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must call aloud upon the proprietors, as we have before done, to make some arrangement which would render an awful destruction of human life, in case of sudden alarm, not so fatally certain as it is now. We cannot recall any hall of the size, whence the means of issue so totally preclude hope of safety in an emergency. The difficulty is in the narrowness of the staircase, and until some steps are taken to remove so serious an objection to a hall, otherwise quite unparalleled(?) for its purpose, it will be our duty to refresh the public remembrance of its great insecurity in this respect."

MAD. MABERLINI, the mysterious, who made the singular breakdowns in Boston, last Autumn, and has since sung in Charleston with the like result, is about to repeat the experiment in New York. The Herald announces her with a long flourish of trumpets, speaks of her beauty, her eminently Italian face, her "great success "(!) in Boston, and how Jenny Lind went in one night to hear her -but not how she went out again!

Paris.

GRAND OPERA. Father Fétis continues his long and eulogistic analysis of Le Juif Errant, pointing out its beauties scene by scene and strain by strain. Such authority may well suspend judgment, in spite of the adverse impression of most other lovers of good music. The play continues on the stage, the house continues thronged, Tedesco continues to win admiration and has renewed her engagement. It would seem that the votes were gradually going over to the side of M. Fétis. We hope soon to hear again from our own correspondent.

The OPERA COMIQUE always maintains itself, and must lend a very genial sort of moonlight just now to the shaded hemisphere of the lyrical great world, while all the operatic sun-light blazes in the London hemisphere. There the Parisians have been finding entertainment in light, graceful, funny operettes, such as Richard-Coeur-de-Lion, the Deserteur, the Tableau Parlant, the Calife and the Voitures versées (carriages upset) by Boildieu, of which a critic says that: "A natural, easy, even melody, united to a simple and rational harmony, in which there intervenes an instrumentation sober, clear and not too noisy, has decidedly its imprescriptible rights." The Voitures versées is said to be as popular as was the Dame Blanche.

M. HABERBIER. This new pianist with his new finger method, to whom we alluded some weeks since, has given a second concert, and opinions seem remarkably divided. The Gazette runs him as "This new instrumental Messiah, this Mahomet of the piano, this Calvin in fingering, announced as a reformer," &c., and sums up the result of the second, as of the first concert, in these words:

"M. Haberbier is an artist of talent, a charming pianist, who has more dexterity than tone, more address than sensibility and who understands passage-playing better than song; and as for his new points of mechanism, there is not a pianist of a little experience who does not find them scattered through the studies of Kalkbrenner, of Czerny, above all in the music of Liszt, and even in the variations of Henri Herz."

Not so the France Musicale. This pronounces the concert a 66 complete and definitive triumph," hints at a balked conspiracy against him, likens it to a scene in the life of Stradella, since a room-full of "pianists who came with a hostile end, felt all criticism expire on their lips." No more "acrimonious conversations," no more "bitter railleries." They found that he had actually come to teach them the means of doubling their power of execution," and so on. He played the Overture to Guillaume Tell, the Caprice de Salon and la Fontaine of his own, and with signal triumph the Nocturne and Grande Valse of Chopin. The writer ascribes to him the "vague spiritualism" of the music of the North, and says:

"Since Liszt and Chopin, no pianist has so profoundly moved the feminine fibre. We know a lady of high rank who never speaks of Haberbier and of his playing, unless with admiration, with a serious and select enthusiasm, which is not free from a sort of mysticism."

The Revue des deux Mondes and other papers echo this last opinion and talk as enthusiastically about the spirit of the Northern music as if the Danish pianist were an Ole Bull in his way. One critic said: "We have not been hearing the piano, we have been hearing music": which certainly conveys the opposite impression to the opinion first quoted.

At the grand ceremony of blessing the flags in the Champ-de-Mars, parts of the "Mass of St. Cecilia," by Adolph Adam, were executed by the united bands of all the regiments of the garrison of Paris, numbering more than a thousand musicians. The infantry bands took the instrumental, and the cavalry (brass) bands the vocal parts of the Mass.

