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from an older contemporary in musical journalism, since it at once establishes a true relation between our several enterprises (all to one good end, however, let us hope,) instead of that foolish and unnecessary notion of rivalry. We cannot forbear copying the piece, which is as follows:

We have received from our friend, Mr. Dwight, of Boston, the first number of his very attractive Journal of Music. It looks trim, tidy and Boston-y, very handsome type being put upon very handsome paper. A peculiarity of the journal is, that no music is given, the columns containing exclusively letter-press matter. The contents bear more or less the impress of Mr. Dwight's own mind, the quality of which is admiringly known to ourselves, and to a large circle of readers.— There are now three journals in operation, devoted to the general interests of the art of music: Dwight's, the Musical World, and our own.Well-this is not too many, (considering the large public they appeal to.) There is room enough for us all. Particularly so, because the three papers will differ essentially in their distinctive characters. Time, we doubt not, will fully develope what we will not, here, nearer define. The Musical Times will be essentially professional, useful, and educational. Perhaps we have a right to claim this character for our journal, from the peculiar advantages which we accidentally possess over others. Mr. Dwight, we observe, disclaims in his editorial article any 66 ex cathedra" character for his paper, (though we half suspect the entire justice of his disclaimer) his language being "Without being in any sense a thoroughly bred musician, either in theory or practice, we have found ourselves, as long as we could remember, full of the appeal which this most mystical and yet most human Art, (so perfectly intelligible to feeling, if not to the understanding,) has never ceased to make to us, &c." A plan has been projected, to stamp the Musical Times with a character peculiar to itself, which will distinguish it from every other paper.

This is as it should be, and as we would have it. There is room enough for all of us. The field is vast, and cannot be covered by one journal, unless that one be endowed like a great University of Art, with editors, professors, libraries and treasury unlimited. We by no means dreamed of instituting the musical journal, but only of contributing, in journal form, and in our own way, (which of course cannot be just that of any body else) our mite to the cause of true and worthy views of Art in our community;-perhaps even something approaching a philosophy of Art and of the Beautiful. We hope to make an æsthetic paper; looking at music and the other arts mainly from the aesthetic point of view, as so many expressive languages and utterances of what is best and deepest in the human soul; and only secondarily and incidentally from the scientific point.

Mr. Willis marks out for himself a most important and interesting field of labor. We need his "professional” expositions of the science and productions of the divine art; and we doubt not his entire competency to the task. He proposes to "teach by mail," that is, to give "a complete course of musical instruction through his weekly columns." The course will comprise: 1. Elementary instruction; 2. Harmony and Counterpoint; 3. Musical Form - or the Architecture of music (showing the musical structure of compositions, such as Sonatas, Symphonies, &c.;) 4. Instrumentation." This feature of the "Times" we can commend to all who wish to know more about music; and we may add that the contents of the last number altogether are full of interest and instruction.

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MRS. DE RIBAS. Miss Garcia has in years past contributed not a little to our higher musical occasions. In the Oratorios of the "Handel and Haydn," her sweet and flexible voice, and modest, sincere style were always agreeable. The Complimentary Concert announced for her in another column, to take place next Saturday, should prove that Bostonians appreciate their obligations both to herself and to her husband. Sig. DE RIBAS is one of our most useful musicians; in our principal orchestra, from the Academy time to this, his oboe has been remarked as one of the good points; and this inclement winter, in spite of very poor health, he has been always at his post. By the way, looking over an old volume of the London Musical World, (for 1837,) some days since, we chanced upon the following notice of his brother and himself:

Mr. RIBAS'S CONCERT took place on Wednesday evening at the Hanover Square rooms, to a large and fashionable audience. The scheme was both various and excellent, but too long. Mr. Ribas performed an adagio polonaise, and a fantasia on the flute, both his own writing, with exquisite purity of tone and polished execution. His brother too-quite a lad, distinguished himself in a solo, by Vogt, on the oboe. He will become a very fine player, for his tone is beautiful, and his execution already surprising for his years.

Our friends of the MENDELSSOHN QUINTETTE CLUB, during the storm last week, made a little professional excursion to the valley of the Connecticut. After performing, to great acceptance, at an Academic Exhibition at Amherst College, and giving a concert in Northampton, they passed the next morning, socially and musically, with the GOLDSCHMIDTS on Round Hill, where they were most cordially received. Quintets, &c. were tried over, Mr. Goldschmidt at the piano. And we happen to know, (what perhaps our friends will like to know was said not merely to themselves,) that their style of playing classic music was warmly commended by their hosts.

The Club are to give a series at Lawrence.

