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Who will not welcome another book by the author of "Nile Notes?" Like that, the present volume is no dry statistical log-book of voyages and travels. The measure has been taken again and again of everything in Egypt and Syria, by armies of savans. The real poet traveller, whom we love to read and talk with, takes their labors with him as his guide and yard-stick; but the book he writes to us, is the spirit of the Eastern scenery and life passed through his own sympathetic and poetic soul, as it were the music of an organ or the glow of sunset, and reproduced in free prose-poem form, which, as we read it, fills us with the aroma and the genuine sensation of the scenes which he has visited. These live on in him, and so he writes from memory, that is, from his own tempered consciousness and feeling, at a year's distance, as vividly and safely as if he were penning notes upon the spot.

The exuberance of style and fancy in the former book is somewhat sobered down in this; and yet, to show how genuine that exuberance was, it here wears for itself a thousand little sly side channels of delicate wit and humor, through which it runs prattling and sparkling along by the side of the grave or sentimental discourse. The book is toned down by a deeper experience, without any loss of young poetic wealth and fervor. We have read nothing lately, which affected us and held us occupied in a manner so like that of the best romantic music, say of Mendelssohn or Chopin. Take this sentence, as a fair sample; it closes the chapter of the first day's travel in the Syrian desert: does it not seem the translation into words of some exquisite Notturno?

"A gay wind blew out of the desert, tossing sand in their faces, and running with low gusty laughter to play with the palms, and to carry back into the wilderness the Muezzin's cry.

"It fled, and we watched the day gloriously dying. Then suddenly fell over the world the sable folds of the great tent of Night: the darkness was cool and sweet, and through myriads of points above, the gone glory of the day looked in and made the darkness gorgeous."

The Knickerbocker for May is received from Fetridge & Co., agents in this city. It is full of pleasant literary varieties; among others, a long extract from an unpublished poem by HALLECK, and a couple of chapters of the "Fudge Papers," contributed serially, with an eye eventually to a book, by IK MARVEL. The "Editor's Table" is loaded with bon-bons; it is one unbroken stretch of twenty pages, as compact as the thickest forest foliage, where the eye may light at any point and find something pleasant;- you may begin in the middle, or at the end, and find the beginning of something, and the subjects pass you like the individuals in a crowd. A very entertaining editor is Mr. L. GAYLORD CLARK, and we are happy to read the announcement on this said "Editor's Table" that some of the choice gatherings thereof for sixteen years past are to be published in a book by the Messrs. Appleton.

The Favorite, a Monthly Magazine of instruction and amusement for Boys and Girls, D. H. JACQUES, editor, is on our table. From inspection of this No. I. for April, as well as from old acquaintance with Mr. Jacques, we can commend it heartily to our young friends.. It is

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Every happy child should be a subscriber to this monthly feast, and help ensure its continuous and increasing richness. It costs but $1 per year, and is published in New York, by Hyatt & Jacques, 97 Cliff Street. shall be happy to receive and transmit subscriptions from our young friends hereabouts.

We are indebted to the Editor, CHARLES HALE, Esq., and the publishers, Messrs. Redding & Co., for a full set, from the beginning, of To-Day, a Boston Literary Journal, published every Saturday. It is very neatly printed in octavo book form, and its literary melange of reviews, poems, tales, extracts from forthcoming new books, &c., is lively, sensible and in good taste. Each number of "ToDay," seems an improvement on the last, and it has now reached number twenty.

We have owed no small assistance, in the organizing of our subscription list and sending out of specimens, to the Massachusetts Register and Business Directory, for 1852, for a copy of which we are indebted to the publisher, Mr. GEORGE ADAMS, 91 Washington street. In it you find the names of all the towns and counties, the officials, the societies and corporations, the principal traders, manufacturers and men of professions, the newspapers, the academies, &c. &c., in our State.

There is a sort of charm about well arranged Statistics, which is almost as æsthetic, as the sense of cleanliness and order in one's life. Not a little inspiration comes out of this homely economy, shaping multifarious dry facts into an orderly world or Kosmos.

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

BERTINI'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, 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.

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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.

FOREIGN MUSIC.

