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A New THEATRE AND OPERA HOUSE. We rejoice to learn that the prospect brightens for a fine theatre and place for lyric music, besides the two great concert halls in progress, in our city. A full and spirited meeting of merchants and others was held at the Revere House on Wednesday evening, when the wants of Boston in this respect were strongly set forth by the Mayor, by P. P. F. Degrand, Esq., and the chairman of the meeting, Edw. C. Bates, Esq. A committee consisting of Messrs. John D. Bates, John E. Thayer, William Amory and Gardner Brewer, were chosen,“ to apply to the Legislature for an act of incorporation, for erecting a building for theatrical representations, to select and obtain the refusal of one or more suitable sites; and to take measures for obtaining subscribers for the necessary amount.

NEWTON MUSICAL ASSOCIATION. A pleasant “Public Rehearsal" of this new choral and orchestral society, numbering some eighty members, took place last week. The first part of the poogramme consisted of glees, duets, and trios by Callcott, Kreuzer, Bishop, &c.; the second part, of sacred quartets and choruses. Besides the names of MENDELSSOHN and SPOHR, those of our friends, S. JENNISON Jr., the conductor, and EDWARD HAMILTON, appeared as composers. We are happy to learn that Mr. Jennison is about to publish a series of six sacred choruses. — May this example of Newton soon be followed by the other thriving and intelligent communities, all over Massachusetts and New England !

New York. EISFELDT'S LAST CLASSICAL SOIREE will probably come off on the 8th at the Apollo Rooms, when, we understand, the following pieces will be given:

BEETHOVEN'S Septet, in the original form, for clarinet, bassoon, horn, violin, viola, 'cello and contrabasso; HAYDN's celebrated Quartet in G; and either MENDELSSohn's second Trio, in C minor, or SCHUMANN'S Quintet, with Mr. Scharfenberg for pianist.

The Annual Meeting of the AMERICAN MUSICAL FUND SOCIETY took place on the 17th ult., when Ole Bull was elected an honorary member, and the following officers chosen for the ensuing year:

President, H. A. Coit. 1st Vice President, W. Scharfenberg; 2d Vice President, H. C. Watson ; Treasurer, Anthony Reiff ; Secretary, F. Scherpf.

Trustees, Ogden Haggerty, F. H. Austen, Julius Metz.

Directors, Th. Eisfeld, H. B. Dodworth, C. Pazzaglia, G. Schneider, U. J. Hill, Jas. Shelton, F. A. Stohr, Wm. Thos. Roberts, G. F. Bristow, Louis Ernst, John A. Kyle, D. L. Downing

The German LIEDER-KREISE, or popular chorus societies, which for the last three years have held their anniversaries in Baltimore and Philadelphia, will this Spring gather en masse in New York. It will be a time of real German enthusiasm, at once rhythmical and free. -- A similar festival will take place on the 7th of June at Cincinnati.

The newspapers chronicle the marriage of Signor BETTINI, the popular tenore, with Mlle. SOPHIE MARETZEK, a sister of the indomitable impresario.

The “GERMANIANS,” leaving Philadelphia in triumph, have been welcomed back to one of their special homes, which is Baltimore. We see that they have meanwhile paid a flying visit to Washington.

BISCACCIANTI had given five concerts, amid much enthusiasm, at San Francisco.

1

such timid and scant use of chords and harmony
as we have just seen. The result was, theoretically,
a whole system of counterpoint; and practically,
an abundance of very elaborate, though cramped
specimens of Art, especially the Catholic Mass
and Passion, and all the wondrous difficulties of
Fugues and Canons, carried mostly to a pitch of
barren artificiality, until this science culminated
and became inspired in great Sebastian Bach
and HANDEL.