There is absolutely no chance of a concert in Boston from Mrs. GOLDSCHMIDT. She considers the three announced as due to the New Yorkers, as they were disappointed in the last serving round, owing to the death of her mother. They break up the Round Hill nest in a fortnight, and make the rest of their brief stay in America at New York.

For the farewell concerts an orchestra of eighty is engaged, of the very best artists in that city, to be led by BURKE. Also M. APPY, the violinist, and BADIALI, the noble baritone, with whom Mrs. G. is to sing a duet from the "Huguenots." Mr. GOLDSCHMIDT has composed a concerto for piano with orchestra for one of these occasions. For the rest, as far as we can learn, the repertoire is to be mainly the old one; in spite of excellent appeals in the Courier and Inquirer and the Tribune for one classical programme.

We heard Mr. WOLOWSKI on Saturday. It was a thin house and therefore perhaps uninspiring to him. In

spite of the skill displayed, the breadth of harmony, &c., we still could not see the use of playing on two pianos with one pair of hands. But Mr. W. is full of conviction that there is something in it, something suited to a genuine want or impulse of certain musical natures, like his own; he wishes it understood that he was embarrassed that night by the fact that one of the instruments was new, and therefore to the fingers like new boots to the feet, we suppose. He is not daunted, but seems very much in earnest about giving a fair sample of his talent by another concert in Boston, for which he is now in New York to engage the assistance of a pair of prime donne. These may more attract the multitude, but the delightful Quintet of Beethoven that night by the MENDELSSOHN CLUB was one of the sweetest possible crumbs of comfort, amid what did seem to us rather an indefinite waste of skilful,- we can hardly say clear, or expressive, execution of quite poor music. Did LISZT really write such a farrago as that " Fantaisie on the Revolution of '48," with the 380 notes in one bar? If so, it was nnworthy of him.

The set of Mazurkas by CHOPIN was of course good; but how strange the style, how headlong the time, how perplexing the expression, of that rendering of them!

We do not condemn, since Mr. Wolowski seems to feel it in him to convert us to his manner-two pianos and all-by repeated trials. He is an exiled Pole, of high birth and feelings, who has suffered, had trying and romantic experiences, and should feel music, like a soul that truly needs to love it. In all this he has our sympathy; but after Goldschmidt, Jaell, Rackemann, Lange, &c. &c., we must in honesty say we missed much in his playing, though the Dailies said that everybody was delighted. Whose fault is it, if Mr. W. expects too much of Boston?

New York.

Madam THILLON is still singing, and still more acting, Auber's operettes at Niblo's. - Mrs. BosTWICK has given a concert at Brooklyn.- We were hoping the good genius would inspire our " Hafiz" to write us somewhat about those EISFELD'S QUARTET SOIREES; but how can an Eastern poet sing through such East winds as ours?- -so we must even borrow from his friend and ours, "Howadji" of the Tribune, who says:

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Mr. EISFELD'S Concert of Saturday evening April 3, is not less fair, as it recedes in memory. A programme with no lesser name than Spohr, and the others, Beethoven, Mendelssohn and Haydn, may well "give us pause' awhile, and we be still the gainers. We liked best the performance of Beethoven's Quartet. The instruments went as one; they sang like a dreaming organ if organs do dream, or if in dreaming they sing. A musical friend near us preferred the Haydn Quartet, and we could not quarrel. In fact, like certain other artists, the gentlemen of these Quartets, are always good. Their degrees are upward from that. Sometimes they may be better, often best, but never less than good. President TIMM, of the Philharmonic, assisted them. We had not heard him in public for a long time. But custom cannot stale the pleasure of his smooth, neat, clear and graceful performance. The notes do not sparkle from his touch, but they drip translucent from his fingers. His style has a transparent character, like the watery richness of musical glasses. It is fine, not forcible,-sweet, not magnificent. His Excellency's fingers are almost dandies, so point-device they are, with such white-kidded daintiness they trip along the keys. For President TIMM, among musicians, amateurs and the public, there is but one party, and its name is legion—the party of his friends.

LECTURES ON MUSIC. WM. HENRY FRY, Esq., proposes a course of lectures upen the Science and Art of Music, and upon the most colossal scale. Yet imposing as is his programme, it does not seem to us impossible, and of the very great benefit and actual necessity of such an undertaking there is no doubt. Mr. Fry's proposition is nothing less than to give a general, and, to a fair extent, adequate comprehension of the whole subject of musical composition, including its scientific relations, its history, its ethics and its aesthetics.

To accomplish this design, which implies extensive illustration, the following essentials are named: A corps of principal Italian vocalists; a grand chorus of one hundred singers; an orchestra of eighty performers; a military band of fifty performers.