CONSTied in Europe. Complete series of Progressive

ONSTANTLY RECEIVING all new publications

as

Exercises and instructive pieces for Piano Forte, by BEYER, ROSELLEN, Voss, CZERNY, THALBERG, and all other popular and approved writers; classical compositions by BEETHOVEN, MOZART, HAYDN, MENDELSSOHN, SCHUMANN, &c. &c.-all origi nal copies-being free from errors and mutilations, and issued in a style of superlative elegance. Violon, Flute, and Organ Music; Italian Operas; Latin Hymns and Masses in variety. Very extra Roman and Neapolitan VIOLIN and GUITAR STRINGS. PAUL K. WEIZEL, 213 FULTON STREET, BROOKLYN, NEW YORK. New York, Apr. 17.

E. H. WADE,

197 Washington Street, Boston.

6t*

PUBLISHER & DEALER IN SHEET MUSIC

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

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

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

JOSEPH L. BATES,

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No. 129 Washington Street, Boston. MPORTER OF AND DEALER IN EUROPEAN FANCY Goods, Novelties, Perfumery, Stationery, Cutlery, Musical Instruments, Umbrellas and Parasols.

IM

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.

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

Apr. 10.
Mrs. ROSA GARCIA De RIBAS,
TEACHER OF THE

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PIANOFORTE, SINGING & GUITAR, Residence No. 37 Ash St., Boston.

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R. De RIBAS will give instruction on the Oboe and Flute. Also MUSIC ARRANGED, TRANSPOSED, &c. 3m Apr. 10.

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

for instruction in the 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

ARTISTS' SUPPLY STORE,

35 Cornhill, Boston. ONSTANTLY FOR SALE, a complete assortment and

CONFC Sock of Materials for OIL PAINTING; also for

WATER COLOR PAINTING and DRAWING, viz: Artists' Colors for Oil Painting, prepared in Tubes; prepared Canvas for Oil Painting; Bristle, Sable, Camel's Hair, and Badger Brushes; Powder Colors; and all other articles required for Painting in Oil.

ALSO

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. tf

M. J. WHIPPLE, 35 Cornhill.

AN OLD SONG,

WITH A

NOTE BY CHARLES LAMB.

This quaint old song, with LAMB's quainter commendation of it to his musical friend, (VINCENT NOVELLO?), is taken from "The Arraignment of Paris," a Dramatic Pastoral, by GEOrge Peele, 1584. We prefix a bit of the introductory dialogue.

Paris. Nay, what thou wilt; but since my cunning not compares with thine,

Begin some toy that I can play upon this pipe of mine. Enone. There is a pretty Sonnet then, we call it CUPID'S CURSE:

"They that do change old love for new, pray Gods they
change for worse."
[They sing.

En. Fair, and fair, and twice so fair,
As fair as any may be,

The fairest shepherd on our green,

A Love for any Lady.

Par. Fair, and fair, and twice so fair,
As fair as any may be,

Thy love is fair for thee alone,
And for no other Lady.

En. My Love is fair, my Love is gay,
And fresh as bin the flowers in May,
And of my love my roundelay,
My merry, merry, merry roundelay,
Concludes with Cupid's curse:

They that do change old love for new,
Pray Gods they change for worse.

Both. {Fair, and fair &c.

and fair &c.

(repeated.)

En. My Love can pipe, my Love can sing, My Love can many a pretty thing,

And of his lovely praises ring

My merry, merry, merry roundelays.
Amen to Cupid's Curse:

They that do change old love for new,
Pray Gods they change for worse.

Both. {Fair, and fair, &c.} (repeated.)

To my esteemed Friend and excellent Musician, V. N., Esq. DEAR SIR,I conjure you, in the name of all the Sylvan Deities, and of the Muses, whom you honor, and they reciprocally love and honor you,-rescue this old and passionate Ditty-the very flower of an old forgotten Pastoral, which had it been in all parts equal, the Faithful Shepherdess of Fletcher had been but a second name in this sort of Writing rescue it from the profane hands of every common Composer: and in one of your tranquillest moods, when you have most leisure from those sad thoughts, which sometimes unworthily beset you; yet a mood, in itself not unallied to the better sort of melancholy; laying by for once the lofty Organ, with which you shake the Temples; attune, as to the Pipe of Paris himself, to some milder and more love-according instrument, this pretty Courtship between Paris and his (then not-as-yet-forgotten) Enone. Oblige me, and all more knowing Judges of Music and of Poesy, by the adaptation of fit musical numbers, which it only wants, to be the rarest Love Dialogue in our language. Your Implorer,

Advertisements.

