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BOSTON,

There have also been representations of La Favorita, the Vivandiere, the Reine de Chypre, the Violon de Diable; and Le Juif Errant was in rehearsal.

THEATRE ITALIEN. Fidelio, says the Gazette, was first produced in Paris in 1830-1, by a German troupe, "The including Haitzinger and Schroeder-Devrient. effect was first surprise, and then enthusiasm. Artists, chorus, orchestra, were animated with such a cerve, and borne along by such a conviction, that all resistance was One had to yield to the power of impossible. the work. The singers believed in Beethoven, and burned with the desire to propagate their faith. Habeneck had long had a desire to transplant Fidelio to the French lyric stage.

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"But it was not to the Opera Francais, but to the Opera Italien, under the direction of Lumley, that destiny reserved this bold enterprise. Fidelio making its entrée into the midst of the Ausonian repertoire, what an event! what a complete revolution! Forty years ago, when M. Berton wanted to introduce the operas of MOZART, there was almost a revolt among the Italian artists, nourished on the honey of Paisiello, Cimarosa and Guglielmi. Barilli kept repeating, of the Nozze di Figaro, that it was 'Cossack music.' And yet Mozart was an Italian by education, if not by birth! Beethoven is German, altogether German; neither the author, nor the work could possibly deny their origin.

"Lumley has shown courage in risking Fidelio upon his stage. True, SOPHIE CRUVELLI had already obtained a brilliant success in the principal rôle, in London. She has all that is needed to succeed in the impersonation of the devoted wife, braving death and saving her husband: she is German, she possesses a magnificent voice, a physiognomy full of expression. We can only praise the manner in which she sang her first aria and married her voice with that of the three horns which accompany it with their delicious embroidery. Not less beautiful, less superior was she in the other portions; we could only ask for a little more of fire, of exaltation in the We have still present to our scenes of the second act. mind and eyes the memory of Mme. DEVRIENT, who did not sing as well as she, but who, as an actress, produced a more vivid impression. We will say as much of CALZOLARI, whose voice is so pure and sweet, but who does not render all the frémissement, all the feverish and delirious emotion, which boil in the stretta of his air in the second act. BELLETTI," [our fine baritone, of LIND memory,]" acquitted himself well in the part of Pizarro, and Mlle. CORBARI in that of Marcellina, the jailor's daughter. This last rôle was entrusted to SUSINI, whose fine bass voice always fills the ear so well. The choruses showed zeal and talent.

"The orchestra played two of the overtures, which Beethoven composed for Fidelio: first, the more familiar one in E, before the rising of the curtain; the second, so grand and vigorous, in C major" [here called Leonora] "before the last part of the second act."

The writer doubts if all the audience comprehended the beauties of Fidelio at once; but "Beethoven will plead his own case and win it." It had been played four times, the interest still increasing. But "a whole season would not be too much for the understanding of such a work, so foreign to the habits of our (the Parisian) public. The Italian artists, too, need to put themselves au diapason of a music, for which they naturally have little sympathy; and that they do with every trial."

At the same theatre have been produced recently: Donizetti's L'elisir d'amore, and Verdi's Nabucco, Ernani and I Lombardi.

OPERA COMIQUE. Four buffo pieces are in vogue at this theatre; these are: le Caid, le Toreador, Bonsoir M. Pantalon, and le Tableau parlant. Mlle. MIOLAN is delicious in the first; Mme. UGALDE ravishing in the second and fourth; Mlle. LEMERCIER very amusing in the third. So says the France Musicale.

Since then, a new opera, music by GRISAR, called Le Carillonneur de Bruges (Bellringer of Bruges) has made its appearance; BERLIOZ, says the N. Y. Tribune,

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praises it gently. He says of the debutante in the opera, Mlle. WERTHEIMBER, that she has that inappreciably valuable quality in her voice, truth; and what is singular for a voice of the opera comique, it is decidedly elegiac in character."

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At the Opera National they have had a new buffo opera, by EUGENE DEJAZET, called "A Marriage in the Air," and much praised of the critics. In M. Dejazet, say they, "our lyric stage counts one eminent composer

more."

CLASSICAL MUSIC, too, abounds in Paris. At the "Conservatoire," we read of symphonies of Mendelssohn, Mozart and Beethoven, played by an incomparable orchestra, under the prince of conductors, M. GIRARD ; an andante and finale from one of Haydn's quartettes, "played by all the violins, altos and bassos," (and we are told that, except for the greater volume of sound, you could shut your eyes and think there was but one instrument upon a part ;) songs from Weber's Euryanthe and from an opera by Gretry, sung by Mme. Laborde; a chorus by Gluck, &c.

