ries of other women appear awkward and insipid to them, so that they exclaim with perfect justice: Niema iak Polki! (Nothing beats the Polish ladies!) That caressing, sportive nature, at once so full of abandon and of reserve, transports the heart into the wavering, aimless motion of a boat without sail or rudder.

In his playing, CHOPIN painted in a fascinating manner this wavering and heaving, letting the melody continually rise and sink like a boat upon the undulations of the mighty waves. In his works he indicated this manner, which lent such a peculiar stamp to his playing, by the mark "Tempo rubato." Latterly he left it out, persuaded that, if one correctly understood his compositions, it would be impossible for him not to divine this rule of irregularity. In fact his music must be delivered with that sort of accented and prosodically measured wavering, of which it is difficult to catch the secret, if one has not often heard him play himself. He took much pains to impart this mode of playing to his numerous pupils, especially his countrymen; and the Poles, or rather the Polish ladies, caught it with the talent and the tact, which they possess for every thing, that has to do with poesy or feeling.

[To be continued.]

Dwight's Journal of Music.

BOSTON, MAY 8, 1852.

RATES OF POSTAGE. We receive many inquiries and complaints from out-of-town subscribers, who have been grievously taxed with postage on our Journal. This need not be. Subscribers have only to pay at the post office by the quarter, in advance, and the postage for this Journal, as fixed by law, is only five cents per quarter, for any distance not exceeding fifty miles, and ten cents per quarter for any distance not exceeding three hundred miles. By neglecting to pay in advance, subscribers are charged the high rates of transient newspapers.

Mendelssohn Quintet Club.

The last of the public rehearsals took place in Cochituate Hall last Tuesday afternoon, and was an occasion of unusual interest. The Club had during the morning contributed the music to the academic exhibition at " Old Harvard." This was a pure con amore rehearsal, and the pieces very choice. There was none of the anxiety of preparation for a concert, but the real enjoyment of retesting the virtues of good music in a circle of good listeners. First came MENDELSSOHN'S earlier Quintet, op. 18, a rich and varied banquet in itself, whose flavors never pall upon the taste, and whose guests never miss any of the old enthusiasm. Next, by way of variety, Mr. WULF FRIES "said" (as the present French musical critics express it) the Serenade of SCHUBERT on his violoncello, with quartet accompaniment. Then came a Quartet by MENDELSSOHN, in E flat, with a pathetic slow introduction, a passionate Allegro, an Adagio of the profoundest melancholy, a quaint minor strain in the spirit of some wild old Volkslied or Ballad, and a bold finale:fact the whole, by its eminently impassioned character, now and then analogous to Beethoven's Sonata, might be distinguished as the "Quartet Pathetique."

— in

But the last piece was the climax of this kind of inspiration. No words could describe that

wonderful Quartet of Beethoven, in C, though opening with chords that indicate no settled key, and in which the most fantastic and original humors of the man are worked out with a gigantic force of logic. Much of it reminds one of ideal landscapes of the boldest and wildest Alpine scenery, relieved with exquisite green spots where the sunshine loves to linger and tempt forth the innocent, sweet flowers. In one passage, the smooth commingling of the harmonic currents, with the cool feeling of deep, quiet waters, seems an unconscious presentiment of what is most Mendelssohnian in MENDELSSOHN. To crown the whole with glory, a fugue-theme, of unusual length and florid figure, is at last introduced by a single instrument, and, duly answered by the others in their turns, is wrought up with surprising power and beauty. It tasks the utmost hardihood of execution, but at the same time inspires the courage (without which man would not be so much above machines and animals) to essay even the Impossible.

Mr. AUGUST FRIES, the genial leader of the Club, sails this week for Europe. A pleasant summer to him in his native Germany, and may he bring back fresh inspiration from that real home of Art, as well as more "treasures new and old" of its choice music. Another season will, we trust, show the "Mendelssohnians" that a hearty and a paying audience has at length been moulded by their potent, plastic spell into a true and constant sympathy with what they may undertake for us in the way of genuine classic music

Mlle. Clauss. An American's Description.

This rising star among the pianists, of whom we have already transferred some notices from the French papers, has excited the interest of "Spiridion," the lively Paris correspondent of the Atlas, who thus tells her story:

"Picture to yourself a beauty of the Saxon race: a beautiful, smiling, and yet poetical face, set off by silken pale blond ringlets, eyes of limpid blue, lips perhaps rather too large, but bright as rubies, and full of frankness, innocence, and kind-heartedness, hands small as an infant's, so delicate that you may trace the blue veins in them -a timid, modest, embarrassed woman. A face of that chaste, divine, melancholy, loving expression which characterizes the women of the Saxon race; which seems formed by God for the solace of some happy hearth, for a mother and for a home.