ARY SCHEFFER'S

PAINTING OF

THE DEAD CHRIST,

C. L.

[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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MUSICAL WORKS RECENTLY PUBLISHED BY MASON & LAW,

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

THE

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

This work is intended to supply a want long felt in our Higher Schools and Institutions. The music is arranged for three parts, and in such a manner that it may be sung exclusively by female voices or by a mixed choir. Whenever solos occur, a simple accompaniment for the Piano Forte or Melodeon 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 8. SARONI.

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

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

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

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

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

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NEW MUSICAL PUBLICATIONS. EO. P. REED & CO. have just issued a new edition RUSES," price reduced from $24 to $14 a dozen. PERGOLESE's celebrated STABAT MATER for two female voices, newly translated by J. S. DWIGHT, Esq., & 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

THE

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.-Phila delphia Inquirer.

it is calculated to impart a ready and thorough knowledge of the art.-Balti ore Patriot.

A book of invaluable worth as a code of thorough syste matic 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 workMessage 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

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 Impressions 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 testiTHE monials 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.

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Journal

VOL. I.

of Music.

A Paper of Art and Literature.

BOSTON, SATURDAY, MAY 22, 1852.

balcon, stalls, parterre, couloir, &c., like any other

Dwight's Journal of Music, theatre. The place of the stage is occupied by

PUBLISHED EVERY SATURDAY,

21 SCHOOL STREET, BOSTON.

TWO DOLLARS PER ANNUM.

For Rates of Advertising, see last page. POSTAGE, in advance, for any distance not exceeding fifty miles, five cents per quarter; for any distance not exceeding three hundred miles, ten cents per quarter.

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.
"MASON & LAW, 23 Park Row, New York.
"E. L. WALKER, Philadelphia.

"JOSEPH SHILLINGTON, Washington, D. C.
"COLBURN & FIELD, Cincinnati, O.
"HOLBROOK & LONG, Cleveland, 0.

Persons willing to become vents for procuring subscribers, especiesig music dors and

"ed to resping with the Editor, as above. Satisfactory references required, and liberal commissions allowed.

The "Societe des Concerts" at the Conservatoire at Paris.

By a Correspondent to London Musical World.

At the latter part of last year's season, two Englishmen were at Paris. They were habitués of the Philharmonic of London, and had of course heard much of the Conservatoire; but they had also been told the latter had fallen off much since the Revolution, while, as they knew, the former had considerably improved. The difference between the orchestras, they had been informed, was not so great, and consequently there was not so anxious a desire to hear and see as there often is. Besides, it must be confessed there were most decided John Bull prejudices in both of them as to French matters. But there is something about a Beethoven Symphony no Philharmonic man can resistan Alderman would as soon refuse turtle. Accordingly we entered one of the indescribable vehicles which, under an immense variety of the prettiest feminine appellations, do the duty of cabs, and proceeded to the Rue Poissoniere in search of tickets. We found immense difficulty in procuring them, but, on mentioning the Philharmonic, we were supplied with the only two billets left, with which we proceeded to our hotel, and in due time to the appointed place. We were ushered into a large hall, on each side of which were a range of plain columns; and on exhibiting our numbers were told on which side to enter. Half Paris seemed to be there, and every one seemed full of interest and anxiety. By and by we were marshalled to our place by an old woman in a spotless white cap, who acted as box-keeper, and we found ourselves in the Salle des Concerts. This in truth is a theatre, and not a concert-room, in our sense of the word. It is of oblong form, but it has its tiers of boxes,

some seats placed on the level, and then side benches, which run rapidly to the back. Its decorations are distemper and seem only temporary. In fact the arched ceiling appeared to be covered with nothing but common paper-hanging. The part occupied by the orchestra is painted as if ornamented with hangings, and inscribed with the names of the most celebrated composers, in which we gladly saw those of Handel and Bach. There was an evening dress. The French are always bien ganté bien chaussé— but the ladies wore their bonnets, and white chokers were not visible.

