Bosio is evidently a musician, and not, like many a prima donna, a clever singer by rote, with a dramatic turn. You feel entire reliance, therefore, on her artistic acquirement, as well as on her judgment and her feeling. All this completes and justifies the charm she exercises through certain of the higher and transcendent qualities of genius. She possesses the rare gift of imagination. You feel it in the versatility which enables her, like Madame BISHOP, to enter into the very spirit and individuality of so great a range of characters, impersonating each to the life, be it a Zerlina, or a Lady Macbeth, or a Lucy of Lammermoor. We first saw and heard her, quite unprepared for what we

were to witness, in the Macbetto of VERDI, and what was our delight and astonishment to recognize, in that slight and delicate woman, the real spiritual conception of Shakspeare's terrible heroine, as we had never done in any more masculine actress of the spoken drama! In her Lucrezia Borgia, it was the same sort of power, rendered the more interesting from the contrast of the demoniacally strong and wicked character with the delicately-strung instrument that represented it. It was a spiritual creation; it seemed like magnetism; where the flesh seemed weak, the will was superhuman, and the visible weakness measured the invisible energy. As mere musical art, too, nothing could have been more complete and harmonious; it would have satisfied the composer. Again, in another sphere of tragedy, the sentimental and pathetic,-nothing on our stage has ever equalled her Lucia. Here it was not the harmony of contrast, but of identity, between the assumed and the real person. The native delicacy and slight form of the actress, were just what was wanted. The maidenly, sweet, mournful music of the character was embodied both to eye and ear. When it came to the mad scene, which had been a failure and a maudlin exhibition with most of the operatic Lucias, she rose to a pure height of art and genuine pathos. It was beautiful and real; there was method, music, in the madness; the sweet delirium was without drivelling and over action. Here again you felt the spiritual element, the true poetic imagination; it was like enchantment; it had the strange fascination of a fine thing dreamed, but vanishing at the rude touch of most attempts at representation. And now, hear her in MOZART's dear little peasant bride, Zerlina! Here the innocent, arch eyes are set in just the right head, and their timid, wandering, gazellelike gaze is just in place. It would have drawn tears out of MOZART's eyes, to have seen and heard so perfect an impersonation of this little pet character of his. A nature of the utmost refinement, in peasant life and garb;—just what the music of the part indicates it to be; just that did Bosio represent and sing. And how exquisitely sweet and true and expressive was her singing of that music! It was the express ideal, the audible soul and vibration of the insinuating, pleading Batti, batti, changed to rapture with the success it felt quite sure of, and of that purest outpouring of the tranquil ecstacy of love in Vedrai Carino. Hear Bosio sing them, and you will know why these two simple melodies are immortal. And here we recognize in her another test of a true artist. Unlike Italian singers generally, she can subordinate herself entirely to the music, and find her highest artistic pride and happiness in the precise intention and spirit of the composer. MOZART, and MOZART's work, absorbs her, and she is too deeply, conscientiously, and fondly occupied to be striving for effect with ornaments and common-place cadenzas, as if the prima donna were the main thing, and the music secondary. Sartain's Magazine.

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New Publications.

Materials for the Mechanical part of Piano Forte Playing. By JULIUS KNORR. pp. 59. Geo. P. Reed & Co., Boston.

This little compend of the "Materials," into which the whole mechanical art of a pianist may be resolved, is held in high estimation in Germany; and the present translation, made expressly for the American public, has been warmly welcomed by our best German teachers. We fully endorse the following from the Preface to the American edition:

"The merits of these 'Materials' are principally these: "1. They embody the results of a truly philosophical analysis of Fingering. They teach the principles of fingering. Each habit formed in the outset, paves the way for meeting new requirements. The treatment of each special point anticipates all the coming problems (mechanical) of piano forte playing. There is no element in the mechanical power of an accomplished modern pianist, which is not here reduced first to its simplest form, and then carried in an orderly and exhaustive manner through its various modifications. For every sort of Chord or Passage, a fundamental fingering is first

found and given to the pupil to be mastered; and bearing this in mind, or rather in his fingers' ends, he will not lose the thread of method even amid the necessary deviations and exceptions. An instance of this philosophical spirit of teaching will be found in the description and exemplification of three different ways of fingering the Chromatic Scale. (page 25th.)

"2. Their thorough and progressive character. Beginning with the simplest, every form is carried through all its modifications; every Chord through all Scales and positions, &c. &c. It is a complete armory of all the useful finger-movements and positions, with the few exceptions properly disposed of in the last part of the Author's Preface. It may be safely said, that one who shall have been thoroughly carried through these gymnastics, will find himself at home, (so far as the mechanical part is concerned,) in any music written for the instrument.

"3. They teach theory in practice. In mastering these exercises, you have practically learned most that is to be learned of the doctrine of Scales, Accords, Rhythm, &c. The elements of Thorough Bass are got by rote in practising the fingerings of intervals and chords, in all their positions, as here laid down. Of course, the verbal instructions are to be made intelligible to young pupils through the teacher. A wise teacher may so use this skeleton of practice, as, while disciplining his pupil's fingers, to convey a very full understanding of the principles of Music to his mind."

The three fingerings of the chromatic scale, above referred to, are: 1. The German, after Moscheles, leaving most of the fingers free to take in much harmony, as Germans love it; 2. the French, after Kalkbrenner, using the two strong fingers, and suited to a strong, effective, French delivery; 3. The English, after Kramer, suited to a rapid, fluent, even execution.

The Nightingale's Nest. A Cantata, by REICHARDT, translated from the German by A. W. THAYER. Pp. 19. Geo. P. Reed & Co.

This is a very pleasant and ingenious little affair, showing, in a series of solos, duets and choruses, how young songsters have to suffer for their privilege of loving music. Yet the point of the words, we must confess, is not quite clear to us. But they are rhythmnical and sing-able; the melodies and harmonies are simple and pleasing, only they require a principal soprano that will not shrink from roulades and cadenzas. The piano forte accompaniment is quite descriptive. The piece will be found useful in concerts, or domestic soirées, where there are four clever voices and a pianist.