"What does she here? Why have precocious sorrows traced their lines on that face, made to be loved and to be sheltered even from the rougher winds of heaven?

"Alas! the common tale: Misfortunes and poverty. Her father died before she was out of the nurse's arms, the mother strained her resources to educate her; she evinced some talents for music; new privations were supported; other efforts were made to cultivate these gifts. The child was now grown to be the girl of eighteen; it was time she contributed to the common stock.

"Mother and daughter came to Paris, to thrust their hands in the great wheel where so many skinny fingers are seeking to secure prizes. This was about the close of last winter. Mlle. Clauss played in some drawingrooms, and once in a grand matinée musicale of Berlioz, but she was unnoticed; even the musical journals and the feuilletons of Tuesday, which spoke of the beautiful concert-room, the fine eyes of Mme. Frezzolini, and the talents of Berlioz, seemed unconscious of her existence. All she wanted was a line-one God speed you!· that she might give her own concert with some chance of success.

...

"She knew that she had but to be heard, and her success was assured; but Paris, so cordial, so kind to the

famous, is completely indifferent to the obscure. It cannot be otherwise, so many appeals are made to her, so much mediocrity boasts the wand of genius.

"Unaided as she was, her concert must be given. Her mother, who had health and energy of character, went to printers, music sellers, critics. The poor girl was discouraged. She would not stir out of her house. She sat all day long on the piano stool, seeking consolation from her instrument. She had become pale and emaciated. Many a time her poor mother awoke in the night and looked to see if her child slept, and the child, to quiet her mother, hastily closed her eyes and feigned sleep. At last the great day was at hand, all the tickets had been sold and the bills printed. Suddenly Mme. Clauss falls sick, she becomes worse, her physicians give her up, she is delirious, she is dying, she is dead. The poor orphan throws herself upon her mother's corpse, bathes her cold hands with her tears, and almost reproaches her by her sobs to have gone and not taken her away too.

"Fortunately, they knew Mme. Sabbathier Ungher. This benevolent lady took her home and became a mother to her. Her kindness re-established her health, she returned to Paris this winter, and is famous. Thalberg and Herz and Liszt proclaim her the first of living performers."

A GOOD SUGGESTION. Many plans for reforming the system of Musical Notation are now agitated. Some of these would modify the common mode of representing music to the eye only in certain particulars; others proceed against it root and branch. All of them set forth a goodly show of reasons; but the difficulty is to turn the current of musical study out of its old channels into new ones, however straighter, plainer, casier these may be. But now and then a very slight change is suggested, which has but to be seen to be adopted, and which, once adopted, is fraught with conveniences quite out of proportion to the modest magnitude of the change itself. Such seems to us the very simple modification of the Staff, proposed in the following letter.

To those who sing at sight plain parts within a moderate compass, our old system of five lines is clear enough. But where added or leger lines abound, as in almost all instrumental music, the eye of the reader is often perplexed with the multitude of parallels; and it is hard to tell, without borrowing too much time for it, where the main lines of the staff leave off and where the added lines begin. This perplexity is simply and perfectly avoided by the suggestion of our correspondent. Let any music publisher adopt it in some standard publication, and we see not how it can fail to pass into universal practice.

But we let the originator of the idea speak for himself.

The advantages are, that in reading the leger lines at sight, there will be less hesitation in determining the letters; for often the short lines, being run together, leave the mind in doubt for an instant as to what those letters are; because the eye does not distinguish the fifth line on the Staff from any other.

Again, there will be less effort in reading notes, because having these prominent points to judge from, the eye will perceive not only with greater ease, but certainty, either in the bass or treble staff, thus assisting the experienced performer as well as the beginner.

I would, through your valuable journal, submit the idea to publishers of music for their reflection, hoping, if it be an improvement, that the musical public may be benefited by it. ED. B. ROBINSON.

The Concert of Senora de Ribas.

There is an inherent difficulty in Complimentary concerts. The very effort to multiply attractions involves the fatality of a loss of unity in the programme, which seriously impairs the interest in a merely musical and artistic view. The musical interest has to give way somewhat, while the personal interest becomes the primary. All are anxious to lend their aid in making the compliment a solid one; many of the professional fraternity volunteer, and great as may be the heartiness of the thing, as well as the richness of material assembled, still it seldom hangs together well as an artistic feast. It almost always turns out that the bill of fare is too long, too miscellaneous, and that the viands it enumerates have been too hastily cooked.