There is a marked difference on the part of the auditory. Alas! that we should have to say it, but the finer part of the Philharmonic members seem as much interested in themselves as in the music like the Roman ladies in the time of Horace in Juvenal. There is no rustling of silks

No light breathings, ti amount almost to a titter, as young ladies enter. The mammas do not faint, nor the chaperons turn out a whole row, that their fair charges may take their seats, while the band are playing the "adagios" of the first movement. Nothing of this sort at Paris. No; they come for the music; and every one is seated quietly and silently in their places. In the meantime the band enter and take their seats. The first and second violins are disposed in front, on two sets of benches, facing each other. In the centre between them are benches for the chorus. Behind these, facing the audience and crossing the ends of the violin benches, are the tenors. From these the benches rise rapidly, and are filled on the right side, as you look at them by the violoncelli, each one attended by his contra-basso, and on the other side are the wind instruments. All these benches, except the violins, face the audience. It will be understood that the wind band and the basses each form a mass, while the violins are divided. There was another marked difference in favor of the French arrangements. There was none of that fearful dissonance at tuning the instruments: no rasping of basses, howling of horns, squeaking of fiddles, and blowing of trombones, that form such an unpleasant overture to the programme, and dull the ear to the first chord of the symphony. Except a few slight touches, almost inaudible, to make sure all was right, not a sound was heard. The band consists of somewhat less than our numbers, and of about our own proportions, except that there are four bassoons instead of two.

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NO. 7.

The

Philharmonic, and the drum began with too much of a bang, as is the general custom in France; but the rich piano echo notes of the wind band compensated for this. The scale passages for the violins seemed much like our own; but those for the tutti bassi, both in the forte and piano parts, were much better; they were as clear as a run on a piano forte. Still we would not allow of any superiority. The allegro began deliciously, the horns were so rich and so well in tune. Never mind; we are reforming our horns in London; they will be better next year thought we. crescendo was fine, taken with great judgment, and the burst into the forte splendid. Again, the excellence of the basses, their extraordinary clearness of execution and ensemble, attracted our notice. The wind instruments played perfecly in tune, and with much judgment. The whole movement was exquisitely rendered; but the true John Bulls could not, or would not, acknowledge so very much difference as yet. Our neighbors were delighted to see us so pleased. "Monsieur knows the score thoroughly I perceive." Of

course we bowed and looked as wise as we could.

The andante began, the violins playing with marvellous delicacy. The basses gave the rallentando, as they descend splendidly. It was like a gleam of sunshine. Still the playing of our two clarionets, Williams and Lazarus, is so exquisite, that we John Bulls again would not allow, as yet, any great superiority. It was the same with the minuetto the trio is always done so splendidly by our clarionets- first with such richness, and the repeat such a wonderful piano, that though the horns reminded us we were not at Hanover Square, the difference still was not so great. At last began the finale. The violins led off the rapid passages like one single instrument, giving as much light and shade in the forte passages, as delicacy in the pianos. Instead of unmeaning division, the air in the forte came out with all the energy and beauty of Mozart, but when the second piano part came, with the imitation and answer from instrument to instrument, my friend leaned over to me, and whispered in the interval of the pause -"Ah! old fellow, we have nothing

like this at the Philharmonic; in fact, we have not got a piano there." Alas! it is too true. We felt in the presence of artists of superior training and of superior intelligence; and when the symphony ended, we both sighed -"Well, this is the first time we ever heard the Swan' symphony done perfectly."

6

But we were not destined to one surprise only. The chorus entered. It did not appear so numerous as our own. The band struck a single chord; and they began, without accompaniment or forte strains, a very original motet of Leisring's, "O Filii." The voices went together as perfectly as the "Dom-Chor" of Berlin, but not so aigu in tone. The strains are simple and mournful, and are echoed by the same chorus (always without accompaniment) pianissimo. Such an echo we never heard. It was as perfect as if the mocking nymph herself had repeated it from the

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side of a woodland hill. All that we could hear of the author was, that he was a German of little fame. The composition itself had not much to recommend it except originality; but it was most effective as a tour de force for a chorus, and it was most rapturously encored.