Fine Arts.

Brackett's Group.-Mr. Greenough's Letters.

It must have been a genuine conception, with some artistic vitality in it, which could be wrought out with such long, unswerving, unrepenting, and indeed heroic devotion, as the artist in this case has shown. His creation has outlived more than the negative criticisms made upon it; it has passed the ordeal of public indifference; has won the cordial approval of connoisseurs and artists; and as it came to him whole and perfect as he first saw it in the mind's ideal gallery, so it has abided with him during the long and patient years that have intervened before his final disclosure of the lovely kernel, by skill and toil almost incredible, out of the rough cold block of marble. The only criticisms we have heard against the group are two.

It has been said to be against all classic rules of art to represent mere death, the end and not the progress of the struggle. But does not this in general true principle become an oppressive conventionalism, if applied too far? In Art, it is not so much the literal matter represented, as the spirit in which it is represented, that claims our interest; not so much the fact before our eyes, as the effect in our minds and feelings. True Art can make death itself eloquent of life, and of life only and forever. It can convert that grim king himself into an artist and a poet, and make him invest his victim with the halo of im

mortality. To be sure, we have sometimes seen death represented in such a cold, literal, physical way, that we seemed to feel and taste only the mouldering earthiness thereof; we turned away as from the death of Art itself. Even in Ary Scheffer's painting of the "Dead Christ," with all its high and holy beauty, there seems too much of this; a painfully pervading hue and atmosphere of death,—death, that has invaded even the faces and forms of the living mourners around. But it is truly said of Brackett's work that it makes the spectator feel; it quickens his best sympathies and faith in God, in beauty, in the imperishable. splendor of the soul. Here is death so truly, spiritually represented, so placed in true relations with time and eternity, that it only fills one with a new sense of the beauty, the mystery, the indestructibleness of life. And yet the details of the work are such as satisfy the mere seeker for anatomical truth.

Again, the want of drapery is objected to, and not by the vulgar squeamish only. Possibly it is the highest art, which can so robe and invest the human form, as to imply and suggest all its essential beauty and make it fully felt, without any absolute exposure. Grant that to be very excellent in its way, and most judicious in most cases. Nevertheless the human body is the form of forms, the harmonious blending of all the perfections of form, and therefore the highest, holiest outward type of beauty and the soul of beauty. Is there no element so pure, in which it may be seen without shock or profanation? Is not Art that very element? Is it not the very mission of Art to bridge over the gulf between the ineffable Ideal and the profane Actual? If a dress is needed, is not Art itself that very dress, at once revealing and withdrawing into that loftier, purer atmosphere, where no shame is known, because there the Actual cannot be conceived of as having ever been divorced from the Ideal?

But we designed no criticism. By the side of such authority as we quote below, it is enough for us to express our own admiration in a whispered, involuntary Amen! The two letters of Mr. Greenough have already gone the round of all the newspapers; yet we feel that our readers will be glad to have a copy preserved here in our little album, as it were. Such documents, so brief, timely and to the point, so loyal to Art and to the rights of all who have it in them to be artists, are no more to be omitted in a Journal like ours, than is the President's message in a political newspaper. A public, which professes any love of Art, should every now and then refresh its recollections of its duty to artists, by re-reading these two letters, especially the last.

BOSTON, Monday, Feb. 23, 1852.

MY DEAR SIR: I have several times sat for an hour in the same room where Mr. Brackett's group of the "Wrecked Mother and Child" is exhibited, and always with a new sense of the power which has made that block of stone the vehicle of so many sad and tender thoughts, expressed in the language of beauty.

I have admired the art by which he so placed the head, that a glance tells us her sufferings are passed, and so swept every limb and tress, that we see the surge has lodged her there, and there left her.

To have told all this at the first glance even to the indifferent eye is a triumph. The action of her left arm, or rather its record of her last act, is most happy the babe has been hugged to her heart, and borne out of harm's way to the last moment of consciousness, and there is visible in

the posture of her limbs the decency and dignity Dwight's Journal of Alusic.

of

I was a little puzzled at the eagerness of many spectators to get so near this work that it was impossible for them to see it, and I venture to suggest to those who wish to enjoy it, that they sit quietly on the several sides of the room, and even there survey it with half-closed eyes. The work is of marble — it is in vain that you will seek aught else by crowding upon it. By remaining at a proper distance, you will find that it is no longer marble, but poetry. To hope to enjoy higher illusion by scrutiny, is like going to Milton to enjoy the blue of the Blue Hills.

I was somewhat pained by the reflection that this work-wrought with all the fervor and selfsacrifice of an earnest mind- -was almost overlooked in the hurry of busy life, amid the crowd of competitors for the spare time of the public; but I took comfort from the remembrance that works of this class must be before the world for a season, before they are fully seen and valued. I felt sure that others, too, must feel toward the author as I felt, and that something might be effected to secure it a permanent place in one of our public buildings.

As the work of one who has studied here at home, I must think this group worthy of an enduring position somewhere. I cannot but feel also that the artist has a claim on his fellow citizens for the means to go on in the path he has chosen, and for which he seems so well fitted.

If any one will read the gratulatory and exulting notices with which the press and the leading men of the country have from time to time cheered the efforts of American artists, he must feel that such stimuli are as the sound of a trumpet to a youth conscious of artistic power, and I think that when at the public call he starts thus full grown the race, he should have fair play.

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I can only say that if a subscription is organized to purchase this work for some public institution, I shall be happy to contribute my mite for the object.

I am, dear Sir, your obedient servant,
HORATIO GREENOUGH.

RICHARD H. DANA, Esq.