Lectures of this scope are clearly not matters to be lightly undertaken and executed, and ample time is allowed for preparation, because negotiations must be commenced with artists. Ten lectures are proposed, at five dollars for the course, and ten thousand dollars is the estimated whole expense. The proposal has a lordly air, and it promises such real advantages to the many who love music and yet know nothing about it, that we shall hope for its entire success.-N. Y. Tribune.

L

England.
LONDON Seems to be the point to which just now the
nervous fluids in the European body musical are setting
the most strongly. In the great world, the musical
centre shifts about from season to season; though most
of the said shifting is but a pouring back and forth out
of one glass into the other, between London and Paris.
But go to the lesser world of many a German city, if
you would find the tuneful humor moderate and con-
stant, as the daily air we breathe, with the supply of
means and skill unfailing. And first:

THE TWO OPERAS. The first-class prime donne, teno-
ri, bassi profondi, &c. are now all in London, or have
their faces set that way. The Royal Opera was to com-
mence on Saturday, March 27th, and Lumley's on the
Tuesday following. The Evening Gazette sums up as
follows:

Both the Italian Opera Houses selected "Maria di Rohan" for their opening night. At Lumley's Fiorentini, Ida Bertrand and Ferlotti, appear in this singular opera. At Covent Garden, Castellan, Mdlle. Seguin, Tamberlik and Ronconi, take the principal rôles. This selection forebodes a severe competition for the season of 1852, and proves Lumley boldly defiant as he challenges Ronconi in his greatest rôle, and makes play for the prize from the very start. Both managers by their programmes and lengthy notices from journals friendly to them, promise largely for the amusement of their patrons. Lumley offers two operas new to London, one by Prince Albert's brother, and the other by Flotow, a composer of some distinction in Germany. In "Martha" Madame Sontag has achieved great success. Martyrs," brought out here by the Handel and Haydn "The Society as an oratorio a few years since, is promised at the Royal Opera, to introduce Tamberlik in the hero. "William Tell" is also set forth as the great opportunity for Ronconi, Formes and Marini. To meet this, Don Giovanni is to have Sontag, Cruvelli and Wagner, as Zerlina, Donna Anna, and Elvira. "Carl Benson" declares Sontag has fallen off and now sings in the French tinny style. He also considers Grisi decidedly passé, but admits Tamberlik and Formes to be first rate.

BALFE'S new opera, "The Sicilian Bride," produced at Drury Lane, seems to have been an entire failure.

THE TWO GRAND ORCHESTRAS. The Old and the New "Philharmonic" have each given their first concert. The old society has long stood among the first orchestras in Europe and exercised a sort of prescriptive right of acting as interpreters in-chief of the great symphonies of Mozart, Beethoven, &c. To this they grew by yearly study upon these great works, after being at first staggered by the "uncouth singularities" of this latter giant, in whose "Pastoral Symphony" they were wont to curtail the lovely Andante! They have been charged with too exclusive a regard for the old masters, too narrow a definition (practically) of the word “classic," with black-balling men of the first merit, like Moscheles and Costa. But COSTA now is their conductor, and the Society is said to be more liberal towards new composers, as well as more truly than ever up to the classic standard in performance. The sound of the new Berlioz trumpet seems only to have aroused new energy and courage in the old camp. The concert was on the 15th ult. and the room filled with subscribers. See what a programme!

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PART I..

ARIA "Land of My Sires," Mr. Sims

SYMPHONY-No. 12,

Reeves, (Joseph)

Haydn.

Mehul.

CONCERTO-No. 2, Piano Forte, M. Hallé, Mendelssohn.
ARIA-"Ho spavento," Madame Castellan,

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Weber.
Mozart.

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(Atalia)

OVERTURE

"Zauberflote,"

PART II.

SINFONIA EROICA,

VIOLIN FANTASIA

"Lucia di Lammer

moor," Signor Sivori,

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DUETTO- Madame Castellan and Mr. Sims

Conductor, Mr. COSTA.

Sivori.

Mozart.
Weber.

The "new Philharmonic" opened in Exeter Hall, before an audience of two thousand. The orchestra numbered one hundred and thirty instruments, and we can judge something of its composition when we are told that Sivori and Bottesini, whom we know, headed respectively the violins and double-basses. Its stringed band numbers sixty-eight. What could the other sixty-two have been? we read however of twelve harps employed for certain occasional effects. With HECTOR BERLIOZ for conductor, and such forces waiting on his baton, and

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Most of the critics seem to have given in to Berlioz, and express wonder and delight at the bold and singular effects of instrumentation in this dramatic symphony.