We must regard then all this musical develop-
ment before the 17th century, all from the Am-
brosian plain chant to Sebastian Bach (though
PALESTRINA stands out solitary and sublime,
above the shining constellation of grand old Eng-
lish church composers, in the 16th) as mere
preparation for the modern Art of Music

proper. It mainly amounted to just this: The treasured inspiration of the same old stock of plain church chants and chorals, wrought over and over, and refined and twisted by a scientific ingenuity, until it became necessary that the fountains of melody should be replenished, or rather, that new fountains should be opened.

in due time, with the progress of letters, arts and commerce, which were closely followed by the art of counterpoint, beginning in Rome, thence passing to the Hanse towns, and so on; and with the expansion given to the moral life of Europe by the Reformation. The secular, neglected vagrant, Melody, was picked up out of the streets. The popular airs, the free and native music of the human heart, were recognized. Music burst her fetters and got upon the stage. And then the progress of the art was rapid and inspiring, and all its secular gains and its rejuvenescence told upon its uses in the Church.

After reviewing these facts, is it wise or proper to carry our partiality for the old and simple and church-consecrated so far, as to ignore what modern times have gained in the power of expressing all the highest and holiest aspirations of the human soul through tones, as Handel, Mozart, Beethoven, Cherubini and the rest have done!

from D to d, and had a very earnest, solemn character, most used in high church festivals. And so on through the twelve Modes. (The musical student may find them fully described in the work of Marx, noticed on an earlier page.)

But it must be remembered that these Gregorian chants or “tones at first were sung in unison, depending on great masses of voices for their effect. It was very slowly that any Harmony was added to their rough melodic progressions. Some occasional chords must have been now and then improvised and have grown into unwritten habits, especially at the closing cadences of tunes. By degrees it became common to add a voice part above the canto fermo, which was called Discant. But it was not before the enthusiastic studies of the monk Guido Aretinus in the 10th century, that anything like regular Counterpoint appeared. And for centuries after that, indeed even till after the Reformation and the dawning of mental freedom in Europe, when Music had got well secularized upon the stage, what harmony there was, was mostly limited to the hard, barren intervals of fourths and fifths, with an extremely timid and shy use of the expressive thirds and sixths ; while (as we have said) the semi-tones had not all got emancipated and recognized in the Church, which made law in musical as in other matters. The secular and vagabond music of the streets and fields, we may fancy, had semi-tones and thirds enough, without knowing it, any more than Mo liere's M. Jourdain knew that he had been speaking prose. Because the natural instincts are more suggestive, more prone to accept all the elements of any truth, than a cramped science, made the subject of ordinances and prescription. Music is so true and genial to the whole of human nature, so allied to the heart and therefore of course to freedom, that only in the free and secular air of unmistrusting, generous, joyous, although checkered life, can she fully be herself, and fulfil her beautiful and perfect mission among sister Arts. The very idea of prescription is alien to the very soul of Music, who must be allowed freely to unfold all the types of order and unity and beauty and divine wisdom out of herself. And is it not her divine mission to elevate the whole of life and make it holy? But to return to our historical sketch.

So much, in passing, of the “ Church Modes” and the Gregorian Chants. We must further notice how elaborate a music the restless, curious ingenuity of old composers, working within the aforesaid superstitious, theoretic limitations, had gradually evolved out of these plain materials, by the time of the establishment of our full modern Scale and of the true beginning of modern musical ART. The grave Discant which was sung above the Canto fermo soon took on refined and florid airs, so that some one compared it to “the curls and folds and flounces in a female dress.” From the antiphonal or responsive singing, choir answer. ing choir with the same melody commenced a little later and pitched a fifth or fourth higher or lower, that is in the plagal mode, arose the trick of Imitation, Canon and Fugue, which kindled up the emulous inventive and refining faculties to many a long heat. This accounts for florid and elaborate melody, for separate and long-spun parts, and melodies pursuing and entwining one another in one intricate and involved composition; while by the same process, together with the inviting facilities of the first church organs, arose

This came,

AN ELL FOR AN INCH. In our translation from Listz's memoir of CHOPIN, in the last number, we spoke of a certain painting, instanced as a small one, as covering “a canvass of twenty

- it should have been inches.

square ells

Musical Intelligence.