The following was the programme of a concert of the "St. Cecilia Society:" 1. Overture to La Vestale, by a lyric drama Spontini; 2. Fragments from Rosamonde, by Franz Schubert; 3. Symphony in C minor, by Beethoven; 4. Chorus from Blanche de Provence, by Cherubini; 5. Air varié, by Adam, sung by Mlle. Lefebvre; 6. Overture to Ruy Blas, by Mendelssohn.

A lady pianist, Mlle. MALLEVILLE, is giving chamber concerts of the choicest programmes. Here is one of them: 1. Concerto for piano, with double quatuor, by Mozart; 2. Andante and finale of sonata in C major (Beethoven); 3. Trio for piano, violin and 'cello (BeetKreutzer hoven); 4. Quintette in D (Mozart); 5. The Sonata" of Beethoven; 6. Allegro for piano (Scarlatti); 7. Allegro of Sonata in A minor (Mozart.)

The London Athenæum (Feb. 21) says:

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The Chamber Concerts in Paris, seem just now, in number, to rival those of London; and the confraternity of critics are accordingly driven to their last columns of the encyclopædia of epithet, as may be instanced by the following untranslatable praise of Mdlle. Clauss, a young pianiste:

"Elle a rendues possibles les impossibilités digitigrades de Liszt dans la fantaisie sur Don Juan; et pourtant son style est plutôt lié, onctueux, intime que spectaculeux."

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Mlle. CLAUSS seems to be the "bright particular star of a whole galaxy of young pianists, male and female, who have lately shone in Paris. (We have more about her in type.)

A MUSICAL PRODIGY. The Gazette Musicale gives an account of a prodigious musical boy, named Frederic Gernsheim, aged only ten years-who is already vigorous enough as a pianist to perform the Concertos of Weber, Moscheles and Mendelssohn in public. Further, he composes in full score, is capable of improvisation, and, in short, reproduces the marvels of finger, fancy and feeling, wrought in his boyish days by the little Mo

zart.

ERNST, the violinist, has been giving brilliant concerts, assisted by LEOPOLD DE MEYER, who, the Parisian critics say, has improved, comes down more mercifully upon the keys, &c.-HERZ gives concerts and continues to publish in the France Musicale his very superficial souvenirs of his concert tour in America.- LISZT has published a volume upon CHOPIN.—THALBERG was said to have his face set towards America.

And we have not yet half exhausted the musical novelties of the last two months in Paris!

Italy.

It needs not many words to show what music just now reigns in Italy, seeing that it is mostly summed up in one word-VERDI. In the foreign news department of a late French musical journal, under the head of Italy, out of twenty-three paragraphs naming the operas performed in as many Italian cities, nineteen give some opera of Verdi's. He is the model and the idol; but there are plenty of younger aspirants:

The number of new operas performed in Italy during the year 1851, amounted to 30: the majority were at With scarcely an excep Naples, Turin and Florence. tion, the renown of their composers has not yet penetrated across the frontiers of their native country."

England.

CHAMBER CONCerts. Look through any recent chronicle of a musical fortnight in London, and you are in a perfect wilderness of them. Our Eisfeldt's Soirées and our Mendelssohn Club are mere drops in the bucket to

it. There is a certain "settled, calm content" in listening to Quartette playing, which seems to suit the eminently domestic turn of Englishmen.

W. STERNDALE BENNETT (the genial composer, but too imitative pupil of MENDELSSOHN,) Mr. HALLE, Mr. NEATE, Mr. SCIPION ROUSSELOT, Mr. LINDSAY SLOPER, Mr. KIALLMARK, Mons. BILLET, Mr. J. ELLA, Mr. AGUILAR, &c., &c., are each giving his separate series of chamber concerts, with programmes of the very highest order. Bach, Handel, Beethoven, Mozart, Mendelssohn, Spohr, Schumann, Schubert, Weber, and the other great names (not to mention the artists' own,) figure more or less in all of them, as authors of sonatas, trios, quartettes, quintettes, nonettes, songs, with and without words, &c. In Manchester, too, and Liverpool, and other provincial cities we read of like things.

"Daniel: an Oratorio," by Mr. Lake, is advertised as about to be produced at Exeter Hall" early in the ensuing season," with a band and chorus of at least six hundred performers.