The CLASSIC CHAMBER MUSIC on all its dozen social
social hearths was still glowing bright, diffusing genial
warmth. HALLE still stands at the head in this kind, as
pianist. Mr. AGUILAR gave three soirées devoted ex-
clusively to the Piano Forte works of Beethoven.-
Mr. DANDO's fifth Quartet Concert comprised Haydn's
Quartet, No. 26; Mendelssohn's Trio in C minor, with
Miss Loder for pianist; Mozart's Quartet, No. 7; and
Spohr's Double Quartet, op. 87, together with five Ger-
man songs.

Of our old friend LOUIS RACKEMANN, the London
Musical World says:
"He has announced a soirée musi-
cale, when he purposes playing, in conjunction with M.
Molique, sonatas by Mozart and Beethoven, and several
of the piano forte works by Mendelssohn, Chopin and
Stephen Heller. The lovers of these authors will have
a treat of a high order."

ORATORIO. The Sacred Harmonic Society and its
rival the London Harmonic, were fully engaged upon
oratorio, with seven to eight hundred performers and the
best solo talent. "The Creation" had been performed
by each; Costa's society having Reeves and Clara No-
vello; and Sarman's, Miss Birch, Lockey, and H.
Phillips. "Israel and Egypt" had been given by Costa's
society. The chief singers were Miss Birch, Miss A.
Loder, Miss Dolby, Mr. Sims Reeves, Mr. Lawler, and
Mr. Phillips.
"Samson" had been found so attractive
with Sims Reeves in the hero, and Mrs. Endershon as
Dalila, that another repeat was required. Beside those
distinguished vocalists, Miss Dolby, Weiss, and H. Phillips
took parts.-Evening Gazette.

ORGANS. The musical World of London is not con-
tent with all imaginable concerts, but luxuriates in large
gatherings to hear new organs discoursed upon with the
best skill and fancy in combination of stops by some
very celebrated player.

Willis's great organ, left almost solitary and alone in the Crystal Palace, attracted thousands of church-organ amateurs to hear it well played.—Ib.

KALOZDY'S HUNGARIAN BAND had been playing at the St. James's Theatre. Berlioz heard them with high satisfaction, and observed, "they played with irreproachable precision."- See an article on an earlier page.

LATER ITEMS.

Both the Italian opera houses commenced their season to fair, though not large audiences. The second opera presented at Covent Garden was William Tell, in which Marini appeared and Herr Ander, a new tenor from Germany, who failed to make a great sensation. Ferlotti, the new baritone, was successful at the other house, and Calzolari is said to have gained volume and flexibility of voice. Guasco and Negirin had not yet appearedboth have great repute among tenors. The second Philharmonic Concert was honored by the Queen and Prince Albert's attendance. Beethoven's Pastoral Symphony was superbly rendered, and the old Society again claimed the highest orchestral honors. Sims Reeves, Ronconi and Castellan were the vocalists, but produced no marked effect on the audience.-Exe. Gazette.

A CONCERT AUDIENCE of 40,000!-The interior of the Crystal Palace, whose fate now hangs in suspense, was recently made the arena of a grand Musical Promenade, designed to aid the project of perpetuation.

The time fixed for the promenade was from two to five. At two only a very few persons entered the building, and the appearance in the vicinity at that time almost prognosticated a failure of the scheme. The accessions proceeded very slowly for some time, but they became at length so rapid that before 4 o'clock there

23

were not less than 40,000 persons present, of which number upward of 32,000 paid a shilling for admission, while the remainder had been admitted by ticket. From 3 1-2 till after 5 the entire length of the building was occupied with promenaders, the sides only being left vacant. From the moment when the doors were opened, the centre of the transept became again the chief point of attraction, though the favorite fountain had vanished. Here were the bands of seven of our choicest regiments, whose services had been handsomely granted for the occasion by the respective commanders; and a few minutes after, five of these opened the promenade by marching successively, playing as they proceeded to the stations which had been assigned to them; and they continned to play there during the whole period of the promenade, the intervals of rest being so arranged as to prevent any inconvenient jarring or contest of sounds. The building reverberated for three hours with a performance of standard pieces, as judiciously selected as they were admirably executed.

Advertisements.

Mr. ARTHURSON'S CONCERT,
Advertised for this Evening,

IS UNAVOIDABLY POSTPONED UNTIL FURTHER NO-
3 lt

ISTICE.

A CARD.
SENORA ROSA GARCIA DE RIBAS
RESPECTFULLY ENTARY CONCERT we public, that

her COMPLIMENTARY CONCERT will take place at the

Melodeon, on Saturday Evening, May 1, '52,
on which occasion she will be kindly assisted by the following
talent- MISS T. GARCIA,
MISS E. GARCÍA,
MR. ARTHURSON,
HERR HAMANN,

MR. AUGUST FRIES
MR. FRANCIS RIHA,
MR. HAYTER,

MR. J. R. GARCIA,
SENOR De RIBAS, and
A GRAND ORCHESTRA.