Local.
SENORA DE RIBAS offers a very attractive programme
for her complimentary concert this evening. She is to
sing herself a Cavatina by that liquid melodist, Cima-
rosa, and the Fatal Goffredo by Donizetti. Also in the
Trio of maskers from Don Juan, with her sister and Mr.
Arthurson, and a duett with Mr. A.

Miss EMMA GARCIA sings a ballad by Wallace, and
Miss Julia Garcia the “Captive Greek Girl,” by Hobbs;
and the two sisters the duett by Wallace: “Sainted
Mother, guide his footsteps."

Mr. ARTHURSON will sing "Thou Soft flowing Avon,"
composed in 1740, by Dr. Arne.

SIG. DE RIBAs will play upon his oboe the Adagio
Religioso of Ernst, with organ accompaniment by Mr.
HAYTER, senior, and a solo of his own, with orchestra.

Mr. HAMANN, the fine French-hornist, is down for a
solo: and Mr. Garcia for a piano-forte solo, with orches-
tra. Three good overtures, and Meyerbeer's Marche du
Sacre, make up the balance.

We trust there will be an overflowing house. The programme looks long, but the pieces are short and will be all through, we are assured, by 10 o'clock.

Germany. VIENNA. The German Opera finished on the 14th of March with the Prophète. On the 15th the Italian Opera began, with Mmes. Medori and Demeric, and MM. Fraschini and De Bassini in Lucia. On the 17th Mme. Maray and M. Scalese made their debut in Don Pasquale. To these succeeded Lucrezia Borgia and Verdi's Macbeth, in which last Medori and the baritone De Bassini had a wonderful triumph.

SCHULHOFF, the pianist, had returned and was giving successful concerts.

On the 1st of May was to be celebrated in the chapel of the royal palace a jubilee commemorative of its foundation four hundred years ago. Among the works to be performed, were Masses by Mozart, Assmayer, Mayseder, Eybler, Preyer and Beethoven; Graduals and

Offertories by Haydn &c.; finally a grand Litany by Mozart and the abbé Vogler's Choral Vespers.

The concert for the Charitable Fund for musicians was composed of all the music to Meyerbeer's Struensee, Mendelssohn's posthumous Symphony and “ Midsummer Night's Dream” music, a Symphony by Beethoven, and the Oratorio of “Noah," by Preyer.

BERLIN. The musicians of the royal chapel were to present a båton of honor to their director, Taubert, (author of Jenny Lind's “ Bird Song,) as a reward for ten years labor; the same honor had been paid to Spontini and Meyerbeer. – Much was said of a new Oratorio, “ Daniel and Nebuchadnezzar," by the organist Kuntze.

Madame WAGNER took her leave in the part of Fidelio. Don Juan, with Mme. Koster for Donna Anna, the Grossfurstin, by Flotow, the Doppelflucht by H. Schmidt, Fille du Regiment and the “ Doll of Nuremberg” are named among the operas old and new. As singers for the Summer season, were announced Roger of Paris and Mme. Meyer, Liephart from Vienna, and Formes the baritone.

Meyerbeer has written a Cantata for the 28th anniversary of the marriage of Prince Charles of Prussia.

At the college Frederic-William, the pupils of the first class have performed the tragedy of Antigone in Greek, with the choruses by Mendelssohn.

BRESLAU. The Academy of Song gave on the 3d of March a concert, composed of chorals by John Eckart and S. Bach; a motet by Mich. Bach; the Requiem by Hasse; a cantata by S. Bach. On the 26th they sung Haydn's “Seasons.”

At OKLAU, Dr. Karl Loewe's Oratorio of “ John Huss” was performed. [The music of this is in that author's romantic, German ballad vein, full of pleasing variety and contrast, and may be produced some day ere long in Boston, as we once found some amusement in translating its quite clever poem for one of our most active professors of sacred music.]