As if to give us the greatest possible contrast, the next piece was the andante in G, and presto movement in D, from Haydn's Quartet, No. 5, performed by the whole stringed band; and it was executed as we never heard anything done before. The andante was like the performance of two finished players of the deepest feeling. The violoncelli were surpassingly excellent. The presto was given with the most sparkling effectthe rapid divisions as clear as a Genevian box. Something of the kind has been attempted in England, but without success: you perceive a want of unity. There are continued trips and stumbles; and instead of fancying it a quartet performed by four instruments of immense power and sweetness, at once recognise it as orchestral.

As if to carry the system of contrasts to its uttermost, the next piece was the 18th Psalm of Benedetto Marcello -"I cieli immensi narrano." (We call it the 19th.) The only works of this pure and simple writer commonly known in England, are the 8th Psalm and the 41st (42d in our version)" As the hart panteth," and "O Lord our Governor." The 18th is very superior to these. It begins with a fire and energy unusual to this writer, and reminds one of some of the spirited movements in Haydn's masses. It is but repetition to say that the chorus was superb.

...

This simple psalm preceded the mighty Symphony of Beethoven in C minor- certainly the most inspired work of the kind ever produced. There was a pause, during which every person seemed to be concentrating his attention; the same quiet examination of instruments went on a careful look from the conductor was cast round and amid breathless silence the great symphony began. It is hardly possible, and besides it would weary our readers to dwell upon all the points of this noble composition. The very first four notes were given with a force and precision we never heard before. The fortes and pianos again attracted our admiration at their exquisite light and shade. The little bit of solo for the horn rang out as clear as a bell, and as round as a diapason. The long notes, which alternate as echoes between the stringed and wood band, were perfectly smooth and in tune, a thing we hardly ever hear in England; the basses were as clear as the violins themselves, and altogether the symphony seemed to develop fresh beauties at every bar. The same remarks will apply to the andante, particularly where, for the sixteen bars preceding the fortissimo reprise of the subject, the flute, oboe, and the two clarionets have the field to themselves, and their notes seem to twine round each other in the most graceful melody; their tones were perfectly silvery. The scherzo, however, deserves a few words of notice. It was taken much slower than in England, and the rallentando more cantabile, and very judiciously so; for as the time is accelerated at the fugato, it gives the instruments an opportunity to execute their notes accurately. The basses gave the subject as clearly as the notes of an organ, instead of the puff-a-puff-a with which we are usually treated. We cannot understand the reason of hurrying over this movement; it is not marked so either in the German or French scores, and its effect is marvellously enhanced by steady treatment. The oboes and horn again excited our admiration, but the treat was to come; the pianissimo was perfect

-the orchestra seemed asleep except the dull beat of the drum; the crescendo was regular and gradual, not as ours, getting into a fortissimo long before its time, and trusting to the blare of the trombones for a burst, but increasing only to the forte, and then bursting with fortissimo on the first chord of that wondrous triumphal march; and here appeared the vast superiority of the brass band, as our old friend, Tom Ingoldsby, says,

"The sweet trombones with their silver sounds,"

and silver it was, each playing with the band, and not endeavoring to drown every body else; blow

ing, as a facetious friend of ours says, enough to carry off one's "whiskers." We will not attempt to describe that march; let the reader remember what we have said, and then let him fancy what the different points must have been, with such horns, bassoons, and oboes as these. The close was followed by a short pause; every one seemed to draw a long breath, and then followed such a burst of applause as we hardly ever have heard. No soul attempted to move till all was over. There was no fidgetting for hats, turning boas round necks. No; it was clear the audience were as refined in appreciation as the band in execution. We parted with the heartiest shake of hands from our neighbors, who seemed positively charmed to see how we enjoyed the music.

"Vive la Société des Concerts," said we, as we resumed our hats, and made our last bows to our polite friends.