April, 1852. DEAR SIR: I see reprinted in the Home Journal of the 3d inst., a letter of mine to Mr. Dana, in which I ventured to call the attention of the public to Mr. Brackett's group. I should be happy if what I have said should obtain a hearing in New York.

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You have mentioned me as an authority. In my capacity of citizen, I am one of the juryan artist, I am myself on trial. We all look to the constituency for employment and for reputation; nor is there any appeal from the public of to-day, but to their children. My earlier efforts were noticed by Allston and Morse, and many distinguished men of letters, in a manner that gave me work. I felt that I owed my voice to a man like Mr. Brackett.

Work, sir, is what young artists need and the American public, thus far, has discovered the workers, and kept them employed; not indeed confirming the high-sounding claims of injudicious partisans for these are often harmful.

We all want sunshine; but even sunshine can be drawn to a focus too hot for any living thing.

If any one will examine the reviews of the Italian exhibitions, for the last twenty years, he will see that a shower of hyperbole is as good a leveller as can be found. A man will often seek and enjoy a meritorious work, who would shrink from the most "astounding genius of the age." These large drafts at sight are always in danger of being protested. No one likes even to seem a dupe.

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Let us hope, sir, that Mr. Brackett's work will win for him all that I believe he asks a right to I am, Dear Sir, faithfully yours, II. GREENOUGH, Sculptor. GEORGE P. MORRIS, Esq.

go on.

The DUSSELDORF GALLERY is now open and already thronged, as of course it would be.

BOSTON, APRIL 17, 1852.

We shall commence next week translating for our readers LISZT's interesting Memoir of CHOPIN, the finest genius and most interesting person of all the New School pianists.

We have also an interesting letter from LOWELL MASON, Esq., from Leipsic, about the Conservatoire there. It came just too late for this week, but will be good for our

next.

Otto Goldschmidt.

All the world knows " GOLDSCHMIDT, the fortunate," the husband of JENNY LIND, but very few seem to have known or had any true perception of GOLDSCHMIDT, the artist, more than if he had not played in all her second series of concerts. A Philadelphia paper chronicled the marriage of the Nightingale to G. "the indifferent pianist," and we see ignorant, ill-natured, even vulgar paragraphs regarding him still passed about from newspaper to newspaper. Every idle, meddling fellow would fain be thought to have some private matter for an "item.”

Nevertheless Otto Goldschmidt is an artist,-on of the pure and genuine stamp, one animated by the very soul of music, which expresses itself not only through the exquisite play of his fingers; but through his intimate familiarity with all the most inspired works of the masters of his instrument; through a decided talent for original composition, influenced a good deal, no doubt, by the peculiar veins of Mendelssohn and Chopin; and above all by a rare spiritual beauty of character, which may not be discerned by the mass across a crowded concert room, but which looks out of the soft, clear eyes, and speaks in a thousand simple and instinctive courtesies of manner to those who meet him with any power of appreciation.

It has been our privilege to hear him play much in private; and never have we heard the very spirit and characteristic of the styles of Beethoven and Mendelssohn and Chopin so feelingly and truly reproduced as under his hands. You could hardly mention a Sonata of the first, a Capriccio of the second, or a Notturne or Mazourka of the third, which was not living in his memory and did not flow readily to his fingers. He has not all the strength and unfailing energy of JAELL; he is perhaps more subject to the intermittent spells of inspiration; but his power grows and swells with the tide of the music, and his fine, clean, intimate tracing of all the delicate intricacies and fioriture of the composition we never knew surpassed.

It is perhaps not known to many here, that young Goldschmidt enjoyed the tuition and most flattering approbation of such masters as only pupils of genius ever can command. He has studied with Mendelssohn, with Chopin, with Clara Wieck (now Madam Schumann), and with Ferdinand Hiller possibly we do not remember rightly about this last name. His Trio concerts in his native Hamburg were of the choicest classic character, and sought by people of the finest taste and culture. In some of these his present lady sang for him, a distinction, which scarcely another young pianist, giving concerts on his own account, could have aspired to.

--

Modest, small in stature, overshadowed in the Lind concerts by the greater light, he did not

pass for what he was, among the semi-musical and would-be critics. But the great Swede knew well where her heart went, and all real friends of Art must feel a certain thrill of pleasure in an event so rare and so refreshing, in this calculating world, as a real life-union between two artists.

Handel and Haydn Society.

The Season closed with a miscellaneous programme of Sacred music, which was presented at the Melodeon on two successive Sunday evenings. The first part consisted of selections from "The Creation," which we could not be present to hear. But the second part displayed much laudable and not ineffectual ambition on the part of a number of our native amateurs and choristers. Miss BOTHAMLY is a new germ of rare promise for our vocal entertainments. To a voice of liquid purity, large, penetrating, and of good soprano compass, she unites unmistakable assurances of soul and real talent. Her sister, Mrs. EMMONS, too, possesses a large and generous contralto, which she blended with the more trained voice of the other, with true musical feeling and perception, in Rossini's Quis est homo. Only by the best Italians have we heard their rendering of that Duett surpassed.

"The Chapel," by Kreutzer, was a very precise and delicately balanced piece of quartet singing, by male voices, save that the tones of the leading tenor leaped out too far in advance of their partners. The audience insisted on a repetition. The organist and pianist, throughout this concert, ran rather rough-shod through his accompaniments.

Mendelssohn Quintet Club.

The Complimentary Concert on Saturday evening proved not an empty compliment. For once these worthy artists, after tasking themselves all winter, more for the benefit of the few determined seekers of good chamber music, than for their own, had the Masonic Temple fairly filled. They played with more than usual inspiration, carrying their audience entirely with them. They came to it fresh; they had had rest, one of the prime conditions of musical as of all other efficiency; but one, which they had scarcely allowed themselves during the thick of the concert season, when they were compelled to play almost every night, in different towns, after much journeying and fatigue, so that their most artistic business could not but be drudgery to themselves sometimes. But this one was a genuine feast, and "flow of soul."