This applies to nearly all such concerts, and of course it is no disparagement to that of Saturday last to own that it did not wholly escape the common fatality. In spite of the drenching rain, that flooded every thing, commencing but an hour before the concert, it was gratifying to see the Melodeon quite well filled; and it was an audience in the best humor to be pleased. The orchestra embraced most of the resident talent; but the putting together was partly new; some, who were expected, failed, and substitutes had been called in at a moment's warning; the foresight of rehearsals therefore had been balked; and so the overtures moved forward rather confusedly and lamely. Especially that first one, to Massaniellowhich not Auber's, but Caraffa's opens with a slow movement in which the horns had much to say, and said it very unintelligibly. So too the accompaniments about spoiled the Trio from Don Juan, which seemed to have been well enough studied on the part of the singers.

ness.

Senora DE RIBAS was warmly received, nor had her voice lost any of its flexibility or sweetThe air from Cimarosa she executed with great beauty. Her two younger sisters, Miss JULIA and Miss EMMA GARCIA, pleased by the rich and musical quality of both their voices. Mr. ARTHURSON sang "Thou sweet flowing Avon," Dr. Arne's old song, in pure voice and style, accompanying himself. Senor DE RIBAS played Ernst's Adagio Religioso on his oboe with a breadth and rich warmth of tone, so feelingly modulated, that this intractable instrument seemed, thus skilfully coaxed, not so very far inferior to the violin in power of expression. The pianoforte solo by Mr. GARCIA, (père), was a very neat, light-fingered performance, and proved that there is some virtue in the old school. Messrs. RIHA and FRIES played their brillant Duo Concertante, by Kalliwoda, with the usual éclat.

A Few Words on an Opera House.

To the Editor of the Daily Advertiser:

SIR,-In an article under the above caption, which you did me the favor to publish on the 19th of June last, occur the following remarks:

"But, while the extensive canvassing which has been carried on by the friends of this project (the Boston Music Hall), has met with such signal success, it has further elicited in every quarter the

unexpected, but most agreeable fact, that a large majority of the most influential class of our citizens, of those in fact who pay for the erection of such bulidings, and who patronize and enjoy them when erected,-desire an opera house in addition to the Hall, a bona fide opera house, of such a size and character as shall give them and their families the means of permanently enjoying the Opera in their own city, such as shall place Boston in the foremost rank of musicloving and music-supporting communities, and cause her name to be mentioned with the highest honors for a practical and earnest appropriation and patronage of art."

Your readers will have perceived, by recent announcements, that this long-desired project has at last taken a tangible form, and that the preliminary measures have already been commenced, in the appointment of a most influential and excellent committee. The same papers which make this announcement, however, couple with it the somewhat absurd statement that the intention is to build a theatre which will seat five thousand persons. This must certainly be unauthorized by any of those gentlemen who are intelligently interested in the matter, because they must be supposed to have looked somewhat into the subject, and of course to know that there is no such building as this existing as a regularly appointed theatre in the world. No theatre in London, Paris, St. Petersburg, Madrid, or Naples, begins to hold any such number, and it is well to take this early opportunity for setting the public mind right on such a point, to prevent exaggerated expectations, and subsequent disappointment.Drury Lane Theatre, the largest in London, holds 3060 persons; Covent Garden 2800,- - and the theatres on the Continent, although many of them are somewhat larger in area, still, from the predominance of private boxes and the greater convenience of sitting room allowed, do not accomodate, in any instance that I am now aware of, more than the above-mentioned number. How unwise and unnecessary then would it be to attempt to do more than this, or to suppose that Boston could furnish audiences for which London has not thought it expedient to provide accommodation.

Many, even of these sittings, however, are, it should be stated, exceedingly uncomfortable.Covent Garden with its 2,800 and Drury Lane with its 3,060 seats, exclusive of that

"No room for standing, miscalled 'standing room.'"' excite very invidious comparisons among the foreigners in London, and, according to Mr. Gwilt, cause a good deal of nightly torment to the English play-goers.

The arrangement of seats, and the extent to which the general capacity of the house should be allowed to infringe upon personal accomodation, is at once the most momentous and the most delicate question which the promoters of the present project will have to decide.

Let us suppose that the shape, which is thought least prejudicial to the effect of music by the majority of the sound-doctors, has been decided upon, and whether it be the semi-circle, the horse-shoe, the lyre, or the oblong parallelogram is all one for the purposes of the present argument. Two great considerations have yet to present themselves, which are strongly antagonistic in character, — two repugnant requisitions in fact, between which the projectors of an opera house are always compelled to choose. Like Desdemona, they "do here perceive a divided duty" between comfort and profit. They are to decide if the seats in the best portions of the house, whether stalls, chairs, couches, box seats or slips, shall be so packed, as to crowd a large number of persons into the given area, and thus make a house which will be re