TICKETS-Fifty Cents.

3 2t

MR. ARTHURSON, HAVING taken up his residence in the neighborhood of

Boston, is prepared to receive a limited number of Pupils for instruction in the MODERN SCHOOL OF ITALIAN VOCALIZATION. Terms, per quarter, $50. The first month, THREE lessons per week- each lesson one hour's duration.

The advantages, which a long residence in the principal cities of Europe has given him, of studying under the first masters of the day, will, he doubts not, be fully appreciated by those desirous of rapid advancement in the art. terms include instruction in the Italian language, a knowledge The above of which is essential to the proper development of the voice, and a distinct articulation.

Communications may be addressed to the care of GEO. P. REED, 17 Tremont Row. 3 3m

MUSIC BOOKS,

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ERTINI'S PIANO FORTE INSTRUCTOR.
A Progressive 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, Quar-
tets, Quintets, Solos, and Choruses, from the most pop-
ular 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.

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CONSTANTLY RECEIVING all new publications

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 original 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 Roman and Neapolitan VIOLIN and GUITAR STRINGS. PAUL K. WEIZEL, 213 FULTON STREET, BROOKLYN, NEW YORK. New York, Apr. 17. 6t

MUSICAL WORKS RECENTLY PUBLISHED BY MASON & LAW,

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

THE ACADEMY VOCALIST. A Collection of Vo

cal Music, arranged for the use of Seminaries, High Schools, Singing Classes, &c. By GEORGE F. ROOT, 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 3-4 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 the unprecedented success of this book, MASON AND 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 tunes. The Elements of Vocal Music have been newly and 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 PROFESSORS 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, Vestrics, &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

dred 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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DRAWING MATERIALS.

Best French and Swiss Colored Crayons; Conte, Black, and White Crayons; Pencils; Drawing Paper in great variety and in roll of any length; Crayon Paper and Board; Mono-Chromatic Board; Superior Water Colors, in cakes separately or in sets, &c. &c.

The above articles are imported principally direct from the celebrated Color establishment of WINSOR & NEWTON of London, to the sale of whose materials the subscriber gives particular attention. This House obtained the Prize Medal for Colors awarded at the Great Exhibition in London. Apr. 10.

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M. J. WHIPPLE, 35 Cornhill. CHOICE MUSIC BOOKS

PUBLISHED AND FOR SALE BY

OLIVER DITSON,

115 Washington Street, Boston. ERNY'S Method for the Piano,

CZER

Bertini's Instructions for the Piano, Hunten's Piano Forte Instructions,

The Child's First Music Book,

The Piano without a Master,
The Melodeon without a Master,
The Guitar without a Master,

Curtis's Complete Method for Guitar,
Curtis's Complete Method of Singing,
Vocal Exercises and Solfeggios - Lowell Mason,
Spohr's Violin School,

Wragg's Flute Instructor,
Schneider's Practical Organ School,
The Seminary Class Book of Music,
Czerny's Treatise on Thorough Bass,
Jousse's Catechism of Music,

Mozart's Twelfth Mass,

Five Thousand Musical Terms-A Complete Dictionary, Apr. 10.

NEW MUSICAL PUBLICATIONS.

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have issued a new edition

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

J. CHICKERING, PIANO FORTE MANUFACTURER, 334 Washington Street, Boston. Apr. 10.

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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,

No. 129 Washington Street, Boston.

tf

IMPORTER OF AND DEALER IN EUROPEAN FANCY

Goods, Novelties, Perfumery, Stationery, Cutlery, Musical Instruments, Umbrellas and Parasols.

Articles for Presents-for the use of Travelers - of Utility and Ornament, constantly for sale at the lowest prices. 129 WASHINGTON ST., four doors north of School St. Apr. 10. tf

Mrs. ROSA GARCIA De RIBAS, TEACHER OF THE PIANOFORTE, SINGING & GUITAR, Residence No. 37 Ash St., Boston.

Mutee Also MUSIC ARRANGED, TRANSPOSED, &c.

R. De RIBAS will give instruction on the Oboe and 3m

Apr. 10.

Patent Boudoir Piano Fortes.

UNEQUALLED FOR COMPACTNESS, POWER,

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

A splendid stock now on hand, 6 1-4 and 7 octaves, varying in price from $200 to $500. Every instrument is warranted to give PERFECT SATISFACTION, or the purchase money refunded any time within one year.

LEMUEL GILBERT,

416 Washington Street, Boston, Mass. Apr. 17.

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NEW JUVENILE SINGING BOOK. 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,

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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. Observer.

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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Journal

VOL. I.

of Music,

A Paper of Art and Literature.