ST. MARTIN'S HALL. No programmes are more interesting than those of Mr. Hullah's Monthly Concerts. That for Wednesday last included Beethoven's Mass in C, the same composer's Choral Piano Forte Fantasia, -and the second act of Weber's Oberon.' The first work, for which Mr. Hullah's Chorus seems to have a peculiar affection, went excellently; the difficult modulations, of which there are not a few, being given in better tune than we are accustomed to hear them given by so large a body of voices. This is surely the king of all Masses, -so picturesque, yet so devout,—so solemn, yet so interesting,- -so free in form, yet so rich in scientific resources.-.

-Athenæum.

HECTOR BERLIOZ has been summoned to London to direct a new Philharmonic Society with an orchestra hitherto unprecedented in number, for there will be at least 300 performers. It is the design of the Society to give a series of six concerts in Easter Hall, and to play the most characteristic compositions of various masters.

LOUIS RAKEMAN, the talented pianist, says the Musical World, has arrived in London for the season. [We Bostonians owe our first taste of the best modern piano forte music to this gentleman.]

EMILE PRUDENT, one of the most difficult of the new school piano forte writers, is about to settle permanently, it is said, in London.

The rival LONDON OPERAS have unrolled their proWe find the followgrammes for the campaign of 1852.

ing notice of the Royal Opera at Covent Garden:
The catalogue of available works includes no less than
36 operas-3 of Mozart, 1 of Beethoven, 10 of Rossini,
3 of Meyerbeer, of Weber, 1 of Auber, 1 of Cimarosa,
4 of Bellini, 7 of Donizetti, 3 of Verdi, 1 of Halévy, and
1 of Gounod-all of which have already been performed.
To these are added five novelties-Spohr's Faust, Web-
er's Oberon, Rossini's Comte Ory, Donizetti's Les Mar-
tyrs, and Pietro il Grande, a new opera destined express-
ly for the theatre by M. Jullien. Faust, having been
composed with dialogue, required the addition of recita-
tives to suit the Italian stage. These have been prepared
by Dr. Spohr himself, who will superintend the pro-
duction of his opera.

The engagements for the present campaign include nearly all the old favorites, with sundry re-enforcements. The principal soprani comprise Madame Grisi, Madame Viardot, Madame Castellan, and Mademoiselle Anna Zerr, with the addition of Madame Gazzaniga. The male department, in most particulars as strong as ever, is in some instances fortified by new acquisitions. The only important omission is Signor Tamburini, whose respectable name we miss from the present list of barytones. There is still, however, the inimitable Signor Ronconi, supported by the careful M. Rommi, and Signor Bartolini (cousin, we believe, of Signor Tamberlik,) a new importation, whose laurels have been won at Palermo, and more recently, at Brussels. The army of tenors is invincible. Signor Mario and Signor Tamberlik are supported by two other celebrities- Herr Ander, from Vienna, renowned as one of the best singers of Meyerbeer's music, and M. Guymard, the first tenor, and the rival of M. Roger, at the Grand Opera in Paris. Besides these, there are Signor Galvani, a new light tenor from Milan; Herr Stigelli, who made so good an impression last season; with Signors Luigi Mei and Soldi, to complete the list. The basses are scarcely less formidable. To Herr Formes is added Signor Marini, who will be recollected as having sustained the post of primo basso profondo in 1847, 1848, and 1849, with distinguished ability. Signors Tagliafico, Polonini, Gregorio, and Rache, make up the catalogue.

Of the other Opera, Her Majesty's, we read:

Cruvelli, whose success was the great feature last year, will be prima donna this season, together with Madame Sontag and Mademoiselle Joanna Wagner, the German "star," who is said to have taken the place of Jenny Lind at Berlin. Ferlotti, known as a singer and tragic actor, and the barytone Bassini are also important among the new engagements.

Germany.

BERLIN. A brilliant court concert took place recently,
directed by MEYERBEER, who had drilled his forces into
perfect execution. Among the pieces given were: A
quatuor from Mozart's Idomeneo; fragments of Gluck's
Orpheo, sung by Mmes. Wagner and Koester; the Salut
des Fleurs, trio by Curschmann; choruses from the
Prophète; finale of Rossini's Comte Ory; Turkish march
and chorus of dervises, from Beethoven's Ruins of Athens;
Overture to Le Jeune Henri, by Mehul; with piano fan-
tasias, &c.

Meyerbeer's "Camp of Silesia" was performed at the

Court theatre, at a coronation festival. The hall was

crowded. Mme. Tuczek, who sang the part of Vielka,

bore away the honors of the evening. - On Mozart's

birth day, Don Juan was played to perfection, to an en-

thusiastic audience. Other operas have been the Pro-

phète, Euryanthe, Fidelio, the Deux Journées (Cherubini),

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The symphony and Chamber Concerts have been rich cost of importation; namely, the low price of Fifteen Hun-

as usual.