-

Does

munerative to the manager at a moderate price of admission, or, on the other hand, if they shall be arranged with some attention to the comfort of the occupants, thus reducing the paying capacity, and, of necessity, raising the price of admission to a point which the public will very reluctantly pay. On the one hand uncomfortable, pillory-like seats, on the other unremunerative audiences and bankrupt management, these are the Scylla and Charybdis between which they are doomed to steer. Happy indeed the stockholders who accomplish a successful passage. Of the first difficulty Bostonians in general know quite enough by sad and often grumbled at experience. not an hour in the parquet or boxes of the Boston Theatre or the saloon of the Museum, make one, with aching back and compressed knees, sigh for an arm-chair at almost any price, and dispose even the most money-loving citizen to purchase relief to the spine and the tortured patella, even at a hundred per cent. advance! Bolt upright on a shelf a foot wide, with his feet drawn under it and a narrow strip cutting across the "small of his back" to keep him in position, it is totally impossibly for him to enjoy anything at all,- Zerlina's warbling and Don Sylva's thunder are all in vain for him.

Such are the accommodations to which we have hitherto been accustomed. On the other hand, the La Scala at Milan, the Grand Opera at Paris, the famous theatre at Bordeau, and perhaps it is not too much to say above all, the Astor Place Opera House in New York, present us with the other form of difficulty. The enormous area of the first named house, and the metropolitan character of the second enable the receipts to keep some pace with the expenditure, but it is a well known fact, and one of which the New York manager will readily satisfy the most incredulous, that large as is the Astor Place Opera House, Salvi, Marini, Bettini, and Bosio cannot be engaged there without serious loss to the management, even with a full house on every representation. Before the curtain, it is perhaps the most comfortable and even luxurious house in the world in the general character of its accommodations, though behind the curtain it is very small, illarranged and inconvenient. Between these two drawbacks, since we must class convenience as one of them, the limited capacity of the house has always prevented its being carried on to any pecuniary advantage.

Here then is a nice question, and one, the argument of which could be easily made to fill columns of your valuable space, were it allowable to do so. Let us see, in the end, how it will be successfully solved. That it will, I have too high an opinion of cotemporary sagacity and application to doubt for an instant. Of course there will be a competition among the Architects, as it would be a gross piece of favoritism to give so large and important a public commission to any one, leaving all the others entirely unconsulted. Allow me to suggest, as the only safe and sure means of arriving at a fair result and of securing an informed and responsible tribunal of decision, that the building committee should secure the services of three eminent architects, who do not themselves compete, to advise them in their selection from the plans presented. This is the English practice, where such things have long been thoroughly understood, and there is no wonder that this is the only condition upon which their best talent can be induced to enter into public competition, since the real artist has often less to hope from an uninformed (I use this term professionally of course) or irresponsible tribunal, than the mere showy and vulgar pretender.

Boston, April 29, 1852.

Musical Intelligence.

Local.

A. G.

BOSTON MUSICAL FUND SOCIETY. The public rehearsals for 1851-2 came to a close last week. The summer vacation will give the Society a breathing space, in which to recover from the confusion and discomfiture necessarily occasioned by the burning of their old head quarters in the Tremont Temple. The loss of their mu

sical library, seeing that it was insured, will doubtless be more than made good with their present superior facilities and judgment for selection. On Monday the Annual Meeting took place, when the following officers were elected for the ensuing year:

For President, GEORGE J. WEBB; Vice President, THOMAS COMER; Secretary, Joseph N. PIERCE; Treasurer, S. S. PEARCE; Librarian, ISAAC MOORHOUSE;" Auditor, WILLIAM BENNETT; Associates, W. VANSTANE and VINCENT DORN; Trustees, JONAS CHICKERING, GEORGE S. BIGELOW, J. P. BRADLEE, S. E. GUILD, JOHN BIGELOW; Consulting Physician, CHARLES G. PUTNAM, M. D.

MENDELSSOHN'S "ELIJAH." Many music-lovers will be gratified to learn that one of our enterprising music publishers contemplates issuing an elegant and cheap edition of this particularly favorite Oratorio. The great cost of the London edition, sumptuous as it is, has hitherto placed it beyond the reach of most of us.

MADAME GOLDSCHMIDT and her husband, we see it stated, have been prevailed upon by many of the citizens of Northampton to promise a private concert in that beautiful village, before they leave it. The proceeds will go to charitable purposes.

It is now confidently stated that the large-hearted Songstress has remitted to Sweden the last instalment of the $150,000, which she dedicated to the foundation of Free Schools in her native country.

The NEWTON MUSICAL ASSOCIATION will give a concert, during the next or following week, in compliment to their conductor, SAMUEL JENNISON, Jr., Esq., to whose arduous "labors of love" in arranging, copying, composing and carrying through rehearsals, the Society owes so much of its success.

In Watertown a musical society has been formed, under the auspices of Mr. AsA R. TROWBRIDGE as conductor. It takes the name of "THE WATERTOWN CHORAL UNION."