It opened with the first two movements of MENDELSSOHN's posthumous Quintet, op. 87, in B flat, which were played con amore and with great effect. There is a bold and headlong energy in the Allegro movement, which sweeps along with it a rich freight of exquisite detail. But the Adagio is profoundly, grandly beautiful, and its lively impression lasted to the end of the concert, when a repetition was requested and it was heard again with redoubled satisfaction. We were sorry not to have the whole Quintet, though as a whole (always excepting the Adagio) we have scarcely found it equal to the composer's earlier Quintet.

Miss STONE sang Bel raggio from "Semiramide" in excellent voice, more round and positive

in its lower tones than we have before heard it, and more evenly modulated in its upper. There was more crisp and distinct articulation, too, in her Italian, than was her wont in English oratorio. In point of style, too, and expression, there were serious signs of progress. Miss S. gave also with true and simple finish the little Serenade: "Soft Evening Air," by Mr. RYAN, an unpretending melody of no little beauty, with a well adapted quartet accompaniment.

The Quintet of HUMMEL, op. 87, with pianoforte and double-bass, played by Messrs. PERABEAU and H. FRIES, was a most masterly and graceful specimen of that great composer. The audience drank in every movement with delight. Mr. Perabeau is in his element with Hummel, thoroughly master of his remarkable mechanical difficulties, as well as true to the composer's thought. Not so, exactly, in the Lieder ohne Worte of Mendelssohn; a too spasmodic rhythm marred their delicate beauty.

Of the selections from the Quartet of MOZART, in C, No. 6, and from the Quintet of BEETHOVEN, in C, op. 29, (the Adagio and Finale in both instances), we can only say that their music fully met and surpassed pleasant old remembrances.

Beethoven's Last Quartets.

These productions of the giant's saddest days of almost total deafness, which have borne a sort of reputation of inscrutable profundity or of outright madness, according to men's various degrees of faith in genius, have lately had a fair trial in Paris, in the Cercle musical et litteraire, directed by M. Malibran, and composed of artists unwilling to waste their virtuosity upon music without virtue. With what result, so far as one genial critic was concerned, may be seen by the following, which we translate from the Gazette Musicale:

"The six last quatuors of Beethoven have remained, since the disappearance of that great man from this musical world in 1827, in a state of incomprehensible mystery. Some said, and they still say: When the author of the Pastoral Symphony, so limpid in its melody and so clear in its harmony, composed his last quatuors, Nos. 12, 13, 14, 15, 16, and 17, he was deaf and almost crazy with the grief of having lost the sense most precious to every musician.'. . . . . Certain it is, that on comparing the style of these last quatuors with those earlier ones, so full of well turned melody, so clear, so logical by unity of thought, one finds himself quite lost and puzzled by this continual adjournment of the final cadence; by this seemingly unnecessary variety of measure; this spasmodic rhythm, which seems the result of a brain, a thought sick with the fever of innovation.

"M. Maurin, a young violinist of talent, the like of whom one meets not twice, M. Maurin, seconded by three other artists, young, devoted to Art in all its manifestations, even though they be fantastic or capricious, has dreamed of the restoration of these exceptional works; and his dream has become a reality; and before a select and numerous company he has, by a careful and fervent execution, caused all the singularities, the eccentric melodies and harmonies of these strange combinations of the art of sounds, to be appreciated. We did not wish to judge of this altogether novel music by a mere hearing of the ear, and cry miracle, like the Beethovenist who plays the

æsthetic snob even in Paris; we wished to hear with our eyes as well as our ears; and with a very correct miniature edition of the score of these quatuors before us, we followed the author's thought, his melodic designs, his ingenious and bold harmonies, his style constantly fugued, bristling with obstinate imitations and canons; and we have convinced ourselves that the man fell not when he wrote these audacious works, unprecedented in the art of music."

Would it be too much for our "Mendelssohn " friends to attempt one of these knotty problems some day at their semi-public rehearsal? It might at least pique the musical curiosity of their little audience, and possibly reveal new spheres of musical delight.

Mlle. Clauss.

Private letters from the best sources confirm all that the Parisian critics and feuilletonists say in admiration of this young pianiste. One would think the true spark of genius animated her. The Gazette and the France Musicale have repeated eulogies on her performance. Take this for a specimen, from the former paper.

"Arrived from Germany last year, without protection, save that of her talent, - a genuine, conscientious, even brilliant talent, she let herself be heard but once at a concert of the Société Philharmonique directed by Berlioz. This debut was brilliant and promised her success in the musical societies of our capital, when suddenly the poor girl lost her mother, who had accompanied her into France. She has been to weep this irreparable loss at the house of a friend, in the South of France; and here she is again in Paris, an orphan, isolated, more a stranger than she was before, but possessing a talent, that has matured in solitude, and acquired new sensibility, so to speak, by one of the profoundest sorrows of life.

"Mlle. CLAUSS, like all the pianists of the actual generation, combines in her execution the styles of the past and of the present day. And first, like all the present virtuosos, she unites the most supple and rich mechanism to a memory not less rich, less large and well-furnished both with retrospective works and with those so complicated of the modern music. Among other pieces of this kind, she played the fantasia of Thalberg on La Sonnambula, like a pianist, who does not content herself with striking, with brusque-ly hitting the key, but who interrogates it, like an artist, who comprehends, knows the whole power of sound and melody upon the ear and the heart, and consequently upon the sympathy and attention of her audience. To sing with one's ten fingers, or even with one, upon the piano, must be in the future of this instrument its last word.