The celebrated "Dôm" or "Cathedral Choir" has
been giving concerts of a rare quality, in which the
oldest productions of PALESTRINA have alternated with
the modern compositions. Between the vocal pieces
there were sextets, septuors, &c.

The "Sing-Akadamie," founded by Zelter, Goethe's
friend and correspondent, has lost its director, RUNGEN-
HAGEN. TAUBEKT and NAUMANN were candidates
for the place. This society has recently performed
three new pieces: a Lauda Sion, by Mendelssohn; a par-
aphrase of Klopstock's dominical prayer, set to music by
Taubert; and a solemn mass, by Naumann.

WEIMAR. LISZT is here director. ROBERT SCHU-
MANN has been invited to bring out his new opera, com-
posed to Byron's Manfred; and BERLIOZ, his Benvenuto
Cellini.

- MADAME SONTAG is making a triumphal musical

progress through Germany. She does not go to Berlin,

where it is supposed the Court would not wish that one

of its most distinguished ornaments a few years since,

should appear upon the stage. The railway directors all

over Germany despatch extra trains from the country

towns to the Capital in which the Syren chances to sing,

and, like Barnum, sell tickets of admission to the opera.

She is now at Hamburg, where she was to play twelve

nights for 150 Louis d'or, about $682 a night. The

quondam Countess travels in state. She and her retinue

of men servants and maid servants, and the Italian cook,

occupy two four horse carriages. In Hamburg, she will

decide whether to visit the United States. If she does,

there can be little doubt that her success will be glowing.

Sontag is an alabaster statue, with a musical box in its

mouth.-N. Y. Tribune.

ST. PETERSBURG. The benefit of GRISI and MARIO

was a regular ovation. The opera was Lucrezia Borgia.
The "incomparable pair" were called on the stage no
less than twenty times. After the opera, the Emperor
presented Grisi with a Cashmere shawl, worth 4,000 ru-
bles (about £800), a tiara of pearls and diamonds, and
a ring of immense value.

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Journal

VOL. I.

of Music

A Paper of Art and Literature.

BOSTON, SATURDAY, APRIL 17, 1852.

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

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

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

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

4. Correspondence from musical persons and places.

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

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

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

&c.

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

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

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

Editor and Proprietor.

SUBSCRIPTIONS RECEIVED

At the OFFICE OF PUBLICATION, 21 School St.

By REDDING & CO., 8 State St.

"GEO. P. REED & CO., 13 Tremont Row.
"GEO W. LIGHT, 3 Cornhill.

"SCHARFENBERG & LUIS, 483 Broadway, N. Y.
"DEXTER & BROTHERS, New York.
"E. L. WALKER, Philadelphia.
"JOSEPH SHILLINGTON, Washington, D. C.
"J. B. RUSSELL, Gazette Office, Cincinnati, O.
"HOLBROOK & LONG, Cleveland, O.

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

For Dwight's Journal of Music.

Beethoven and his Third Symphony.

---

[Extract from an unpublished work.]

With the approach of cold weather [autumn of 1802] Beethoven's health improved, and he turned his thoughts to a work which had long floated before his imagination, and in which the world should have witness of that mighty genius, which he was conscious of possessing. This was that famous work now known as the "Heroic Symphony."

Born and educated on the Rhine, in almost the only section of Germany at that time not cursed with hereditary despotism, within the reach of French and English ideas, an ardent admirer of the Greek and Latin historians, most of whose works he possessed in translations, Beethoven had come to Vienna a firm and staunch republican. His imagination was filled with Plato's Republic, and he fondly cherished the hope and expectation that France, having cast off its burden of tyranny and oppression, would at length make real the ideal of the great philosopher. At the time Bernadotte was in Vienna as ambassador of the French Directory, Napoleon had recently returned from his famous Italian campaign and was residing in his humble house in the Rue de la Victoire, and mingling in the society of none but men of high intellectual and scientific attainments. That great ovation to him in the Luxembourg had just taken place, and this young Corsican, one year only older than Beethoven, was the foremost man of the Eastern continent.

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Napoleon was now almost adored by the republicans all over Europe, as the great champion of popular rights. The people looked to him as their friend and advocate. The brilliancy of his intellect, the purity of his morals, the stoical firmness of his self-endurance, his untiring energy, the glowing eloquence of every sentence which fell from his lips, his youth and feminine stature and his wondrous achievements, all combined to invest him with a fascination such as no mortal man ever exerted before."-J. S. C. Abbot.