To compare the two orchestras let us begin at the bottom of the score. Their contrabassi are as superior to ours as Bottesini is to all other players they really play, and don't make a fuzzy sort of sound. The celli shew hardly so much difference, the four bassoons add much to their richness. Our tenors I think quite as good,

thanks to that consummate musician and artist Harry Hill. Our violins have more power in the fortissimo parts; like all the rest of the band in the piano parts, and in tout ensemble, they are very inferior. Their solo bassoon is richer than ours in tune, though not superior in execution. Our bassoons use too weak a reed. Of the clarionets we have already spoken. Their oboes and horns are vastly superior. Our oboes never seem in tune, and our horns never seem to know their parts: how awfully they stumble about in the trio in the Eroica. Their flutes are not better than Ribas. Their trumpets are certainly not better than ours; while their trombones are as superior to our ear-splitting Bartlemy-Fair bulls of Bashan as can be conceived. We have nothing like the pure tone of this wood-band-it is like the chords of the swell of an organ · -nor have we anything like the rich tones of their brass band: theirs is music, ours is blare. Our tympanist stands alone - none in the Conservatoire can rival Chipp. Whence, then, comes the difference? It is discipline - obedience - no one thinks of himself, nor plays for himself; every one is subservient to the whole. This is only to be got by repeated rehearsal; this is what the Philharmonic wants; and this it must have, or it I will soon feel some rival at its heels.

[Translated by the Editor.] FREDERIC CHOPIN.

BY FRANZ LISZT. V.

"There are all sorts of wreaths," says Goethe, "and indeed some, which one may pluck as he walks along." These by their balmy freshness may gladden a few moments; but we may not hang them by the side of those, which CHOPIN won by such assiduous, exemplary toil, by an earnest love for Art and by a sad sympathy with the states of mind, which he has so superbly portrayed.

He has not sordidly competed for those easy crowns, on which so many of us would modestly pride ourselves; he has lived as a man of pure heart, noble sentiment, good and sympathizing, whose soul one feeling wholly filled, and that the most exalted of earthly feelings, the love of country; he passed away through the midst of us like a hallowed shadow of all that Poesy, which has its home in Poland: therefore we bend in reverence before his tomb and we would strew for him no artificial flowers, would twine no lightly woven perishable wreaths! We would exalt our hearts to his sarcophagus, would learn of him to put away from us all that belongs not to the noblest

striving, and to direct all our aspiration toward deeds, which plough a deeper furrow than the stream of to-day. Let us then, in the mournful time in which we live, renounce all that is unworthy of Art, despise all that bears not in itself the pledge of durability, forsake all that hides not in itself a spark of the eternal spiritual beauty, which it is the calling of Art to let shine, that it may shine itself; and let us think continually of that old prayer of the Dorians, whose simple language breathes such holy poetry, when they besought the Deity "to give them the Good through the Beautiful." Instead of making haste to entice hearers and to please them at any price, may we rather strive, like CHOPIN, to leave behind us a heavenly echo of what we have felt and loved and suffered. Let us learn from his great memory to desire that of ourselves, which shall give us honorable rank in the mystical Commonwealth of Art, instead of demanding of the Present, without regard to the Future, those cheaply earned wreaths, which wither and are forgotten almost as fast as they are heaped up.

Instead of those, there fell to CHOPIN's lot the fairest palms, which any artist in his life-time can acquire; they were awarded by his peers and companions in Art; and an even more exclusive public, than the musically cultivated aristocracy, that visited his concerts, dedicated to him its enthusiastic admiration. A circle of celebrated names composed this public, and these names bowed before him, like kings from different kingdoms, who had come to celebrate one of their These rendered unto him in full measure the tribute, that belonged to him; and it could not be otherwise in a land like France, which knows with so much tact and foretaste how to discover and appreciate the rank of its guests.

own.

The most distinguished geniuses of Paris often met at Chopin's; they loved to go to him, because they found the most delightful enjoyment, and because they were entirely without restraint. For he possessed that amiability in receiving guests, so native to the Poles, which not only subjects the host to all the rules and duties of hospitality, but also makes him free from all regard to his own personality, so that he can devote himself exclusively to the wishes and the pleasure of his guests. One felt well with him, because he left all to the decision of his friends and placed himself and all he had at their command. An unreserved bountifulness, which also is peculiar to the simplest peasant in Slavonic nations: he acts the host in his hut, with more cheerful haste than the Arab in his tent, and what is lacking to the splendor of his entertainment, he supplies by a proverb, which he always repeats and which even the grand lord after the most sumptuous banquet under golden canopies repeats: "Disdain not what is unworthy of you, but it is my whole insignificant fortune, which I lay at your feet. (Czym bohat, tym rad.)"