In Baltimore, OLE BULL, assisted by JAELL and the GERMANIANS, has given two brilliant concerts. The papers speak of a new piece, for violin and piano, the joint production of Ole Bull and Jaell.

California.

MADAME BISCACCIANTI. Great is the success, apparently, of our esteemed cantatrice in the land of gold. There is something quite refreshing, like a return to the days of our own musical youth, in reading fullfledged musical criticisms in the newspapers of that far off new world. If only for the curiosity of the thing, therefore, our readers will perhaps warrant our copying the greater part of one notice sent us in a San Francisco paper. It shows that a concert can be got up on a pretty good scale there already, and be well appreciated. The prices of tickets, we are told, ranged from two to five dollars.

SIGNORA BISCACCIANTI'S SECOND CONCERT. — The American was filled last night with a highly intelligent and appreciative audience, among whom shone conspicuous a large number of fair ladies, to listen to the performances of Signora Biscaccianti, on her second ̄appearance in California. The opening piece was an overture, "L'Italiano in Algiero," performed by the whole orchestra, under the direction of that accomplished musician, Mr. Loder. They exhibited the evidences of his careful training since the last concert, and proved that there is material sufficient to constitute, when more accustomed to each other, an orchestra of rare excellence.

The fourth piece was the opening song in Bellini's "La Sonnambula," "Come per me sereno," by Signora Biscaccianti. On her entrance, led by Mr. Loder, she was received with the enthusiastic plaudits of the audience. Her execution of this gem was in the highest degree finished, and called down a vociferous en core. In response to the call she again made her appearance, but contented herself with acknowledging her kind reception with most arch and bewitching grace.

The Signora again made her appearance, and this time in the English song, "I'm Queen of a Fairy Band." It took all hearts by storm, and in truth it is not to be wondered at, for never had a California audience listened to such exquisite melody, such bird-like song as fell from the lips of the fair cantatrice. Of course it was encored to the echo. Miss Coad, though evidently shrinking with timidity at following so celebrated a songstress as the Signora, was reassured by the kindly plaudits of her friends-and all appeared to be her friends-aud sang the favorite ballad, the "Bells upon the Wind," with much sweetness and expression. The next piece was that most touching of Scotch ballads

and none can express so much feeling as they-" John Anderson my Jo," by Signora Biscaccianti. We can hardly give utterance to the sensations this produced. The opening, joyous and confident, the finale, melting with tenderness, exhibited in perfection the Signora's great powers of expression. The prolonged gush of melody that prefaced each stanza was one of the most splendidly executed pieces of vocalization we have ever listened to. Loud, rich and full at first, it died away like the vibrations of a bell, and with as little break in the cadence, until it seemed as if the very silence that for an instant followed, could be heard. Though out of place, the applause that followed each repetition of this was irresistible. The two last lines were rendered in a low and touching strain, that went to every heart. In response to the most vociferous encores, she appeared, and seating herself at the piano, her beaming countenance turned towards the audience, sang with a world of expression, the well known ballad of Moore-"Believe me if all these endearing young charms." Amid the most enthusiastic applause, and a shower of boquets, she retired. Part the third opened with an overture by the orchestra, after which Madame Foubert sang a pretty Spanish song, "La Manola," with great effect. She was called out to repeat it. Porgi Amor," from Mozart's Opera of "Don Giovanni," showed the Signora possessed of new and most versatile powers. The Romanza "Una furtiva lagrima," from "L'Elisire d'Amore," by Signor Moretto, afforded, by his fine masculine voice, a pleasing contrast with the rich melody that had preceded. But how shall we describe the grand finale, Ah non giunge," repeated by Signora Biscaccianti by universal request? She was evidently aware of the high expectations that had been raised, and seemed to have reserved her full powers to give effect to this exquisite gem. Her voice now raised in a burst of songnow sinking to the lowest and softest notes, sounded at times like the rushing breeze, and again like the gentle zephyr sweeping across the strings of the Eolian harp. It was the very perfection of music, and seemed to surround one with an atmosphere of melody. The audience were transported with enthusiasm, and the house resounded with the most rapturous applause. Again she repeated the concluding and most striking portion, and then, followed by the same demonstrations of delight, she retired. She had achieved and sustained a triumph. It is impossible in this already extended notice to enter into an analysis of the Signora's vocalization, and point out the many excellences of her performance. The citizens of California have never listened to anything approaching her singing, and none, who enjoy and appreciate genuine music, will fail to hear her.

England.

Our last summary brought us through the opening performance of the two Operas, and the two Philharmonic Societies. We now resume.