It is easy to conceive with what interest Beethoven would hear of this young hero from Bernadotte, and how naturally he would come to regard him as the one destined to regenerate the civil and political institutions of Europe. Count

NO. 2.

Moritz Lichnowsky attributed the first suggestion of a work in honor of Napoleon from the pen of Beethoven, to the French Ambassador, and in 1823, when the composer had occasion to write to that General, then king of Sweden, in relation to his great second Mass, his thoughts recurred to the period of their acquaintance, and "he distinctly recollected, that it really was Bernadotte, who awakened in him the first idea of the Sinfonia Eroica."- Schindler.

How eagerly he would follow the career of the young conqueror, as detailed in the newspapers of the day, of which he was an insatiate reader, may easily be imagined. At the close of 1802, that man, sprung from the people, like Beethoven himself, was at the head of a government somewhat similar in form to that of the old Roman Republic; his title, that of Consul, recalled recollections of its best days, and he sat in judgment above the crowned heads of Germany, dividing and disposing according to his own will.

His character in the eyes of all republicans was still unblemished; that final act, the assumption of the Imperial sceptre, had not yet unblinded them to a perception of his inordinate ambition and his utter indifference as to the means of its gratification. At all events, Beethoven at that time cherished a boundless admiration for him and likened him to the greatest of the Roman Consuls.

These remarks have been called forth by a conviction, that the ordinary interpretation of the "Heroic Symphony " is not in accordance with the train of thought and feeling, which Beethoven in this great work intended to portray. It is not a work written to commemorate Napoleon, the Emperor, and exile of St. Helena, but one suggested by the career of the conqueror of Italy,― of him who had grasped the loose reins of power and repressed with a master's hand the destructive madness of the French Democracy. The title under which it was given to the world, was an afterthought, written after the composer's opinion of Napoleon had undergone an entire change; and that the "Marcia Funebre" was not written as a requiem for the hero, appears clearly enough from a remark dropped by Beethoven, on being told that at length the exile slept the sleep that knows no waking. Alluding to the march he said, "that for this catastrophe he had composed appropriate music seventeen years before, music which fully predicted it, though unintentionally (ohne dass es seine Absicht gewesen) on his part."

Few persons can have heard this symphony for the first time and not, under the influence of the idea that it was composed "to celebrate the death of a hero," have been startled, and offended almost, by the strange contrast between the second and the succeeding movements. A writer at the time of its first public performance in Vienna said, "Unity (of design and effect) is almost entirely lost;" and among the numerous criticisms in the English as well as German musical periodicals, there are few, which do not imply the truth of this one from the "Harmonicon," on occasion of a partial performance of the Symphony: "The Sinfonia Eroica of Beethoven most properly ended with the Funeral March, omitting the other parts, which are entirely inconsistent with the avowed design of the composition." Had Beethoven given a key to this, as he has done to the Pastoral Symphony, there is no doubt that all would be found, though singular and "Beethovenish," still satisfactory. At all events, considering the circumstances attending its production, may we not view it as Beethoven's political testament and confession of faith,—a work in which he honored the French Consul more by making him the type of heroism universally, than by any labored attempt to paint the individual, as he is generally supposed to have done?

The following Argument may perhaps convey more clearly the intention of the above remarks, and relieve the mind of the reader from the disagreeable feeling caused, on hearing the Heroic Symphony, by the "entire inconsistency" of the Scherzo and Finale with the other movements. Allegro con brio. The Hero announced and portrayed. A very long, powerful and majestic movement, built upon themes simple and bold, yet vigorous and capable of being wrought up to an inconceivable grandeur. Marcia Funebre, adagio assai. Inexpressibly grand and affecting, a picture of the hopeless, desponding, despairing condition of the millions groaning beneath the weight of despotism-wild rage, anarchy, bloody and unsuccessful revolution, the requiem of order and liberty.

Scherzo and Trio. One of the most original and striking of Beethoven's compositions. Those long successions of staccato, pianissimo notes-what do they mean? They whisper the tidings- for none dares speak aloud - of the Hero's advent; the news reaches, and hope and expectation pervade, all classes; the trio of horns, so delicious, what is this but the joyful hope of deliverance, which has arisen at length? And everywhere the pulse quickens, and all is in breathless expectation; and just at the close of the movement, the joy which pervades all hearts, but which has thus far been per force hidden, dissembled, finds vent and bursts forth.

Finale. The Hero comes; a short struggle; chaos, anarchy, the rule of wild passion-all give way before him; and then the jubilant chorus, swelling and dying away, ever renewed and ever more joyous and unrestrained, rings to the praise of him whose strong hand has brought liberty and order and peace.