"THEORIES COMPLETES DU CHANT" is the title of a new treatise on the voice and the art of singing, by M. Stephen de la Madelaine, just published in Paris. We see it spoken of as "the most complete and learned exposition that has ever yet been made of this important branch of the musical art." It begins with defining that vague word, Method. (Pity to rob our critics of such a learned-looking screen, when they don't know what to say about a singer!) Then follows a treatise on the

trasts the excitement of the auditory at the C minor of Beethoven, with the profound apathy attending this symphony of Spohr's. Beethoven's "Men of Prometheus" was the other overture. JOACHIM played Mendelssohn's only violin concerto. The singers were CLara NOVELLO and STAUDIGL.

NEW PHILHARMONIC. Mendelssohn's Symphony in A (posthumous, with the Saltarello movement); the first of Beethoven's four "Leonora-Fidelio" overtures; Berlioz's own overture, Les Francs Juges; and his orchestral arrangement of Weber's Invitation à la Valse, were the main features of the fifth concert. M. Silas played his own piano forte concerto; and Sivori the violin concerto of Mendelssohn, combining, it was said, "the purity of tone of the Italian, the sentiment of the German, and the brilliancy of the French schools of violin playing."

vocal mechanism, “a brilliant series of principles borrowed mer Afternoon Concerts,

from the most illustrious masters, Crescentini, Porpora, Garcia, Bordogni, &c., precious traditions to which M. Madelaine adds the result of his own experience." Then follows Style, or the aesthetic part of the subject; and finally Hygiene as connected with singing. The work is said to possess great charm of style and illustration.

London.

OPERA. At Her Majesty's Lucia was repeated with Madame De La Grange, who achieved a still more decided success than at the first time. Gardoni's Edgardo was much admired. Ferlotti was the Enrico. - Cruvelli has thrice appeared in her great character of Beethoven's Fidelio, supported by Calzolari and Belletti. That might be coveted as the highest lyric opportunity of the times! Cruvelli has impressed most persons of true taste and musical feeling as the genius par excellence among the newly risen stars, the London Athenæum to the contrary notwithstanding. The Wagner's forbidden power is said to be mainly dramatic. Fidelio was followed on the same evening by a light comic opera: La Prova d'un Opera Seria.

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"Light comedy characters are infinitely better adapted to the capabilities of Madame La Grange, than parts exacting dramatic power and passion. capricious, touchy, and exacting prima donna was well acted and admirably sung: the introduced bravura was a triumph of florid vocalism, and deservedly brought down thunders of applause as she poured forth a series of novel as well as daring roulades. Lablache's duo with Madame La Grange, Ah, guardate che figura,' was received as usual with shouts of merriment, although it has been heard season after season for upwards of twenty years. Equally delighted was the auditory with the well-known directions of the sensitive composer to the orchestra. Lablache revels in practical jokes with the members of the band in the distribution of the parts of the score to each player. Her Majesty, the Duchess of Kent, and Prince Albert honored the performance with their presence."

On Thursday June 3d was an extra night. Donizetti's Don Pasquale was given by Lablache, Mme. La Grange, Calzolari and Ferranti. The giant was in excellent voice and perhaps never played the part with more hu

mor.

At the ROYAL ITALIAN a representation of La Juive confirmed the success of the French tenor, M. Gueymard. Mme. Jullienne's Rachel and the Cardinal of

Herr Formes were great successes. I Puritani was twice performed, and MARIO was the hero, GRISI the Elvira. Says "Vivian" in the Leader:

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"Mario was not dead, but sleeping. His voice- that that sweet and tender voice, so delicate, so voluptuousvoice which we all thought had lost its bouquet, made itself felt the other night in Puritani with all its pristine beauty, and a crammed audience rejoiced in the discovery. That was a 'blaze of triumph'- that was singing."