BOSTON, SATURDAY, MAY 1, 1852.

Dwight's Journal of Music,

PUBLISHED EVERY SATURDAY,

21 SCHOOL STREET, BOSTON.

TVO DOLLARS PER ANNUM.

For Rates of Advertising, see last page.

Its contents will relate mainly to the art of MUSIC, but with occasional glances at the whole world of Art and of polite Literature, indeed at every thing pertaining to the cultivation of the Beautiful; including from time to time:

1. Critical reviews of Concerts, Oratorios, Operas; with timely analyses of the notable works performed, accounts of their composers,

&c.

2. Notices of new music published at home and abroad.

3. A summary of the significant Musical News from all parts, gathered from English, German, French, as well as American papers.

4. Correspondence from musical persons and places.

5. Essays on musical styles, schools, periods, authors, compositions, instruments, theories; on musical education; on Music in its moral, social, and religious bearings; on Music in the Church, the Concert-room, the Theatre, the Chamber, and the Street; &c.

6. Translations from the best German and French writers upon Music and Art.

7. Occasional notices of Sculpture, Painting, Architecture, Poetry, æsthetic Books, the Drama,

&c.

8. Original and selected Poems, short Tales, Anecdotes, &c.

A brief space also will be devoted to ADVERTISEMENTS of articles and occupations literary or artistic.

All communications, relating to the business or contents of the paper, should be addressed (post-paid) to J. S. DWIGHT,

Editor and Proprietor.

SUBSCRIPTIONS RECEIVED At the OFFICE OF PUBLICATION, 21 School St. By REDDING & CO., 8 State St. "GEO. P. REED & CO., 13 Tremont Row. "GEO. W. LIGHT, 3 Cornhill. "SCHARFENBERG & LUIS, 483 Broadway, N. Y. "DEXTER & BROTHERS, New York. "E. L. WALKER, Philadelphia. "JOSEPH SHILLINGTON, Washington, D. C. "J. B. RUSSELL, Gazette Office, Cincinnati, O. "HOLBROOK & LONG, Cleveland, O.

Persons willing to become Agents for procuring subscribers, especially Music-Dealers and Teachers, are invited to correspond with the Editor, as above. Satisfactory references required, and liberal commissions allowed.

[Translated by the Editor.] FREDERIC CHOPIN.

BY FRANZ LISZT.
II.

Had we here to talk the language of the School about the development of piano forte music, we should proceed to analyze the contents of those noble pages, which present so rich a harvest of observations. We should in the first line examine those Notturnos, Ballads, Impromptus, Scherzos, which are all full of unexpected and unheard of subtilties of harmony. We should then seek these same refinements in his Polonaises, Mazourkas, Waltzes and Boleros. But here is neither time nor place for that; such a work would only be of interest to those initiated into Counterpoint and Thorough Bass.

Through the feeling that flows forth in all of them, these works have spread and become much loved in large circles; and this feeling is in the highest degree romantic, individual, peculiar, and yet related not only to that people, which has to thank him for one more celebrity, but also to all hearts, that were ever touched by the misery of exile and by the sentiment of love.

Meanwhile CHOPIN was not always contented with those frames, within which he sketched his happily chosen figures; he would also bring his thoughts into the limits of the classic form. He has written fine Concertos, and fine Sonatas; but it is not difficult to discern in these productions rather the will, the purpose, than the inspiration. This last with him was capricious, arbitrary, fantastical, bound to no reflection; he had to give it free play, and he did violence to his genius, as we think, as often as he thought to chain it to traditional rule, to classification, to a command, which did not harmonize with the inmost peculiarity of his spiritual nature; for this belonged to the class of those which unfold in the most amiable and graceful way, precisely when they let the tide float them where it will. Therefore we consider these attempts as less successful. CHOPIN could not imprison the wavering, never sharply defined outlines, which lend his thoughts their highest charm, within the stiff, angular framework of a precise pattern. It would not allow itself to be arrested so, that undetermined, evanescent element, which, airy and impalpable, disguises the Kantian skeleton of Form, and robes it in long folds, woven, as it were, of autumn clouds, like the misty garments of the

NO. 4.

shapes of Ossian, when, borne upon a passing cloud, they show a gentle countenance to mortals.

Nevertheless these efforts are decidedly distinguished by a rare nobility of style, and contain passages of high interest and movements of surprising grandeur of thought. We may mention, for example, the Adagio of the Second Concerto, to which he was particularly partial and which he was very fond of playing. The embellishments in this belong to the finest manner of the composer, and the leading thought is kept up with a wonderful breadth. The entire movement is ideally perfect, and the expression of the feeling now bright and gleaming, now touching and penetrating. It wakes the image of a noble landscape, swimming in a sea of light, some blissful Tempe, which one has chosen for the spot, in which to tell a mournful story. It is like the thought of an irreparable loss, which falls upon the human heart in the midst of the splendor of beautiful nature; a contrast, kept up by a melting away of tones and an incomparable gradation of tints preventing anything abrupt or hard from mingling a dissonance in the impression, which lends to joy the color of melancholy, and to pain the light of cheerfulness.