But whatever may have actually been the train of thought, which Beethoven followed in this grand composition, it is certain that he gave himself to it with all his strength and energy. With the exception of writing a few sonatas and quartets, which were ordered by noblemen and publishers, and the preparations for a concert, he seems to have devoted himself entirely to the Symphony through the winter and the succeeding summer, which he spent in Ober Dobling, a village near the capital. Ill health and various circumstances combined to hinder its completion, until, if Schindler is correct, the year 1804 had opened before the last touches were put to it. In

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On the 18th of May, 1804, Napoleon assumed the crown as Emperor of the French. The news soon reached Vienna. Ferdinand Ries heard it and coming to Beethoven found him and Count Moritz Lichnowsky together. Ries related what he had heard. Beethoven flew into a violent passion, and cried out, "Is he too nothing more than a common man? Now he will also trample all human rights under foot, just to serve his own ambition. He will place himself now above all others and become a tyrant!" Then going to the table he seized the Symphony, tore the title page completely in two, and threw the whole upon the floor, from which for some time he would allow no one to take it. The first page was afterwards copied and the work received its present title. Prince Lobkowitz then purchased the use of it for a few years, and the first performances of it were in his palace.

A. W. T.

For Dwight's Journal of Music.
LINES WRITTEN AT SEA.
To him, who loves all Beauty,
It is a rare delight

On the ocean-in the summer,
In the magical moonlight;

On the deck of a proud vessel
That rides triumphantly,
While the golden moonfire wrinkles
A pathway o'er the sea.

Like giant sea-shells humming
Eolian harmonies,

The white sails high above him
Are rounded in the breeze;
While down their stainless whiteness
The cordage shadows flow,
Like leafless forest branches
Shadowed upon the snow:
The regal moon before him,
The northern morn behind,
And starry Cassiopeia,
And the good ship filled with wind.
And whither-say O whither

Speeds on the moonlit ship?
Westward forever, homeward

Where the stars in ocean dip. The night has drunk the nectar

Of the moon's o'erflowing cup,
That drowns far to the eastward
The pale stars coming up.

So drinks the soul thy Beauty,
O spirit of the sea,
Till dreaming and awaking
Seem each a mystery.
And in the spirit's dreamlight
The present disappears,
And past and future mingling
Dissolve the weight of years.

C. P. C.

A LETTER from Mayence contains the following."It is known that Mozart was painted twice only from the life: once by the German painter, Tischbein, the other time by an Italian painter, Father Martini, of Bologna. Both pictures had disappeared. In recently taking an inventory of the effects of a former violinist of the Grand Duke of Hesse-Darmstadt's Chapel, the first of these pictures was found, signed with the autograph monogram of Tischbein. The immortal author of Don Giovanni appears here in a coat of French fashion, green in color, large frill,

waistcoat of yellow satin, and powdered wig. Two inhabitants of Mayence-M. Arntz, Professor of Natural Philosophy, and M. Schulze, the organist who knew Mozart personally, affirm that the portrait presents a striking likeness; and the former adds, that the costume given is precisely that which Mozart was accustomed to wear when he played on the piano at the Court of the Elector. This portrait differs essentially from all the engraved likenesses of Mozart. Most of these were probably taken from a medal struck, in 1784, at Munich, in honor of the great musician."

CLASSIC AND OPERATIC MUSIC,

OR

The Contrapuntists and the Melodists.

[We translate the following from the German, from an admirable summary of the early history of Music, introductory to a critical estimate of the mission and achievements of MOZART.]

Read or play through an excellent theatrical score, some opera of GLUCK's for instance; take away the text and the singers, and let it be heard by amateurs, who have no idea of its previous intention; and this music, on the stage so beautiful, so speaking, so expressive, so descriptive, will say little, and in that little there will be no order nor connection to be found. And yet the composer's thoughts remain untouched; there has been no alteration in the melody nor in the chords. "But the material effect," I shall be asked; "is this to count for nothing? I count it much; but patience; here is a Quartet by MOZART, which shall be executed by the same instrumentists. So far as execution is concerned, the forces shall be equal. But is not everything connected here and flowing from its proper motiv? Do not the thoughts blend in a stream of strictest logic and of most persuasive eloquence, together with the most exalted poetry? In this music do you miss the orchestra, the singers and the drama? Does it require an interpreter? Now then, since we are agreed in this, tell me what the Quartet means? Means! yes, I feel it certainly; but how to render it in words I know not. It is not anything that can be told. There could not be a better proof, that music has two sorts of value and of meaning: one relative, the other absolute and purely musical. This defines the contrapuntal style in general and the Fugue in particular, and so justifies its existence, as well as its claim to the title of pure music. What then is a Fugue? It is a musical proposition, which is unfolded simply or contradictorily, according as it has one or more subjects, together with the arguments, which are deduced solely from the relations of the harmony and of the counterpoint; a music, which plays in an ingenious and (so to say) abstract manner with its elements. The end of the game is the game itself, and the Fugue signifies, above all, just what it must signify in its peculiarity as Fugue. If it is good, it will be found good; require no more ; you have already the sense of the work. This sense never lies in the text of the vocal fugue. The words, attached to it, are too few to help us to this sense, nor can the fugue itself derive much profit from them. They merely serve to furnish syllables to the singers. Kyrie Eleison, or Hosanna in Excelsis, - these are all the words, which the longest and most thoroughly developed fugue requires.