LEIPSIC. Cimarosa's N Matrimonio Segreto has been represented with unanimous applause.

AMSTERDAM. The inauguration of the statue of Rembrandt, who died in this city in 1674, was to be accompanied by a grand musical festival, in which all the philharmonic societies of Holland were to partake. It was supposed that there would be over 2,500 executants.

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Paris. At the GRAND OPERA, Tedesco and the tenor, Roger, have been singing in the Prophète, Laborde in the Hur guenots, Gueymard again in “ William Tell," and Malle. Courtot, a pupil of Duprez, in La Farorita. — There is great expectation of the new opera, “ The Wandering Jew," which was to be brought out early in April. – A danseuse there too, Mdlle. Priora, is spoken of as one destined to renew the triumphs of Taglioni, Elsler and Cerito.

ITALIAN OPERA. Malle. Cruvelli sang Rosina in the “Barber.” Lablache, as always, was irresistible in the röle of Bartolo; Calzolari sang that of Lindoro admirably, and Belletti distinguished himself in Figaro.

Cinderella was given for the benefit of the contralto, Angri, in which Lablache had another triumph. In L'Italiana in Algieri, Ferranti was very amusing as Taddeo. In Don Pasquale, Cruvelli again, with the quartet above named.

The season closed on the 1st of April with a concert, said to have been rather triste, as Sophie Cruvelli and her sister, who were announced in the programme, had already left for London.

At the OPERA COMIQUE the appetite for graceful fun holds out and there has been great activity in feeding it. In one week, the habitués had passed in review before them, as in a sort of magic lantern on a grand scale, the Domino Noir, the Fille du Regiment, La Dame Blanche, the Carillonneur de Bruges, le Macon, le Tableau parlant, la Fête du village voisin, and the Château de Mme. BarbeBleue, - eight merry operettes !

Then they have had a new one-act opera by Adam, called le Farfadet (the Hobgoblin,) in which he has a caricature of the statue scene in Don Giovanni. - Also Madelon, and the Trompette de M. le Prince, great favorites, by F. Bazin. The caste of the former piece was

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MUSICAL WORKS RECENTLY PUBLISHED BY

MASON & LAW, 23 Park Row, Opposite Astor House, N. York.

MM. Sainte-Foy, Andran, Hermann Leon, Lemaire, Mlle. Lefebvre and Mme. Mayer. — The debutante, whom Berlioz praised, Malle. Wertheimber, had been ill, but was to reappear in male costume. - Galathée, a new comic opera by M. V. Massé, was announced, the part of Galatea by Mme. Ugalde, that of Pygmalion by Malle. Wertheimber.

OPERA NATIONAL. Duprez's opera, Joanita, has drawn crowds, and shed a glory over a multitude of smaller things, romances, canzonets, &c., which the great tenor composed before he wrote for the theatre, and the beauty of which the Parisians have just begun to recollect. Caroline Duprez, the daughter of the composer, sang in Joanita, and she is styled an adorable singer by the French critics.

The “Prison of Edinburgh,” by Caraffa, and la Pie voleuse, have since been played.

VIEUXTEMPS was to arrive in Paris and give a concert about this time. — M. TELLEFSEN, a young pianist and composer, whose style and sentiment are said to be analogous to those of his master, Chopin, was to give a concert.

A LEARNED FEMALE ORGANIST. Mlle. Juliette Dillon, organist of the cathedral of Meaux, has been giving Soirées of MUSICAL IMPROVISATIONS. On the first evening, she improvised five times: 1. Preludes in a given key and measure; 2. improvisation on a theme proposed on the spot ; 3. on a poetic subject; 4. on several themes of different style and character; 5. on a scene containing several contrasted subjects.

SOCIETE ST. CECILE. The programme of the sixth concert was as follows: Overture, Meeres-Stille, by Mendelssohn; Trio from Les Songes de Dardanus, by Rameau; Chorus from Les Elus, by M. Wekerlin; Pastoral Symphony, Beethoven; Air de Limnander, sung by Mlle. Miolan; Parane, dance air of the sixteenth century; Overture, Le Roi Etienne, Beethoven. Orchestra directed by M. Seghers; choruses by M. Wekerlin.