One who has had an opportunity to observe the manners in CHOPIN's father-land, will understand more readily what lent to our social meetings at his house more heartiness, more freedom than elsewhere; that cheerfulness, that rang so clear and genuine, leaving behind no flat or bitter aftertaste and begettiug no reaction of dark humors. Although CHOPIN evidently avoided large company, yet he was in the highest degree obliging and amiable, when you fell into his house as it were; seeming to concern himself about nobody,

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Ay! give me Music! flood the air with sound!
But let it be superb, and brave, and high;
Not such as leaves my wild ambition bound
In soft delights, but lifts it to the sky;
No sighs nor tears, but deep, indignant calm,
And scorn of all but strength, my only need;
From whence, but Music, should my strength pro-
ceed?-

From some Titanic psalm?-
Some thunderous strand of sound, which in its roll
Shall lift to starry heights my fiery soul!

II.

Strike on the noisy drum, and let the fife
Scream like a tortured soul in pain intense,
But let the trumpet brood over their strife,
Victorious, in its calm magnificence;
Nor fear to wake again the golden lute,
That runs along my quivering nerves like fire;
Nor let the silver-chorded lyre be mute,
But bring the tender lyre,

For sweetness with all strength should wedded be,—
But bring the strength, the sweetness dwells in me!
III.

Play on! play on! the strain is fit to feed

A feast of Gods, in banquet-halls divine;
Not one would taste the cups of Ganymede,-
But only drink this more ambrosial wine!
Play on! play on! the secret soul of Sound
Unfolds itself at every cunning turn;
The trumpet lifts its shield, a stormy round,
The lute its dewy urn,-
But in the lyre, the wild and passionate lyre,
Lies all its might, its madness, and desire!

IV.

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Again! again! and let the rattling drum

Begin to roll, and let the bugle blow,
Like winter winds, when woods are stark and dumb,
Shouting above a wilderness of snow!
Pour hail, and lightning, from the fife and lyre,

And let the trumpet pile its clouds of doom; -
But I o'ertop them with a darker plume,
And beat my wings of fire;-
Not like a struggling eagle baffled there,
But like a spirit on a throne of air!

V.

In vain! in vain! we only soar to sink;
Though Music gives us wings, we sink at last;
The peaks of rapture topple near the brink

Of Death, or Madness pallid and aghast; -
But still play on! you rapt musicians, play!
But now a softer and serener strain;
Give me a dying fall, that lives again,
Again to die away;—

Play on! but softly till my breath grows deep,
And Music leaves me in the arms of Sleep!

[Communicated.]

Organists vs. Choristers.

In our opinion it is high time that the attention of Parish Committees were called to a prevailing abuse that ill accords with an advanced condition of musical science. We allude to the division of the musical responsibility between an organist and a chorister in our sanctuaries; a remnant of the olden time, unsuited to the present; in accordance with the spirit of the age it should give place to the march of improvement.

The custom owes its origin to a time previous to the use of organs, when amateur performers

upon instruments practised with a numerous choir, who elected from their number some person to select music, not on account of his acquirements, where all were equally unskilled, but by reason of his popularity. The post, being one of some little distinction, soon becomes a source of pride, like all other places of honor within the gift of a popular majority; and whatever other changes occur in the choir, if no fault is found with his general deportment, his musical acquirements are not called in question; he is permitted for years by the Parish Committee to retain his place, out of respect for the attachment he is supposed to feel for it. The change proposed will meet opposition from him;-in the order of nature it would appear that innovation shall be resisted, the better to test and justify it;-yet nothing but the vain argument of precedent can be offered favorable to the present system.