How can we omit to mention the "Funeral March" in his first Sonata, which, for the first time arranged for orchestra, was played at his own burial! No other tones could have expressed, in a language, which so goes through the soul, the anguish and the tears, which must have accompanied that man to his last resting place, who had so sublimely conceived the manner in which a great loss should be wept! One of his young countrymen said once to me: "Only a Pole could have written this!" And in fact, all that there is solemn and heart-rending in the funeral procession of a whole nation, weeping its own death, resounds in this funeral strain. You feel it, here is not wept the death of a hero, whom other heroes live to avenge, but the death of a whole race, of whom only women, children and priests survive, to bear witness to the tale. Whatever pure and holy feeling, whatever renunciation, faith and hope these bear within their hearts, it is all sounding, quivering, trembling in the vibrations of these tones.

But not in all his works does grief wear only this color. On the contrary, you find many passages, in which a smothered scorn, a stifled fury are portrayed; several of his Etudes, indeed his Scherzos, depict a suppressed chagrin, which

breaks out now in ironical, and now in proud dispair. These dark outpourings of his muse have passed more unmarked and have been less understood, than his poems of tenderer coloring. Perhaps CHOPIN's personal character has contributed to this. Kindly disposed, friendly, accessible, always in equally cheerful humor, he suffered his exterior to betray but little of the malady, that inwardly consumed him.

This character of his was not one easily comprehended. It was composed of a thousand sorts of nuances, crossing and veiling one another, and indeed in ways impossible, a prima vista, to decipher. One could be very easily deceived about what he thought in the bottom of his soul, as is generally the case with the Slavonic race. The noble freedom, the graciousness, and even the unconstraint and captivating desinvoltura of their manners, by no means includes confidence and frank communication. What they think and feel, veils and conceals itself like the rings of a snake, that coils up upon itself; to find its links, you must observe it very accurately and sharply. It would be very naive to take their courteous complaisance, their assumed modesty literally. The forms of this smooth politeness and seeming absence of pretence are in accordance with their manners, which have acquired something strikingly Oriental from their earlier frequent intercourse with the East. Without being quite infected by the Turkish silence, yet this has taught them a mistrustful reserve in all those things, that touch the tender or secret chords; and if they speak about themselves, you may feel assured, that under a subtile, inquiring, and ironical smile, which you cannot come at, they screen all the deeper realities of their soul, which are hard to divine and to interpret.

CHOPIN'S feeble organization moreover denied him the energetic expression of his passions, and so he revealed only the soft and amiable side thereof to his friends. In the thronged and bustling world of the great cities, where every one has enough to do with himself and no time to guess the riddle of another's life, and where accordingly every one is judged simply by his outward activity, few naturally ever think to take the pains to cast a searching glance through the surface into the interior of a character. But whoever was brought into confidential and frequent contact with CHOPIN, could in many instances remark, how impatient and annoyed he was at being so readily taken at his word! And the artist could not avenge the man. CHOPIN was too feeble to betray this feeling by the stormy energy of his playing; he sought to compensate himself by writing those pages, on which floats the passionate humor of a man, whose heart is more deeply wounded than he is willing to confess-just as about a frigate proudly decked with pendants, although on the point of sinking, the planks swim on the surface, which the waves have torn from its ribs. How he loved to listen, when this angry depth of the sea in his own soul, which murmurs in those tone-poems, roared out under the hands of another player with the power, which nature had denied himself!

The consequences of such impressions are of the more importance to the life of CHOPIN, the more they manifested themselves afterwards in his works. They gradually begot a sort of sickly sensibility, which grew to a feverish delirium and occasioned that violent distortion of his thoughts,

which we remark in his last compositions. Since he was almost stifled under the stricture of his powerfully suppressed passion, his Art became to him at length only the means by which he wrote out his own tragedy.

[To be continued.]

For Dwight's Journal of Music. THE PALM TREE OF CAPRI.

BY C. P. CRANCH.

In the garden waves the Palm-tree,
Far beyond the Ocean lies,
Over me bends all the softness
Of the deep Italian skies.

In the garden waves the Palm-tree,
And the wind is flowing cool,
Rustling in the feathery branches
Tipped with moonlight deep and full.
Far in Indian wildernesses

Float away my fancy's wings
To the desert and the gardens

Watered by Elysian springs.