LEOPOLD DE MEYER was to give his last concert in Paris on the 19th of April in the Salle Herz. He was to play two new compositions; viz., a fantasia on le Pro phète, and his Souvenir d' Italie.

MLLE. Clauss is still extolled to the skies, especially in her performance of Beethoven's Sonata in C sharp minor (the “Moonlight”). She was to leave for London.

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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.

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For Dwight's Journal of Music. MY SONGS.

FROM THE GERMAN.

All my little songs and fancies

Are the moment's birth alone. As the fleeting hour advances

Vanishes each winged tone. Fate poetic souls must sever,

And no tongue must breathe their name. Ah! how vain to hope that ever

I shall win a lasting fame.
Tones upon my harp-strings burning,

When my heart is touched and thrilled, Only when to hearts returning

Find their destiny fulfilled.
May their ringing echoes cheer me

When my lyre is hushed and dead,
And the Angel Death is near me

Beckoning to my lonely bed.

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TABULAR VIEW

OF TITE Chronology of Musical Composers. 1480. Josquin de Prez. 1510. Luther. 1530. Tye. 1540. Tällis. 1560. Orlando di Lasso, Gioronimo Converse,

Luca Marenezeo, Palestrina, Ferrant. 1580. Bull, Weelkes, Este, Monteverde, Morley,

Bird, Wilbye, Dowland, Peri, Emilio dal

Cavaliero. 1610. Gibbons, Ford. 1630. Allegri, Batten, Child, Cesti, Carissimi,

Luigi Rossi, Bassani. 1670. Lulli

, Wise, Aldrich, Kerl, Humphries, Purcell, Lock, Rogers, Blow, Scarlatti. 1690. Goldwin, Lotti, Clark, Clari, Vinci, Col

lonna, Chreyghton, Steffani, Corelli, Gas

parini. 1710. Wagenseil

, Geminiani, Green, Astorga, Keiser, Marcello, Durante, Graun, Handel, Croft, Leo, Arne, J. S. Bach, D. Scarlatti,

Pergolese, Caldari. 1740. Rameau, Tartini, Alberti, J. C. Bach, W.

F. Bach, C. P. Bach, Jomelli Galluppi, Guglielmi, Giardini, Terradellas, Gluck, Boyce,

Hasse, Paradies. 1780. Crispi, Paer, Vanhall, Abel, Steibelt,

Gretry, Viotti, Piccini, Sacchini, Bocherini,
Paissiello, Cimarosa, Meyer, Beethoven, Ko-

zebuch, Pleyel, Haydn, Mozart. 1800. Vogel, Cherubini, Hummel, Cramer,

Kreutzer, Clementi, Mayseder, Winter, Moscheles, Auber, Dussek, Meyerbeer, Weber, Mendelssohn, Rossini.

The Musical World, (London.)

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Journal of Music

A Paper of Art and Literature.

VOL. I.

BOSTON, SATURDAY, MAY 8, 1852.

NO. 5.

Dmiglit's Journal of Music,

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MOZART'S DON GIOVANNI. exceed the contour of their poetic outlines, and

how little they are like them too. No one will [The relation of this immortal music to the story and

fail to see in the story of Don Juan, as it is libretlo is happily shown in the following imaginary con

moulded by the music, an order of things entirely versation between the musician and the poet, each speaking from his own point of view. It is from a re

foreign to the contents of the libretto. markable work (written by a Russian) upon the Life and We wish to point the attention of the reader, Genius of Mozart, of which we are preparing a trans with the finger, so to speak, to the difference in lation for the press.)