"What made us believe that our young virtuoso is a pianist of the future, was that she delivered a Notturne of CHOPIN, Op. 9, in a delicious manner, with a delicacy of touch and a poesy of melody to ravish the thoughts, and lap them in the memory of the fine and limpid manner of the composer himself. She rendered possible the impossibilities digitigrades of LISZT, &c." [We gave the untranslateable sentence under "Foreign Intelligence" in our last number.] "There is no mannerism, no affectation in her way of carrying her hand; she does not fling it to show her ease: her fingers are almost always inherent on the keys, thus practising the

BOSTON,

art of never losing time; although, (we must tell her so) the art of making oneself heard is also that of knowing how to take time:' it is the secret of actors, virtuosos and orators.

"In the Prelude and Fugue in C sharp minor by Sebastian BACH, Mlle. Clauss showed herself a musicienne and true classical pianist; and what was no mean praise, both for the beneficiary and her audience, they made her repeat this piece in form and execution so free, so crisp and so pure." "She played comThe France Musicale says: positions of Thalberg, Chopin, Dreyschock, Bach, Beethoven, Liszt, and to each one the young pianist gave its fitting and peculiar stamp. We fancied we remarked in her execution a tendency to exaggeration of force, which is too apt to exclude that grace and simplicity, which are the of woman. It was in the classic species, poesy in the Andante and Finale of Beethoven, in the prelude and fugue of Bach, that we always There she admired the playing of Mlle. Clauss. is irreproachable; and there too has been her grand success."

A good omen for BORN ON A LUCKY DAY. our little paper! Opening the other day the New York Tribune, in its bran new suit of type, we commenced reading the editor's remarks appropriate to the occasion: "Eleven years ago this day we issued the first No. of the Daily Tribune." That is to say, on Saturday April 10th, the very date on which our own little bantling began to peep! Mr. Greeley continues: previously "Some five hundred persons had agreed to take the paper." Precisely our case too! Now if we can have a tithe of the prosperity of the Tribune, to say nothing of living eleven years, what more could we ask for a little journal of Music and the Arts like this?

The Tribune has kindly heralded, and again chronicled with praise our advent (as have many other "principalities and powers" in the great world of the press.) We prize the paternal welcome from that quarter, as a quarter not only of much humanity, but one from which many wise and sincere words have proceeded with respect to our own more peculiar world of Art.

The "Harvard Musical Association" have lately added to their library a superb edition of MOZART's piano forte works, published in London by Novello, and edited by CIPRIANI POTTER. It is very complete, in nine volumes, which comprise not only the Sonatas, variations &c., for the piano alone, but all of the master's concerted pieces in which the piano plays a part; as duets with violin, trios, quartets, quintets with string or wind instruments, &c. Each piano forte volume is so bound, as to hold snugly and safely the brochures containing the accompanying parts.

Lovers and collectors of fine classic music will covet such a set of volumes, as surely as they shall set eyes on them. We doubt not that Mr. Reed, the worthy agent of Novello, will be happy to gratify them in this respect for a reasonable enough consideration.

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operas.
to the principal airs, of 28 different
opera season is over, and we seem destined to no
renewal of it this Spring; but the habituès will do
well to refresh their tuneful memories, as well as
to get booked up for future opportunities, by fur-
nishing themselves with these cheap and con-
venient little books. The cost of the whole set is
$7,62; and Mr. Peck may be found at No. 101
State St.

Musical Intelligence.

Local.

TREMONT TEMPLE is to be rebuilt, on a somewhat larger scale than before, for a grand concert and lecture hall. That is as it should be, for the site is a noble one and should be held sacred to Art. Meanwhile the BosTON MUSIC HALL is fast progressing, the foundations laid, and contracts for the other work all made, and there is every reason to hope that it will be finished near the beginning of the next musical season, and be a model of a music hall. Thus Boston seems likely to be doubly well provided.

came

MR. WOLOWSKI'S CONCERT is postponed to this
evening, when he has the aid of the MENDELSSOHN
QUINTET CLUB. He promises to play on two pianos at
once perhaps a very skilful feat, at all events a very
foolish one.
The announcement reminds us of the show-
man setting forth the virtues of his lion, which "
over the Atlantic in two ships." Mr. W. will also play
some 400 notes in a single measure he is safe, for his
audience could not count them. Nevertheless, we are
told by some, who should be judges, that M. Wolowski
is a skilful, tasteful pianist, and it may be, that, like
some modest artists before him, he has been the victim
of bad advisers in this instance. His programme in-
cludes besides, some genuine pieces, as a set of Chopin's
Mazurkas.

Mr. ARTHURSON announces himself for a benefit con-
cert at the Melodeon a week hence, with the aid of the
MUSICAL EDUCATION SOCIETY, of Mr. and Miss LEACH,
who have been highly praised as vocalists in New York,
and whom Mr. A. is not the man to engage, if there be
not some true stamp of art about them. He is also to
have the new orchestra, just formed here, of which anon.
The music will be mainly from the Oratorios, in which
Mr. A. has given us so chaste a model of tenor recitative
and sacred song.

NEW ORCHESTRA. A number of the best artists in
the Mus. Fund Society, especially Germans, have organ-
ized a separate, smaller orchestra, with a view to giving
frequent concerts somewhat after the manner of the
"Germanians." The design, as we understand, is not to
withdraw themselves from, nor in any way interfere with
the Fund Society, but rather to demonstrate, by a new
selection and distribution of instruments, that the elements
exist in Boston for a very superior band. Mr. F. SUCK
is to be the leader,-a man in every way competent to
the post. Mr. WERNER takes his own proper instrument,
the first flute, instead of the viola as at the Fund, and
his is just the right flute for an orchestra, without the
saucy, pert tone which that little member is too apt to
have. These two gentlemen are as sterling, intelligent,
Mr. SCHNAPP,
modest musicians as we have among us.
too, lays down the viola for the trombone, of which he is
a master. Mr. HAMANN, who played the fine horn solo
at a late Quintet Soirée, is to be first horn. The whole
number of instruments thus far, we are told, is twenty-
six.

General.