Think what a caste in Lucrezia Borgia! For the Duchess, GRISI; Gennaro, MARIO; Duke Alfonso, RONCONI; Maffeo Orsini, Mdlle. SEGUIN (said to have been a failure); and in the secondary male parts, MARINI, TAGLIAFICO, POLONINI, MEI, ROMMI, &c. Chorus and orchestra under COSTA, were magnificent. "Marini's voice in the masked chorus was a tower of strength and contributed greatly to its electrical effect." "The dying scene of Mario raised the enthusiasm of one of the greatest houses of the season to the highest pitch.” For the extra night, June 3d, Meyerbeer's Les Huguenots was played for the fifth time.

THE PHILHARMONIC SOCIETY at its sixth concert gave "Spohr's somniferous symphony in D minor" and a MS. overture by Cherubini. The Illustrated News con

Summer

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NOTICE

CIATION are ready to receive applications for the use of their HALL and LECTURE ROOM, (entrance on Bumstead Place and on Winter Street,) by Religious Societies, for the purpose of regular worship on Sundays, after the 15th of November next.

The MUSIC HALL, furnished with Organ, &c., will seat three thousand persons, and the LECTURE ROOM, eight hundred. Written applications may be addressed to the subscriber, at No. 39 Court Street, who will give such further information as shall be desired. FRANCIS L. BATCHELDER, Clerk B. M. H. A.

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NEW MUSICAL PUBLICATIONS.

of the "BOSTON ACADEMY COLLECTION OF CHORUSES," price reduced from $24 to $14 a dozen. PERGOLESE'S celebrated STABAT MATER for two female voices, newly translated by J. S. DWIGHT, Esq., a welcome work to lovers of good music.

The Nightingale's Nest, a Cantata by the eminent German composer, REICHARDT, translated by Mr. THAYER of Cambridge. A beautiful piece, suitable for concerts, taking about forty minutes to perform it; consisting of Solos for bass, tenor, and soprano voices, with Choruses. Price, $6 the dozen.

Also BEYER'S New Instructions for the Piano; Materials for Piano Forte Playing, by JULIUS KNORR, a work highly approved by the best teachers. Price, $2.

G. P. R. & CO. have also received a further supply of the valuable publications of J. ALFRED NOVELLO of London, for whom they act as agents-consisting of the ORATORIOS of HANDEL, HAYDN, and MENDELSSOHN, and the complete MASSES of MOZART, HAYDN, BEETHOVEN, S. WEBB, VON WEBER, and others, with the finest collection of BACH'S FUGUES, and music generally for the organ, that has ever been seen in Apr. 10. tf CZERNY'S PIANO FORTE METHOD. Sa Manual to Teachers and Amateurs it is invaluable.As & Manual to Teachers nice.

Boston.

It is one of the most valuable contributions to the art.London Musical World.

In regard to interest and utility it can never be surpassed.J. A. Hamilton.

It is a work of uncommon merit-one superior to all others. -Drawing-Room Journal, Philadelphia.

A splendid acquisition to the list of American publications. -Philadelphia Saturday Courier.

It is rapidly taking the place of all other methods.--Philadelphia Inquirer.

It is calculated to impart a ready and thorough knowledge of the art.-Baltimore Patriot.

A book of invaluabe worth as a code of thorough systematic education.-Phiadelphia Sun.

It is the most compete system published.-Norfolk County Journal.

We cannot too strongly recommend this excellent work.N. Y. Scientific Ameacan.

The most thoroughand 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 he learner are embraced in this work,Message Bird.

A deservedly popular work.-Philadelphia Mercury. Czerny can boast of having given to musical Europe Thalberg, Listz and Dehler.-La France Musicale. Published by OLIVER DITSON, 115 Washington Street, Boston. Sold by all Music Dealers and Booksellers in the Union. Apr. 10. tf

DEPOT FOR Homœopathic Books & Medicines; [YDROPATHIC BOOKS; Phonographic and Phonotypic

HYDROPA TINCE BOWL Publications on Phrenology and Physiology &c.; Writings of EMANUEL SWEDENBORO, Theological and Philosophical; Barometers, Thermometers, &c. For sale, vholesale and retail, by Apr. 10.