ROYAL ITALIAN OPERA. Rossini's Guillaume Tell was brought out, twice at least, in grand style. Herr ANDER, called the first tenor in Germany, took the part of Arnold, in a manner which has been pronounced the best since Duprez was in his prime. We quote from the London Mus. World:

Herr Ander has a fine voice-a pure, legitimate tenor, with good notes de poitrine, and a fine command of them. His method of singing is admirable. He declaims well, phrases well, and executes with facility. Like all German singers, he is deficient in agility; but, unlike many of his compatriots, he has a good portamento, and his style is at once noble and devoid of exaggeration. His performance, on Thursday, of the music of Arnold, decidedly was the best we have heard since Duprez was in his prime. In the duet with Mathilde, Herr Ander exhibited both passion and good taste, and the fine quality of his middle notes could not fail to strike the connoisseur. The defects of the new tenor are few, and easily amended. He, at times, forces his voice in the higher notes, and thereby impairs his intonation; while occasionally he gives way too much to impulse, and perils not merely the correctness of his execution, but the purity of his tone, which, almost throughout the register of his voice is remarkable. As an actor Herr Ander is natural, manly, and prepossessing; but to judge him fully in this particular, he must be seen in a part of greater dramatic importance than Arnold. Since the first appearance of Signor Tamberlik, the theatre (already rich in tenors) has not made so valuable an acquisition as Herr Ander.

The Guillaume Tell of Signor Ronconi is much superior to that of his predecessor, Signor Tamburini, although the peculiarity of his means forces him to alter, and therein not to improve a great number of passages in the recitatives, airs, and duets. In spite of this drawback (which was materially felt in the magnificent duet with Arnold, "Dove vai ") his impersonation of the Swiss patriot was very masterly, and he entered thoroughly into the spirit of Rossini's music. In the great finale of the second act, when the deputies from the various cantons meet to organize the plot against the Austrians, his acting was very striking, and he completely filled the stage with his presence. Perhaps Signor Ronconi's most impressive scene was that in which, at the command of the tyrant Gessler, Tell shoots the apple from the head of his son. A more pathetic piece of singing than the air (one of the most exquisite morceaux in the opera) in which he previously addresses Jemmy, bidding him be

firm and invoke the aid of Heaven, has rarely been heard, and rarely has an audience been more completely moved. The return of Signor Marini, who will be remembered during the two first seasons of the Royal Italian Opera, is a boon to the subscribers, who have now (with Herr Formes) two first-rate bassi profondi instead of one. The small part of Walter is only important in a musical point of view, and the fact of its being confided to such a singer as Signor Marini tells in favor of the liberal policy which the management appears bent upon pursuing. Signor Tagliafico, another old and deserved favorite, made his re-entrée in the character of Gessler, to which his clever singing and intelligent acting imparted due importance. Of Madame Castellan's Mathilde it is only necessary to say that it was as good as ever, and that she sang the beautiful aria, "Selva opaca," and the duet with Arnold, with great feeling and purity. . . .

The orchestra and chorus were perfect. The overture was encored with acclamations, and a similar compliment was paid to the magnificent chorus," Giuriam, giuriamo,' at the end of the finale to the second act, in which the genius of Rossini has reached its highest flight. The execution of the whole of this picturesque and masterly scene was admirable. The chorus of the inhabitants of

Uri, in A minor, "Guglielmo," which usually passes without a hand, was given with such crispness, and such a well managed pianissimo, that this was also redemanded; and at the fall of the curtain Mr. Costa was compelled to come forward by unanimous desire. The opera was placed upon the stage in the most liberal manner as regards scenery, costumes, &c., and the performance in general was one of the most remarkable in the annals of the Royal Italian Opera.

Donizetti's Les Martyrs was to be given for the first time in England on the 13th ult. The cast included Tamberlik, Ronconi, Formes and Mme. Julienne; the last named lady bringing a high reputation, as a dramatic soprano, from Brussels.

Mlle. JOANNA WAGNER, whom we have seen even compared to GRISI, is announced as being exclusively engaged for the Royal Italian Opera.

HER MAJESTY'S THEATRE. (Lumley's.) On the 13th Rossini's Italiana in Algieri was to be revived for "the dashing and energetic Mlle. Angri." (By the way, Garcia, we believe, thinks her the only contralto besides Alboni, and for this reason wishes his new pupil, our own Adelaide Phillips, whose voice he finds to be a genuine first class contralto, to enter this interesting field.) Belletti, too, and Ferranti, were to take part.

"Vive la CRUVELLI" had become the word. This lady, crowned with Parisian laurels, was announced at her Majesty's to sing in Normu, on the 17th.

In spite of what is said above, Lumley also announces Mlle. WAGNER to make her debut in Romeo et Giulietta.