BISCACCIANTI, by last accounts, had arrived safely out
at California. May its genial air and sympathies inspire
her, and its gold reward her!-MARETZEK'S troupe,
with STEFFANONE, were to close a brilliant season at
-MARINI has gone to join
New Orleans on the 7th inst.-
the opera at London, and it is said that BOSIO will follow.
-PARODI was to have followed upon BISCACCIANTI'S
heels, bnt now report says Lumley has her.

JENNY and OTTO GOLDSCHMIDT are to give three
farewell concerts in New York, on the 18th, 21st and 24th
of May. Two at Metropolitan Hall, and the last in the

scene of her first grand welcome, Castle Garden. May
we be there to hear! For Castle Garden is a sacred
place to us.

The only recent musical event of much note in New
York was EISFELDT's last Classical Soirée.

that

The PHILHARMONIC SOCIETY- a glorious orchestra -but with only about one-third the number of our Mus. Fund audiences-gives the last of its four annual symphony concerts at Niblo's hall this evening.

THE "GERMANIANS," with JAELL, have raised a furore in Philadelphia, which seems likely to keep them there beyond their first intention. JAELL. is the watch-word of a general enthusiasm. At a late concert he drew gold coins and breast-pins, as well as smiles and plaudits. The orchestra feasted their leader, Herr BERGMANN, on his birth-day, surprising him with gifts; and doubtless it was a time of outpouring of real natural German artists' sentiment and wit. Their programmes there have been rather lighter than they gave here; at least we see no symphonies set down.

OLE BULL has been fascinating the M. C.'s at Washington with two literally solo concerts.

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66

EDWARD S. CUMMINGS, Teacher, Charlestown, Ms.
ROBERT E. MOSELY, Music-dealer, Newburyport,
MERRILL & STRAW, Music-dealers, Lowell,
SILAS LIVERMORE, Editor of the "Fall River News,"
Fall River, Ms.

JOHN S. PAINE, Music-dealer, Portland, Me.

Persons about to subscribe for this paper will bear in mind, that their money will go farther towards its support, if sent directly to the office of publication, which is easily done by letter post paid. Take care to remit in New England currency.

Advertisements.

Mr. ARTHURSON

EGS TO ANNOUNCE that he will give a CONCERT

BEGE SACRED MUSIC at the MELODEON, on

Saturday, 24th April, 1852, assisted by the MUSICAL EDUCATION SOCIETY, who have kindly consented to lend their valuable aid.

The new Orchestra selected from the Musical Fund Society has been engaged, as also Mr. STEPHEN LEACH and his Sister, whose performances in Sacred Music the New York journals have so much praised. They will make their first appearance in Boston on this occasion.

The programme will comprise selections from the Oratorios of St. Paul, Jeptha, and Israel in Egypt. Principal performers:

Miss LEACH,

Mrs. WENTWORTH,

Mr. STEPHEN LEACH, and

Mr. ARTHURSON.

TICKETS-Half a Dollar each, may be had at the Music
Stores of Chickering, or Reed, or at the door.
Further particulars will be duly announced.
Apr. 17.

Patent Boudoir Piano Fortes.

2t

UNEQUALLED FOR COMPACTNESS, POWER,

brilliancy and beauty, have for the past four years been thoroughly tested in every part of this broad Republic, from Maine to California, and the universal verdict is NE PLUS ULTRA

A splendid stock now on hand, 61-4 and 7 octaves, varying in price from $200 to $500. Every instrument is warranted to give PERFECT SATISFACTION, and the purchase money refunded any time within one year.

LEMUEL GILBERT,

416 Washington Street, Boston, Mass.

Apr. 17.

1m

FOREIGN MUSIC. MONSTANTLY RECEIVING all new publications

Co as issued in Europe. Complete series of Progressive

Exercises and instructive pieces for Piano Forte, by BEYER, ROSELLEN, Voss, CZERNY, THALBERG, and all other popular and approved writers; classical compositions by BEETHOVEN, MOZART, HAYDN, MENDELSSOHN, SCHUMANN, &c. &c.-all origi nal copies-being free from errors and mutilations, and issued in a style of superlative elegance. Violon, Flute, and Organ Music; Italian Operas; Latin Hymns and Masses in variety. Very extra Roinan and Neapolitan VIOLIN and GUITAR STRINGS.

PAUL K. WEIZEL,
213 FULTON STREET, BROOKLYN, NEW YORK.
6t*
New York, Apr. 17.

DEPOT FOR
Homœopathic Books & Medicines ;
HYDROPA TUNC BOO WELLS' Publications on Phrenology
YDROPATHIC BOOKS; Phonographic and Phonotypic
and Physiology, &c.; Writings of EMANUEL SWEDENBORG,
Theological and Philosophical; Barometers, Thermometers,
&c. For sale, wholesale and retail, by
Apr. 10.

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MUSICAL WORKS RECENTLY PUBLISHED BY

MASON & LAW,

23 Park Row, Opposite Astor House, N. York.

THE

IE ACADEMY VOCALIST. A Collection of Vocal Music, arranged for the use of Seminaries, High Schools, Singing Classes, &c. By GEORGE F. Roor, Professor of Music in Rutgers and Spingler Institutes, the New York Institution for the Blind, &c. With a complete course of Elementary Instruction, Vocal Exercises, and Solfeggios, by LOWELL MASON.

This work is intended to supply a want long felt in our Higher Schools and Institutions. The music is arranged for three parts, and in such a manner that it may be sung exclusively by female voices or by a mixed choir. Whenever solos occur, a simple accompaniment for the Piano Forte or Meiodeon has been added. The work is printed from new English type and on beautiful paper. Retail price, 62 1-2 cents. ZUNDEL'S ORGAN BOOK. By JOHN ZUNDEL. Two Hundred and Fifty Easy Voluntaries and Interludes for the Organ, Melodeon, Seraphine, &c. With Introductory Remarks, Description of Stops, Directions for the Purchase of Organs, &c., adapting the work especially to the wants of young organists, and those who have made sufficient progress to accompany plain Psalmody on the Organ, Melodeon, or Seraphine. Retail price, $1.50

THE GLEE HIVE. BOSTON ACADEMY OF MUSIC. A Collection of Glees and Part Songs, selected and arranged for the Musical Conventions and Teachers' Institutes of the Boston Academy of Music. By LOWELL MASON and GEORGE JAMES WEBB.