the points of view from which the musician and If we examine the scenes of the libretto singly, the poet proceeded. If you

consider them singly, we find at first a want of connection and a strange their intention is divided, indeed sometimes even medley, as if the most heterogeneous elements of opposed; yet there is throughout an understanddramatic poetry had been thrown into a bag and ing and a harmony between them, as soon as you shaken up, and then drawn out like the numbers take them together. To this end we imagine a in a lottery. In fact what do we see? A

merry sort of historical romance, but without any outlay marriage, and on the way to it a bloody corpse ; of fancy,

a dialogue, in which the authors of love breaking its first vow, and life expiring with “Don Juan ” talk over their design, one proceedits last gasp; an orgy in a house of the living, ing from the letter of his poem, the other from and in the churchyard a monument that speaks; the spirit of his score. Both seem to us to be so trivial fun and drollery, mingled with attempted clear, that we run no risk, if we translate their deeds of violence, with murder, cries of despair, thoughts. oaths of revenge and apparitions from the tomb; Mozart. My dear Abbé, I want a text for a banquet with champaigne and spiced with

an opera, but do not give me, I beg you, another music, and Death in person as a guest; Melpomene French comedy. This time I have to do neither and Harlequin, men and demons, dancing at the with the court, nor with Vienna. I am to work same feast! Then, when all this crowd has whirled

for the Prague public, who understand every round to dizziness within this phantasmagoric syllable from me, and for the orchestra in Prague, circle, when all the contrasts of human nature who play me at sight. The troupe is excellent, have exhausted themselves in these Saturnalia of

and the singers can do everything I ask of them. the imagination, everyone withdraws, scarce It is precisely as if Mozart were working for knowing whither, with the exception of the hero MOZART. It must do me honor. I should like of the piece, who goes to hell.

to have something out of the common run. Help Can you imagine how Da Ponte, the successor

me to it. of METASTASIO, the court poet at Vienna, nour Da Ponte. You could not come more opporished on the milk of the most sound and classic tunely. I am just now engaged upon a text. It doctrines, could, in the year of grace 1787, have is taken from an old comedy by Tirso de Mosoared in this singular work to the highest pitch LINA, and is called : “ The Marble Guest, or the of romance, which reminds one of the “ Mys- Scape-grace of Seville.” MOLIERE and GOLDONI teries ” of the middle ages, and which, forsaking have made comedies out of it; I have an idea of all the traditions of dramatic art in the eighteenth working it up into an opera. It is the most recentury, could not seem good enough for anything markable tale of diablerie. Nothing like it was but a puppet show! Many years had flown since ever offered to the dilettanti; only I feared that “ Don Juan ” was first put upon the stage, when no composer would be pleased with it. the critics cried out about the absurdity of the Mozart. Let me see what there is in this poem, though they admitted that it had afforded

devil story to the composer the matter for a music, the like Da Ponte. In the first place there is an of which was never heard before. They did not equestrian statue, who, being invited to a supper, explain this accident, for accident admits no ex gets off his horse, because it would not be quite planation ; besides, they were in the right. The the thing to enter a saloon borne upon four feet. libretto without the music is as absurd as possible ; The statue refuses to eat anything; on the conand yet this absurd text and this sublime music trary, he holds forth to the master of the house, a form together but one body and one soul; and precious scamp, in a very edifying discourse, and yet, for all that, there is no one who will not thereupon takes him down with himself to hell. recognize how far the images of the composer That will be very fine, I assure you. A player

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an Abbé. *

with chalked face, a delft helmet, white glazed | script.) You make him swear by the eyes of his Mozart. And of thee too, thou holy man of gloves, and a complete Roman suit of armor beloved, by the blood of the murdered old man.

We know you. manufactured of old linen. (Laughs.) Moreover What a duett!