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OTIS CLAPP, 23 School St.

MUSIC BOOKS,

PUBLISHED BY

BENJAMIN B. MUSSEY & CO.

29 Cornhill, Boston.

ERTINI'S PIANO FORTE INSTRUCTOR.

BA Progressive and Complete Meched for the Bun

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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NEW & VALUABLE MUSIC BOOKS

RECENTLY PUBLISHED BY

OLIVER DITSON,....BOSTON. SPOHR'S GRAND VIOLIN SCHOOL, being an exact reprint of the latest European editions, with all the author's new revisions and improvements. One volume, quarto. Price, $3.

Among the many peculiar excellencies of this Violin School one is remarkable, that the Elementary Instructions do not precede the practical portion of the work as in other Schools, but are combined therewith; by this union the pupil is enabled to take the Violin in hand at the first lesson; in fact, he should and must then commence with it. The author's knowledge, as observable in his Preface, is no small addition to the truly practical distinctions of this School; his style is simple, clear, noble, and elegant, alike attractive and useful as a standard to the pupil as to the master.

Czerny's Exercises in Velocity. (30 Etudes de la Velocite.) preceded by Nine New Introductory Exercises, and concluded by a New Study on Octaves, (composed expressly for this edition,) for the Piano Forte. From the Nineteenth London Edition, with Notes. By J. A. HAMILTON. In three Numbers. Price of each, 50 cents. Complete in one volume, $1.25.

Calculated to develop and equalize the fingers, and to insure the utmost brilliancy and rapidity of execution.

NEW AND ENLARGED EDITION OF The Seminary Class Book of Music, designed for Seminaries, High Schools, Private Classes, etc., containing Elementary Instructions, Vocal Exercises, Solfeggios, and a copious selection of Secular and Sacred Songs, Duets and Trios. By E. L. WHITE and T. BISSELL.

The above work has been before the public only one year, yet it has become a universal favorite, and is used in all parts of the Union. During the past year every inquiry has been made in order to ascertain in what way it could be improved and made fully equal to the wants of those for whom it is intended, and from suggestions thus obtained the publisher has been induced to add to and in other ways improve it. It is now pronounced to be exactly what is wanted, and as such it is offered to the public.

The above books can be obtained in large or small quantities of the publisher, 115 Washington St., and of music dealers and booksellers generally throughout the United States and Canadas. 7 tf

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

In Line, Mezzotint, Lithograph, &c. &c.
PLAIN AND COLORED.

THE

HE particular attention of Connoiseurs 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 Pic ures, which are also engraved by the most Eminent Artists, ae for sale at Apr. 10. tf N. D. COTTON'S, 13 Tremont Row.

CHOICE MUSIC 300KS

PUBLISHED AND FOR SALE BY

OLIVER DITSON,

115 Washington Street, Boston.

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$3.00

8.00

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E. H. WADE,

197 Washington Street, Boston.

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. tf

MUSICAL WORKS RECENTLY PUBLISHED BY

MASON & LAW,

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

THE ACADEMY VOCALIST. A Collection of Vo

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

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

This work has already been adopted in the Schools of Brooklyn, New York, &c. Retail price, 18 3-4 cents. CANTICA LAUDIS: Or, THE AMERICAN BOOK OF CHURCH MUSIC. By LOWELL MASON, Professor in the Boston Academy of Music, Editor of the Boston Handel and Haydn Society's Collection, Carmina Sacra, and other of the most popular Music Books in the country; and GEORGE JAMES WEBB, Professor in the Boston Academy of Music, and Editor of many valuable Musical Works.