The programme of the second concert of the (old) PHILHARMONIC SOCIETY included, besides the Pastoral Symphony, three overtures: viz., Mendelssohn's MeeresStille und glucklicher Fahrt, Cherubini's to Les Deux Journées, and Weber's "Ruler of the Spirits." Piatti and Bottesini played a Duo concertante for 'cello and contrabasso. The rest was vocal. Simms Reeves sang an Aria by Beethoven, from Fidelio: Della vita; and with Ronconi a duet by Rossini: I Marinari. Ronconi sang an old Aria, by Stradella; Castellan, a scena by Mendelssohn: "Infelice"; and the two a duet by Mozart. This programme is said to have been entirely selected by her Majesty and Prince Albert.

JETTY TREFFz had arrived in London; also the great German basso, STAUDIGL. ERNST and VIEUXTEMPS were both expected.

The SACRED HARMONIC SOCIETY repeated the "Messiah," according to the annual custom, in Passion week. The singers were Madame Clara Novello, Miss Dolby, Mr. Simms Reeves and Herr Formes.

CHAMBER MUSIC. Quintet Soirées (Mr. Ella's); Quartet Soirées (Herr Jansa's); Trio Soirées (Mr. Harris's, at Manchester); and classical piano forte soirées (Mr. Billet's, the Russian, and Mlle. Speyer's), still furnish forth the choicest programmes.

DUBLIN. The Musical Festival in commemoration of Moore passed off triumphantly.

The performances were opened with a monody and chorus, after the manner of the Grecian Drama, delivered by Mr. David C. Bell, professor of elocution, in a style which gave assurance of his accomplishments in the profession of which he is a distinguished master: then followed selections from the "Odes of Anacreon," the "Melodies of all Nations," "Lalla Rookh," the "Sacred and the Irish Melodies," the second part having been opened with "Evenings in Greece," recited by Mr. Bell.

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

H to receive a limited

for instruction in he MODERN SCHOOL OF ITALIAN AND ENGLISH 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. The above terms include instruction in the Italian language, a knowledge 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

FOREIGN MUSIC.

CONSTANTLY RECEIVING all new publications

as issued in Europe. Complete series of Progressive Exercises and instructive picces 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.

MUSIC BOOKS,

PUBLISHED BY

6t*

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

BERTINE'S PLANO 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, 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

THE DEAD CHRIST, 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 SCHEPPER, 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.

J. BUTTERFIELD,

Job and Ornamental Printer,

AT THE OFFICE OF

DWIGHT'S JOURNAL OF MUSIC,

21 School Street, Boston.

CONCERT BILLS, PROGRAMMES, TICKETS, and every

description of JOB and FANCY PRINTING, neatly and promptly executed. 5 tf

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.

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. II. 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.

IN

JOSEPH L. BATES,

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No. 129 Washington Street, Boston. [MPORTER 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.

R. De RIBAS will give instruction on the Oboe and Apr. 10.

Miule. Also MUSIC ARRANGED, TRANSPOSED, &c.

NEW MUSICAL PUBLICATIONS.

3m

GED: & 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 CHOICE MUSIC BOOKS

PUBLISHED AND FOR SALE BY

OLIVER DITSON,

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

Hunten's Piano Forte Instructions,
The Child's First Music Book,
The Piano without a Master,
The Melodeon without a Master,

Curtis's Complete Method for Guitar,

Curtis's Complete Method of Singing,

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, 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, or the purchase money refunded any time within one year.

LEMUEL GILBERT,

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

1m*

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

In Line, Mezzotint, Lithograph, &c. &c.
PLAIN AND COLORED.
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 Inpressions of celebrated Pictures, which are also engraved by the most Eminent Artists, are for sale at Apr. 10. tf N. D. COTTON'S, 13 Tremont Row. HEWS' PATENT AMERICAN ACTION PIANO FORTE. THE MANUFACTURER is in possession of numerous testiTmonials 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. Apr. 10. CZERNY'S PIANO FORTE METHOD.

tf

As Manual to Teachers and Amateurs it is invaluable.—

London Morning Chronicle.

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 Apr 10. tf

Union.

DEPOT FOR Homeopathic Books & Medicines; HYDROPATHIC BOOKS; Phonographic and Phonotypic

Works; FOWLER & WELLS' Publications on Phrenology and Physiology, &c.; Writings of EMANUEL SWEDENBORG, Theological and Philosophical; Barometers, Thermometers, &c. For sale, wholesale and retail, by Apr. 10. tf OTIS CLAPP, 23 School St.

NEW JUVENILE SINGING BOOK.

THE 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 collec tion 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,

$3.00

3.00

1.50

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.50

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2.50

Vocal Exercises and Solfeggios - Lowell Mason,

Spohr's Violin School,

Wragg's Flute Instructor,

1.00 3.00 1.00

.$0.50

66

each additional inser. For a square, (16 lines,) first insertion,

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.50

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(A column counts as seven squares.)