Here are Thirty-three choice, tasteful, and sprightly Glees and Part Songs, mostly new, from the best Authors, sold at an exceedingly low price. It is just the book wanted by Singing Clubs, Societies, Classes, and the Social Circle. Retail price, 38 cents. WILDER'S SCHOOL MUSIC. A Collection of Thirty-six New and Beautiful Songs, arranged for Schools and Juvenile Classes. By L. WILDER, Teacher of Music in the Brooklyn Music Schools, &c.

This work has already been adopted in the Schools of Brooklyn, New York, &c. Retail price, 18 8-4 cents. CANTICA LAUDIS: Or, THE AMERICAN BOOK OF CHURCH MUSIC. By LOWELL MASON, Professor in the Boston Academy of Music, Editor of the Boston Handel and Haydn Society's Collection, Carmina Sacra, and other of the most popular Music Books in the country; and GEORGE JAMES WEBB, Professor in the Boston Academy of Music, and Editor of many valuable Musical Works.

The increased satisfaction with which it was received, and AND the unprecedented success of this book, MASON WEBB'S LATEST WORK, as well as the warm commendations it has received from the Musical Profession generally, establish it as the best and most attractive collection of Church Music which even these celebrated authors have ever produced. It contains a greater amount, as well as variety, of truly beautiful new tunes, anthems, chants, and other pieces, than any similar work; besides a copious collection of the standard old The Elements of Vocal Music have been newly and tunes. most carefully prepared, and to adapt it more particularly to CHOIRS AND SINGING SCHOOLS, about Two Hundred Solfeggio Exercises and Progressive Lessons have been added. In addition to numerous testimonials from the press, it having been pronounced the "MOST VALUABLE BOOK OF CHURCH MUSIC EVER ISSUED," it has received from every section of the country the unqualified approbation of more than ONE HUNDRED PROFES SORS AND TEACHERS OF MUSIC. Retail price, 88 cents.

JUST PUBLISHED,

MARX'S MUSICAL COMPOSITION. The Theory and Practice of Musical Composition. By ADOLPH BERNARD MARX, Doctor of Music, &c. Translated from the third German Edition, and edited by HERMANN S. SARONI.

A. B. MARX holds such high rank in Germany as a writer upon the subject of Musical Composition, that any recommendation of his great work to those who are at all acquainted with the musical literature of the land which is emphatically the home of music, would be superfluous. It is without a rival as a treatise upon this subject, thoroughly scientific and yet adapted to popular comprehension.

The present translation is beautifully printed in 406 octavo pages, and bound in English cloth. Retail price, $2.50.

NEW HYMN AND TUNE BOOK.

TEMPLE MELODIES. A Collection of nearly all the Standard and Popular Tunes, in connection with Five Hundred Favorite Hymns; arranged as a Hymn and Tune Book for Vestries, Social Meetings, Congregational and Family Worship, &c. By DARIUS E. JONES.

This work has already been introduced, and is used with great satisfaction and profit in the vestries of many Churches and in the Congregations of some, while the publishers have received numerous recommendations from Clergymen and others. Those who love the old tunes, and who deem it a desirable object that as many as possible should unite in the singing, especially at social meetings, will find this exactly the book wanted.

Two Editions of the Work are published - an OCTAVO EDITION, price One Dollar a DUODECIMO EDITION, price Seventy-five Cents. Both Editions are the same as regards contents, PAGE FOR PAGE, and vary only in the size of type. A liberal discount will be made when ordered by the quantity for Churches, Vestries, &c. New York, Apr. 17.

ARY SCHEFFER'S

PAINTING OF

THE DEAD CHRIST,

3t

[S NOW OFFERED FOR SALE at about one-third of the cost of importation; namely, the low price of Fifteen Hundred Dollars.

This is an opportunity of obtaining, at an unprecedented low price, a celebrated work of SCHEFFER, who is universally conceded to be one of the greatest of modern painters. Severe, spiritual, grand, simple - he possesses the most wonderful power over the heart, and the pathos and force of his ideas enchain the attention and excite the soul with holy passion. His world-renowned painting of "Christus Consolator" finds an equal in this late production of his pencil. This picture is on exhibition and sale, at

Apr. 10. tf N. D. COTTON'S, 13 Tremont Row.

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of the "BOSTON ACADEMY COLLECTION OF CHORUSES," price reduced from $24 to $14 a dozen. PERGOLESE'S celebrated STABAT MATER for two female voices, newly translated by J. S. DWIGHT, Esq., a welcome work to lovers of good music.

The Nightingale's Nest, a Cantata by the eminent German composer, REICHARDT, translated by Mr. THAYER of Cambridge. A beautiful piece, suitable for concerts, taking about forty minutes to perform it; consisting of Solos for bass, tenor, and soprano voices, with Choruses. Price, $6 the dozen.

Also BEYER'S New Instructions for the Piano: Materials for Piano Forte Playing, by JULIUS KNORR, a work highly approved by the best teachers. Price, $2.

G. P. R. & CO. have also received a further supply of the valuable publications of J. ALFRED NOVELLO of London, for whom they act as agents-consisting of the ORATORIOS of HANDEL, HAYDN, and MENDELSSOHN, and the complete MASSES of MOZART, HAYDN, BEETHOVEN, S. WEBB, VON WEBER, and others, with the finest collection of BACH'S FUGUES, and music generally for the organ, that has ever been seen in Boston. Apr. 10.

tf

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E. H. WADE,

197 Washington Street, Boston.

tf

PUBLISHER & DEALER IN SHEET MUSIC

and Musical Merchandise of every description. Publisher of BERTINI'S METHOD FOR THE PIANO.