In some instances, on the introduction of organs, the office of chorister was very properly abolished by his resignation; but, too frequently, the organist, perhaps the only musician in the church, finds himself occupying a false position, subordinate to some worthy mechanic or tradesman, sans tune, sans time, sans taste, "sans every thing."

The Chorister, what is he? A shoemaker perhaps, by profession. Let him keep to it. Some are butchers, others are tailors, tinmen, men of useful and respectable talent, who should never direct in an astronomical observatory, though they be familiar with the use of the spyglass. Again, he is an eminent man in the society, always seen by the congregation at the head of the singers, separate from the rest by a space, because they are not choristers; - always heard to proclaim the page after the minister has finished the hymn, as if the arduous duty of finding a tune had occupied him every moment since the night previous, when the minister sent him a list of the hymns; always seen by the congregation to speak to the organist between the verses, as though the power or sweetness of the beautiful harmonies depended upon it. Often has he been known to select a solo or duet in order to illustrate to the congregation his uncommon talent as vocalist. Vanity of vanities! all is vanity!" saith the preacher. He is not expected to know more than one part of the harmony, and in general, disappoints expectation even in that. Α suggestion of the organist would meet reproof as a supererogatory meddling.

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Things are not so at the Trinity or Grace church in this city, the Trinity, the Swedenborgian, the Mt. Vernon churches in Boston, nor at any other church in Christendom where talent occupies its true position. Instances have frequently occurred where organists of fine acquirements would have been received into our churches, had it not been for the jealousy of the choristers, who anticipated the ludicrousness of their position in view of his superior attainments. In other instances, however, the organist enters upon his duties against the will of the chorister, who pursues a line of policy embarrassing to the player, disheartening him; nor does this Dogberry in music rest easy until the usefulness of the organist is utterly destroyed. It has been the custom ever since the introduction of the organ among us, for our large cities to supply, in a great measure, the country churches with the organist. He finds there a choir large enough and of such material as he could drill in a short time into good discipline. But the chorister, who

never knew there was such a thing as a Mass or an Oratorio, and never heard any good music in his whole life, resists any innovation as though his life were at stake; and the poor organist accompanies the harsh voices and the grating discords, till his year expires, glad of his freedom to find a situation more to his taste. As to there being a well drilled choir under such an organization, it is impossible; there can be no progress.

The

Why is it thus, that the organist, living in a world of harmony, to whom every day adds new inspiration, should not impart according to the universal law of nature? Simply because "The world could no more contain two Cæsars than it could two Gods." Yet, in the whole course of our experience, we never knew an organist who seemed to feel any vanity in his position as a teacher. mantle seems to sit upon his shoulders easily, not a mark of distinction but a reward of merit, well earned by years of patient study and perhaps by the toil of a lifetime. He is unobtrusive, unassuming, manifesting none of that ostentation or that exercise of arbitrary power, which ignorance and presumption wear in order to be thought learned. His life illustrates this sublime thought of the great orator, "I wish to be like the violet, spending its fragrance unseen. I wish to do good unobserved, to see honor blotted out and its place supplied by duty." Profound experience in any science is unattended by pride; for the more a man knows, the more he regrets his deficiency. But, supposing the case, which we never saw, of an organist proud of his distinction as conductor, is it contrary to custom or to justice that one should be honored according to his merits? Let us apply this rule, and what becomes of the honors of our quasi musician, who employs the best available musical talent and uses it, as well as he knows how, to build up for himself a counterfeit reputation? The cause of religion demands the change. The hearts of many are insensible other appeal than that addressed to them through the solemn strains of harmony; out of the Church they cultivate their taste for the noblest music the world affords; and shall the music in the Church be to them forever an inanity? This change is due to the organist; who, like other men of spiritual talent, should be untrammelled by circumstances, free to invite and to indulge the inspiration of genius with which he is endowed. This principle has been acknowledged by nations which we would fain believe less civilized than ourselves, and we find that, throughout Europe for generations past, painting, sculpture, poetry and music have not only been patronized but pensioned, in order that even common anxiety of livelihood should not occasionally overshadow the meditations of their votaries. Were it necessary, we could cite the custom of England, where the organist is established in the church as much as the rector, and where, as there are no choristers, he does not tremble at the sight of the village blacksmith, harmonious though he be.

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