DA PONTE. The scape-grace meets her with there will be lightning out of all the trap-doors, DA PONTE. Truly, maestro, you are right. her wedding procession. He is a connoisseur, and devils of every hue. About one thing only What a blockhead I was not to see how much wit this scape-grace, we do him the justice to acknowlI am in despair, you see. And that is the speech | I had; that seldom happens with my peers! But edge that, and he has always a plenty of intrigues of the spectre; for, although I fatter myself that will

you

be as well contented with the rest, which on hand. A moment suffices for him to lead the I understand my trade as well as any one, I am I have yet to lay before you? This villain is a wedding guests aside as well as the bridegroom, who not SHAKSPEARE, that I can make ghosts speak. terrible devourer of women. In Spain alone he is a blockhead, a regular simpleton. The peasant MOZART. No matter what he

says.

Death has already swallowed one thousand and three, bride is on the point of falling into the snare, like will speak in my orchestra, and in a way to be and the devil of a man has travelled much. You a lured bird, when some one grasps her arm and understood. I know too well how he speaks. will see that I could not bring all these ladies on holds her back. This is our Didone abandonnata, Excellent! The statue is a settled matter. What the stage ; but I needed at least one as the repre who carries off the prize from the briccone in the else is there?

sentative of this host of victims. I have taken very nick of time. This master in the art of DA PONTE. Next there is a beautiful lady; her from Burgos, where our man stole her heart, seduction however is not put down; he tries to the statue is her father, who was killed in single and then, what know I how or where, deserted to use force, which happily does not succeed. combat by the reprobate, the hero of the piece. her. This Didone abandonnata, wife, widow, or The bridegroom, blockhead as he is, is nevertheThe Signorina weeps, is naturally quite inconsola young lady, (for that is a point which I leave less enraged and means to have his rights; but it ble, and indeed the more so, since the traitor has undecided), cannot digest her shame. She pur turns out, I do not know exactly why, that he, nearly played her a very base trick, her, the sues him over hill and vale, and inquires of every instead of administering blows, gets them himself, daughter of a Commendatore, and what is more, one she meets about the faithless fellow. At and well laid on. He howls like one possessed. the betrothed of the handsomest young man in length she finds him deeply occupied with another. The little lady comes running in at his cry, and Andalusia. She swears to be revenged. So far Instead of offering her excuses, the briccone examines the bumps and bruises they have left it all goes well for you, maestro; but now comes laughs in her face and leaves her with his servant. upon the dear man with the butt of his own musthe bad part. The young man, who expects to The lady never loses courage. She is persuaded ket. A trifle ! the little lady knows a specific, marry her, and who is charged with the duty of to wander through the streets by night with this

that will heal him in a moment. You must not avenging her father, makes many promises, in very servant, disguised in the cap and gold-laced forget, maestro, that the night just commencing is fact he draws his sword; but before the knave, mantle of his master. She perseveres in loving that of her wedding day. I have done the best I who is as resolute and brave as four, he loses his the traitor, and after all hope is lost, seeks at could, caro maestro, and have written a sort of presence of mind, and the sword improves this least to convert him, though compelled to re

Cavatina. opportunity to slip quietly back into the scabbard. nounce his possession. Between ourselves, maes

MOZART. Let us see the Cavatina. (Reads.) Our lover is, I confess, a poor knight. You see tro, I believe that she is mad. You see, we can

Vedrai carino, &c. Hem! a very poorly disguised him always following the footseps of his beloved, make nothing else out of her.

-! Well, you could not have made it anylike a prolongation of the train of her black Mozart. O, the noble, the adorable person ! thing else; but my plan, do you understand it? robe. There was no means of representing him Mad, say you ? yes, for you poets, who regard

is to describe in music the sweetest moment of otherwise; so that the lamentations of the Sig- nothing but the actions of persons and the words,

life, the heart's supreme bliss and ecstacy! Annorina and her schemes of revenge bring nothing which you put into their mouths at random. But

other poet would have tried to express this in his to what different interpretations are not the words,

way, and would have just spoiled it all for me ; Mozart. You would bring the impossible to nay even the actions liable! It is necessary to