New and Second Hand Pianos, bought, sold and exchanged. Cash paid for Pianos. PIANOS TO LET.

E. H. Wade's Catalogue at present comprises all of the Music published by W. H. OAKES, C. BRADLEE & Co. and A. & T. P. ORDWAY, making it the largest and most valuable one in the country; which, with a large exchange list, enables him to offer every inducement to the trade, to Seminaries, to Professors and the musical public, for their patronage. Apr. 10.

JOSEPH L. BATES,

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OLD AND MODERN ENGLISH, FRENCH, ITALIAN AND GERMAN PROOFS and PRINTS,

In Line, Mezzotint, Lithograph, &c. &c. PLAIN AND COLORED.

tf

THE particular attention of Connoisseurs is invited to the opportunity which is now presented, for making additions to their collections of valuable ENGRAVINGS, as many Proofs and rare Impressions of celebrated Pictures, which are also engraved by the most Eminent Artists, are for sale at Apr. 10. N. D. COTTON'S, 13 Tremont Row. HEWS' PATENT AMERICAN ACTION PIANO FORTE. HE MANUFACTURER is in possession of numerous testimonials from distinguished Musical Professors, who have used the greatly improved ACTION PIANO, commending it in high terms. The attention of purchasers and amateurs of Music to an examination of its superiority, is solicited. GEO. HEWS, 365 Washington St., Boston.

THE

Apr. 10.

NEW JUVENILE SINGING BOOK.

THE

tf

HE PESTALOZZIAN SCHOOL SONG BOOK, containing a Complete Elementary Course, (in which a large number of Popular Airs and Tunes, arranged to be sung by note, are employed as progressive exercises,) a large collection of SCHOOL SONGS, together with a full variety of HYMNS and SACRED TUNES, for the devotional exercises of Schools. By GEO. W. PRATT, Teacher in the State Normal Schools, and J. C. JOHNSON, Author of Juvenile Oratorios, &c. This work is on an entirely new plan, and is believed to be a great improvement upon any Juvenile work heretofore published. A copy for examination will be sent by mail, postage paid, upon the receipt of twenty-five cents. Published by A. N. JOHNSON,

37 Bromfield St., Boston.

A. N. JOHNSON respectfully informs his friends that he has taken the new store No. 37 Bromfield Street, (a short distance from his former location in the Tremont Temple,) where he will keep a full assortment of Music, Singing Books, Piano Fortes, Reed Organs, Melodeons, &c. &c. Orders by mail promptly executed. tf Apr. 10.

MUSIC BOOKS,

PUBLISHED BY

BENJAMIN B. MUSSEY & CO. 29 Cornhill, Boston.

ERTINI'S PIANO FORTE INSTRUCTOR.

Brogressive and Complete Method for the Piano Forte.

By HENRY BERTINI. The only complete and correct edition published.

The Modern Harp, or BOSTON SACRED MELODIST. A Collection of Church Music. By E. L. WHITE and J. E.

GOULD.

The Opera Chorus Book. Consisting of Trios, Quartets, Quintets, Solos, and Choruses, from the most popular Operas. By E. L. WHITE and J. EDGAR GOULD. Sabbath School Lute. A Selection of Hymns and appropriate Melodies, adapted to the wants of Sabbath Schools.

The Tyrolian Lyre. A Glee Book consisting of easy pieces, arranged mostly for Soprano, Alto, Tenor, and Bass voices, for the use of Societies, Schools, Clubs, Choirs, and the social circle. By E. L. WHITE and JOHN E. GOULD. Sacred Chorus Book. Consisting mostly of Selections from the works of HANDEL, HAYDN, MOZART, MENDELSSOHN, ROMBERG, NEUKOMM, ROSSINI, &c. &c., with an accompaniment for the Organ or Piano Forte. Suitable for singing societies, and advanced schools. By EDWARD L. WHITE and J. EDGAR GOULD.

The Jenny Lind Glee Book. Consisting of the most popular Songs sung by Mad'lle JENNY LIND. By DAVID PAINE.

Popular School Song Books; THE WREATH OF SCHOOL SONGS. By EDWARD L. WHITE and JOHN E. GOULD.

Elementary Music Book. By BENJAMIN F. BAKER. Apr. 10. tf

CZERNY'S PIANO FORTE METHOD. Sa Manual to Teachers and Amateurs it is invaluable.London Morning Chronicle.

AS

It is one of the most valuable contributions to the art.London Musical World.

In regard to interest and utility it can never be surpassed.J. A. Hamilton.

It is a work of uncommon merit-one superior to all others. -Drawing-Room Journal, Philadelphia.

A splendid acquisition to the list of American publications. -Philadelphia Saturday Courier.

It is rapidly taking the place of all other methods.-Philadelphia Inquirer.

It is calculated to impart a ready and thorough knowledge of the art.-Baltimore Patriot.

A book of invaluable worth as a code of thorough systematic education.-Philadelphia Sun.

It is the most complete system published.-Norfolk County Journal.

We cannot too strongly recommend this excellent work.N. Y. Scientific American

The most thorough and complete work of the kind.-Mason's Choral Advocate.

It is a standard work in the musical circles of Great Britain. -The Asmonean.

This book must be of great value in schools and families.N. Y. ObserWET.

There is no book published, which can compare with this.East Boston Ledger.

It is eminently a book for the people.-Boston Transcript. Powerful aids to the learner are embraced in this work.Message Bird.

A deservedly popular work.-Philadelphia Mercury. Czerny can boast of having given to musical Europe Thalberg, Listz and Doehler.-La France Musicale.

Published by OLIVER DITSON, 115 Washington Street, Boston. Sold by all Music Dealers and Booksellers in the Union. Apr. 10. tf

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