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VOL. I.

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We have now spoken about CHOPIN, the composer; about his works full of immortal thoughts and feelings, in which his genius, now conqueror and now conquered, wrestles with sorrow, with this fearful element of earthly life, which it is one of the problems of Art to reconcile with Heaven; his works, into which, like tears into a vial, all the enchantments of his heart, all the outbursts of his musing and aspiring, of his inward indignation have discharged themselves; - his works, in which he has overleaped the limits of our dim and obscure perception and penetrated into the world of Dryads, Oreads and Oceanides. It would still remain for us to speak of his talent for delivery, of CHOPIN as a master of his instrument, had we the melancholy mood for that, and could we awaken feelings and emotions, that are intertwined with our inmost personal remembrances, out of the grave and work into their winding shrouds the colors that belong to them. For this power we trust not ourselves; and vainly would it strive for any tangible result. Who could undertake to describe to those, who have not heard him, the charm of an indescribable poesy, a charm as fine and permeating, as that light exotic aroma of the Volkameria or Calla Aethiopica, which pervades only places, in which few men dwell, and is shy-ly dissipated, where the

roses or of brightly blazing pitch-pine torches. CHOPIN knew that his playing did not take effect upon the multitude, and that he could not pack the masses. For these are like a leaden sea; although to be bent and hammered by every fire, yet its sluggish waves are hard to stir up; they require the powerful arm of an athletic workman to run them into a mould and cause them, under the image which he impresses upon them, to become at once thought and feeling. CHOPIN knew that he was fully understood only in those alas! too far from numerous circles, in which all minds were fitted and prepared to follow him, and to transport themselves with him into those halls, whose entrance is guarded by a door of ivory, with diamond pillars, which support a cupola, flashing with the play of the prismatic colors,— halls, where all is bewildering enchantment, frolicksome surprise, where dreams prove real, and where CHOPIN fled and loved so dearly to remain. Indeed he said himself once to a friend, an artist, who has been much heard since then: "I am not made to give concerts; the public makes me low-spirited, I feel myself as it were stifled by its breath, embarrassed by its curious gaze, and dumb before all those strange faces. But you, you are intended for it; for, if you cannot win the public over to yourself, you have the stuff to strike it dead."

As he was fully conscious of what the nature of his talent demanded, he seldom played in public, and with the exception of some concerts at his first appearance in the year 1831, when he let himself be heard in Vienna and Munich, he confined his concert-giving entirely to Paris. Moreover the state of his health forbade his travelling; for about fifteen years this was so shattered, that many times he lay whole months long as it were dying. In the single excursion, which he made into the South of France in the hope of healing influence from the milder air, his condition was so miserable, that the landlords several times demanded pay for the full value of the bed he occupied, so that they might burn it, because they were afraid of its contagion.

nition did not offer such a corresponding echo as to give him the calm certainty, that this standpoint was entirely appreciated. The applause of the multitude failed him, and he undoubtedly asked himself, how far the select saloon society could by its enthusiasm supply the place of the greater public. But few understood him. And did they understand him fully? An uneasiness, which was perhaps a riddle to himself, at least in reference to its real source, was undermining him in secret. Praise itself almost made him irritable. Inasmuch as the whole applause, to which he was so perfectly entitled, did not rain down upon him out of full clouds, the isolated expressions of praise annoyed him. In the midst of the courteous forms of speech, with which he often shook them off like burthensome dust from himself, one could perceive, with little knowledge of human nature, that in his own opinion he fancied himself applauded not only slightly but in the wrong way, and that he then preferred remaining in his solitude alone with his own feelings.

But he was far too fine a connoisseur in the department of irony, he had too shrewd a perception of the ludicrous in others, not to avoid naked sarcasm. He would not wear the mask of a genius misunderstood. Under a seeming complacency, full of amiability and graciousness, he so utterly concealed the wounds of his quite justifiable pride, that one scarcely dreamed of their existence. One need not be much in the wrong, were he to ascribe the ever growing infrequency of his concerts more to his inclination to avoid occasions, which did not yield him all the tribute, which he could require, than to his feebleness, which had been put to equally hard proofs in the lessons, which he gave all his life long, and in his playing hour by hour in his chamber.

It is to be lamented, that the indubitable advantages, accruing to the artist from the fact that he devotes himself only to a select public, are so much diminished by the niggardly alms-giving sympathies of such circles. The cold polish, which covers the forms of their applause, like the

fruits upon their supper tables, and the impertur

bable tranquility which broods over the expression of their warmest enthusiasm, these cannot further or inspire the artist. If the poet is carried away by the inspiration, which siezes him in his solitude, he can only find it again in the most attentive, most intense and living sympathy of his audience: he cannot drink it from the cold looks