It may be said that the contrapuntal style, by means of analogy, re-enacts the faculties and

BOSTON,

laws of the understanding on the domain of feel-
ing. And indeed the arrangement and studied
(motivirte) sequence of musical thoughts, the
beauty of the thematic development corresponds
to the deductions, proofs and conclusions, which a
skilful logician knows how to draw from some
fruitful proposition. The combination of two or
more themes, contrasted in their melodic plan and
in their rhythmical movement, gives a type of
the approximation of two thoughts, which seem
at first to have nothing in common with each
other, but out of whose unforseen contact a design
suddenly becomes perceptible, which charms by
its novelty and surprises by its clearness. In short,
is not the unity of subject, strictly adhered to and
wisely connected with all the incidental and epi-
sodical details, alike a merit in the rhetorician and
the contrapuntist?

And yet, how strange! the more a composition
through analogy approaches that kind of elo-
quence, which is called deliberative or demonstra-
tive, the less does the sense of the work admit of
verbal commentaries. Whence comes this? It
follows from the fact, that between verbal and
musical logic there always lies the difference
The better a
between thinking and feeling.
truth of abstract feeling has been analyzed and
presented in the language of feeling, the less will
the language of reason, or spoken words, affect this
series of corollaries in notes, which
prove nothing,
unless they be resolved into an emotion of the
Just so it is
heart or an enjoyment for the ears.
Mathematics,
in another sphere, that of the pure
in which truths in the same way elude verbal
logic, and can only be given through algebraical
and numerical formulas.

When we reflect upon all these properties of
music, some of which penetrate so far down into
those depths of the soul, that are most inaccessible
to the understanding and to words, we see before
all things, how much they approach the nature of
the religious sentiment, and why the contrapuntal
and fugued styles have been principally employed
in the service of the church; the only direct
application of music, in which the two significa-
tions and the two-fold values, between which we
have been laboring to point out the distinction,
have met and become identical. What musician
has not felt the everlasting harmony of the sub-
lime church music with the sublime act, which it
accompanies? Hear those voices, rising one after
the other in slow and sustained tones; they inter-
twine and separate like the spiral wreaths of
incense rising from the censer, while, now higher
and now lower, they continually echo the same
complaining words. That is not the expression
of a passionate grief, one of those torturing
agonies of flesh and blood; but it is the holy and
poetic sorrow, which announces itself in the old
cathedrals; it is the utterance of our common
misery at the foot of the cross, ever repeated and
The Allegro of a jubilant
evermore the same.
fugue follows upon the Andante. Is this the
reverberation of a worldly festival, the martial
sound of triumph, or the announcement through
thousands of the people's voices of some happy
national event? Nothing of all that. This chorus
expresses the solemnity of the Lord's day; it
celebrates an altogether mystical feast; it sings in
unison with all Christian souls, who, weary of the
bustle of the world, have come to hear the hymns
of the king of prophets and the concerts of the
heavenly Jerusalem.

APRIL 17, 1852.

It may have been remarked, that the stumbling blocks, commonly placed between works in the contrapuntal style and the majority of hearers, frequently seem not to exist in the church music; the ignorant appear to understand it about as well as the initiated. We have already given one of the reasons of this exception; but there is another, far more universal, since it operates without distinction upon hearers of all countries and communions. There is an acoustic reason at the bottom of it.

The remarkable resonance, in buildings devoted to public worship, swells the volume of tone, rendering a multitude of details imperceptible; it in a manner simplifies the music and lends to the material effect a force, which is enough to shake the hearer, and that entirely without any assistance of the composition, supposing it to be well executed. surrender you Scarcely has the piece begun, when yourself with a shudder to that irresistible power of the accords produced by a hundred select voices, strengthened by a crowd of symphonists, through which is heard the harmonic storm of the organ roaring, making the whole sonorous building "It is God's voice." will tremble. And you say Yes, it is the voice of God, making itself heard through one of the most adorable laws of his creation.