Where the dread simoom is blowing,
Where the groves of Araby,
Islanded in green oases,

Lie beyond the sandy sea.
By the fount the camels kneeling
Stoop to drink the blessed waters,
While with orient vases coming
Gather round the Syrian daughters.
Where old Nile is overflowing,

And the Sphynx with heavy lids
Sits by ruins grim and sombre-
Onward to the Pyramids.

Onward through Judea's mountains,

Still o'er deserts parched and white, Till the banks of mighty Ganges

Yield their odors to the night.

Gentle Palm of rocky Capri

Waving in the silvery light,
Thou hast stirred a thousand fancies,
Led me far this summer night.
Far in Morning Land I wandered
Where the summers never cease,
And Romance's golden waters
Ever run and murmur peace.
CAPRI, July, 1848.

The Academy of Design in New York.

We received a card of invitation to attend a private exhibition of the new collection of pictures at the Academy, on Monday evening last. "Evening dress" was announced upon the cards, and it proved to be a very brilliant reception occasion. The artists were there in full force, and their guests were composed of as much beauty and fashion as we have ever seen collected together from a similar motive. Broadway was densely thronged with carriages, for although the weather was exceedingly unpropitious, the extensive suite of the Academy's apartments was crowded with visitors. Among these were to be found, distinguished poets, divines, authors, editors, judges, lawyers, et id genus omne of the men of mark, in our city. Tables were placed in the centre of several of the rooms, and kept well supplied with ices and other refections. Every body unexpect edly met all his most agreeable acquaintances and friends, and the social charm was so great as to interfere somewhat with the enjoyment of the many new works of art with which the walls were covered. But no one who was there on Monday evening will fail to go again and take a quiet and composed look, at what constantly caught his eye as he chatted, and strolled along.

One feature of the occasion was considered an unfortunate one for the exhibition- there was so large a number of beautiful living portraits walk

ing the rooms, that the contrast was a trying one for the portrait part of the collection. The young artists who by the way, are the most foreignlooking, and withal handsome young men one often finds were in their element. They philandered about, each with a pretty companion under his arm, and gave one a pleasing idea of what artist-life is in its social phase.

We thought it an admirable thing too for the artists, to be brought thus in contact with the public, and to become personally known to those in the community, who have a sympathy for them and their pursuits. How much more encouragement and incitement to effort is there in this, than dealing with a vague public, at arms-length-so to speak as is usually the case with all classes of artists. And then we thought of the art which we represent of music, and musicians. Why cannot something of this kind be effected for them too? Why is not a semi-social and semi-professional congress of musicians as practicable as that of painters? The subject of the "Musical Institute," which we discussed in a former number, again recurs to us, and it seems as though-if not that -some musical fraternity of the kind, must spring into existence in this city ere long. We have so many highly educated, accomplished and gentlemanlike members of the profession already in the city, and their number is so fast increasing that such a result seems inevitable. It strikes us, that the new enterprise of the Normal School, which was to have been entered upon this spring, but (owing to the absence of Mr. Lowell Mason) is now deferred until next spring, and which already shows such encouraging signs of prosperity and vitality that this enterprize, will result, in some way, in accomplishing - among other desirable ends, - a kind of social fraternity of musicians; and that musical artists will, in some manner, be brought into direct and personal contact with the public, and themselves and their art be thus better understood and better appreciated. Our whole sympathy. we need hardly

say

would be enlisted in the accomplishment of such an object. Willis's Musical Times.

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[Translated by A. W. T.]

A Sketch from the Diary of a Composer.

BY MADAME KINKEL, OF BONN ON THE RHINE.

When I was in H. studying counterpoint, I lived in very quiet lodgings near the conservatory, which I had only found after long search, and of which I had taken a good deal of pains to satisfy myself that there were no musicians in the immediate neighborhood. Everything went to my wishes; the people in the house knew and cared nothing about music, and the rooms over mine were occupied by an aged widow, who never stirred in her chamber with anything heavier than felt slippers on her feet.

The first month or two I was completely occupied with chords and intervals. I figured and dis-figured basses—and in fact had too much to do at my writing desk, to play as much as usual. The widow above me was charmed by the quiet of her fellow lodger, and praised me to the landlord as the very beau ideal of a tenant. Towards April, after the windows on the sunny garden side of the house began to be opened, I discovered in the rear of a contiguous building, which ran back from another street to the opposite side of the garden, a violin player, who had just moved in, and who cut all sorts of capers on his instrument. True enough, when we both had our windows closed, I could only now and then hear a few of his loudest notes, but these were bad enough in conscience for my delicate ears. I never can listen to a badly played violin, without imagining that I hear in its tones, the ghost of that particular cat, who gave her bowels for the manufacture of the E

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