but
you,

whom I love as the apple of my eye, pass! You would hasten the justice of heaven! look into the heart, and, next to God, it is the you, my devoted comrade, my faithful Pylades, You would wake up the dead from their graves ! musician only who can look in. Mad! At all you, the true poet of the composer, you take my You ought to comprehend that it is the imperious events she is good enough to excite coarse merri hand, lay it upon a heart beating with rapture, cry, the superhuman cry for vengeance, which ment! Make her say what you will, but when

and say to me : sentilo battere (feel it beat). Now brings in the statue. Between these things there my music like a mirror shall reflect the image of

indeed, it is for me to feel and to make others feel. is an obvious connection. Abbé, I am in raptures this high-minded and devoted soul, I trust my All the ecstacy of love shall express itself in this with our prima donna; I would have chosen her friends will see something very different from a Cavatina; glowing and chaste shall it be, in spite among thousands. As for the bridegroom, he mad woman in her. (Looking through the manu

of the text. The text gives the language of a deserves not your reproaches. How can you script.) She comes to his last supper. That is peasant girl ; it becomes her; the music shall be desire the poverino to do battle with this incarnate altogether admirable ; the unheeded voice of the its soul, the soul of MOZART, as he led his Condevil, who offers a glass of wine to the ghost of guardian angel, letting itself be heard before the stance to the nuptial bed. You see, I am already the old man whom he has murdered ? The voice of judgment. (After musing a while.) Be madly in love with our country maiden. daughter's husband would have gone after his sides, this passionate and energetic person is the

DA Ponte. (Somewhat excited). I knew father-in-law, and then, as in Figaro," we should necessary link between the other persons, the

that she would please you. have had no tenore. A fine advantage! Caro two most prominent of whom, as I already per

Mozart. (After reflecting anew.) But, dear amico, you know not what such a man is; I ceive, are destined to a passive part. Didone Abbé, to what genus does our common work beunderstand your scape-grace; but patience ! when abandonnata shall be the angel of the drama,

long. Plainly no opera seria will come of it. you shall see him on the stage, facing the statue, and, so far as the music is concerned. the nucleus The great scape-grace and woman-devourer, the his eyes flashing with desperation, irony and of the concerted pieces. She will afford us trios,

Didone abandonnata, about whom they make blasphemy upon his lips, while the hairs of quartets, perhaps even a sextet, should there be merry, the blockhead who is jeered and cudgeled, the audience stand on end (I will look out for occasion. I have found a relish in the sextet, even the statue, who accepts an invitation to supthat !); when he shall say: parla! che chiedi ? since we tried it in “ Figaro," although the lyric

per, all this seems to be far from suitable to the che vuoi ? (speak! what do you ask? what do stuff was very poor. Is it not strange, my dear

heroic kind. At the most, only the daughter of you want?); then you will recognize him. No, friend; the better you do your part, the less are

the Commendatore and her lover could come on no, a reprobate of this stamp can not be punished you aware of it!

in the cothurnus; and your renowned predecessor, by the hand of a living mortal. It would make DA PONTE. I am satisfied, if you take it so.

Signor Metastasio, of glorious and enduring memthe devil jealous. Body and soul, the devil alone As to the sextet, there is an opportunity for one;

ory, would have rejected even these with contempt, must have all ; have compassion therefore on the we are not yet at the end of our list of persons ;

because they are neither Greeks nor Romans, young man. He promises, he would, he even there is one who certainly will please you: a

neither kings nor princesses. On the other hand, tries : is not that all a prima donna could require young rustic bride, who is open-hearted, full of a piece, which ends with the death of the princiof a loyal tenor in such a case! You see, the feeling, a little coquettish, to be sure, and even pal person, and whose closing decoration is a life of our lover is altogether an internal life; it somewhat imprudent, bnt only from necessity, as representation of Hell, is quite as far from being is all spent in his love; it will be great and beau you

A morsel worthy of you, my gal

an opera buffa. What is it then ? tiful, my word for it. (Looking over the manulant maestro !

* The Abbé passed for a woman-hunter.

to pass.

66

shall see.

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