While the harmonic effects are thus rounded off and consolidated in great masses, the ear ceases to be much perplexed by details, which would have been quite bewildering, had they been more distinctly heard. So far is this the case, that a Mass, when reduced to the simplest possible mode of execution and heard as Quartet or Quintet in a chamber, is frequently no longer recognized by the very hearer, who had been transported by it during divine service.

These remarks explain many things in the past and in the present of Music. We now know why the fugued counterpoint, which grew always more and more offensive and was gradually excluded from all profane compositions, after BACH and HANDEL found its last place of refuge in the temples; why it pleased in the church and displeased elsewhere; and why, since its re-introduction, the mass of the dilettanti have yet been able to perceive no gusto in it in the Chamber music. If in our day we see many voluntary martyrs to the contrapuntal style, who impose upon themselves the penance of hearing a Quartet worked off, it is because the title of a dilettante has become a sort of standing in the world, a card of introduction, opening many doors to one, which but for that would have remained shut against him. We are obliged to be kind and patient hearers of musicians, who play gratis. One checks himself, when the tendency to gape comes over him too heavily, and utters ever and anon the exclamations: exquisite! wonderful! divine! like the sentinel's: Who's there! to show that he is awake.

How much easier living it is, on the contrary, in the Opera, in the land of musical freedom, where the listeners recover their full natural independence! Every one is there for his money's worth; every one is sovereign judge of the satisfaction that he buys; and if the great multitude does not find this satisfaction there, then woe to the composer or the players! We have a right Here the public to abuse those, who rob us. reigns despotic, and the taste of the many from of old has been the supreme law. In the theatre there is no appeal from the decisions of the

public; the sentence is executed the moment it is passed, and the condemned always have the worst of it.

The other style hardly requires the same amount of explanations. Melody is ground for everybody's feet. Whoever loves Music loves Melody, and for the human race en masse Melody makes up the whole of music. Besides, I have already in a certain manner sought to enumerate its negative properties, in endeavoring to indicate the sphere and limits of the fugued style. All that this latter cannot do, Melody, with the aid of Harmony, reduced to mere accompaniment, can do. In this simplified form, if Melody can move freely, she lends expression to all positive emotions, even to images of visible, imitated, or poetically felt phenomena; she interprets words and lends them thereby an unwonted power; in the theatre she kindles up within us all the passions, which she knows how to portray and excite; she furnishes the executive talents with the means of their triumphs; she pours out streams of rapture through the organ of a euphonious voice, or through the vibrations of an instrument, and transports a whole public into that enthusiasm, which is openly manifested on the arrival of a virtuoso of the first rank. Is it not Melody again that conjures up the dearest shadows of the past, and with a few magic notes carries you back into the times of a bliss long vanished, or spans long distances and leads the sorrowing soul into its home? Is it not she, that sustains the courage of the warrior and inspires him in the hour of battle? She, that lends fervor to our most cheerful festivals! She that leads straightway to the fountain, whereat poor humanity most commonly drinks oblivion and consolation for its sorrows; that speaks to us so gracefully of Love and makes us more susceptible thereof? It is still always Melody. And if I cannot give myself up to Love, says some one, I at least make music; and this at least marks excellently well the correspondence of these two occupations. This is what the rhetoricians call the sublime in thought.

By the side of these attributes of the harmonicomelodic style, the delights of counterpoint seem very weak and very insignificant. But all things have their compensations in this world. If Melody is an eternal principle for the rejuvenescence of Music, so too it is an ever present cause of its corruption and its death. By the ease, with which it assumes all colors and accomodates itself to all forms, by its subserviency to the most moody and transient influences, Melody makes any given system of composition to appear, so far as the hearers are concerned, as either national or foreign, It founds the momentary antiquated or new. taste and it destroys it. The instability peculiar to this element of music became still greater with a superficial and almost primitive harmony, like that in the majority of the Italian operas of the eighteenth century. At first, when it held sole sway, the power of the ruling melody was so much the greater; but it soon lost its attractive energy, since it had surrendered itself with too Works little reserve to the wishes of the ear.

in this style, called homophonic or (one-voiced), that is to say purely melodic, generally soon wear out; we see them in their decline follow the opposite progression from that indicated by their growing favor; the melancholy progress from indifference to satiety, and from satiety to loathing. They were loved more and more, because

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