The increased satisfaction with which it was received, and the unprecedented success of this book, MASON AND WEBB'S LATEST WORK, as well as the warm commendations it has received from the Musical Profession generally, establish it as the best and most attractive collection of Church Music which even these celebrated authors have ever produced. It contains a greater amount, as well as variety, of truly beautiful new tunes, anthems, chants, and other pieces, than any similar work; besides a copious collection of the standard old tunes. The Elements of Vocal Music have been newly and most carefully prepared, and to adapt it more particularly to CHOIRS AND SINGING SCHOOLS, about Two Hundred Solfeggio Exercises and Progressive Lessons have been added. In addition to numerous testimonials from the press, it having been pronounced the "MOST VALUABLE BOOK OF CHURCH MUSIC EVER ISSUED," it has received from every section of the country the unqualified approbation of more than ONE HUNDRED PROFESSORS AND TEACHERS OF MUSIC. Retail price, 88 cents.

JUST PUBLISHED, MARX'S MUSICAL COMPOSITION. The Theory and Practice of Musical Composition. By ADOLPH BERNARD MARX, Doctor of Music, &c. Translated from the third German Edition, and edited by HERMANN S. SARONI.

A. B. MARX holds such high rank in Germany as a writer upon the subject of Musical Composition, that any recommendation of his great work to those who are at all acquainted

MR. ARTHURSON, HAVING taken up his residence in the neighborhoodpils

Boston, is prepared to receive a limited number of Pupils for instruction in the MODERN SCHOOL OF ITALIAN AND The ENGLISH VOCALIZATION. Terms, per quarter, $50. 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

Mrs. ROSA GARCIA De RIBAS, TEACHER OF THE PIANOFORTE, SINGING & GUITAR, 2 Seneca St., corner Harrison Avenue. R. De RIBAS will give instruction on the Oboe and

MED RIO MUSIC ARRANGED, TRANSPOSED, &c.

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NEW JUVENILE SINGING BOOK. THE PESTALOZZIAN SCHOOL SONG BOOK, containing a Complete Elementary Course, (in which a large number of Popular Airs and Tunes, arranged to be sung by note, are employed as progressive exercises,) a large 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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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 2.50 others. Those who love the old tunes, and who deem it a 1.00 desirable object that as many as possible should unite in the singing, especially at social meetings, will find this exactly the book wanted.

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their friends and the public.

The junior partner having devoted several years exclusively to this branch of the profession, we feel warranted in assuring satisfaction to those who wish for SUPERIOR WORK. Boston, May 1, 1852. 5 3m

J. BUTTERFIELD,

JOB PRINTER,

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Journal

VOL. I.

of Music,

A Paper of Art and Literature.

BOSTON, SATURDAY, JUNE 26, 1852.

Dwight's Journal of Music,

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.

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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.

A Pilgrimage to Vienna and the Tomb of Beethoven.

I had been told repeatedly that Vienna was changed; that, since the events of 1848-9, much of that careless gaiety and living for the present moment, which formerly characterized the Viennese, had disappeared; and that, as they had acquired an appearance at least of greater earnestness and solidity of character, just in the same ratio had the great Austrian Vanity Fair lost its charm for the pleasure-seeking traveler. I presume that there was truth in this. Certainly I did not find the picture, which I had unconsciously formed from reading travels and guidebooks, fully realized-much of that Oriental grandeur, and indeed quaintness of effect, arising from the mingling together of crowds from the East in all the picturesqueness of their peculiar national costumes, which I expected, was wanting; and save here and there in the Greek and Jewish coffee-houses, I saw few individuals to remind me by their flowing robes and turbans that I was not in a city of northern Germany.

However, it mattered little to me - I was not there merely to seek pleasure-I had an object before me, which occupied much of the twelve days I spent there, and in my walks and leisure moments I kept ever in view the search for memorials of BEETHOVEN. One place particularly interesting to me was the music-store, once kept by Toby Haslinger, whom Beethoven liked so

well to joke, under the title of "the little Adjutant General." It was Toby to whom the composer gave his famous counsel, when the musicseller complained of his lack of customers."Order," wrote he on the paper handed him by Toby, "Order, instead of quintals of music paper, genuine, unwatered Ratisboner; have this favorite article of trade sent to you down the Danube; distribute it cheaply in quarts, pints and seidels; pass round salted sausage, kipfel,* radishes, butter and cheese; extend your invitation to the hungry and thirsty in letters half an ell long on your sign-MUSICAL BEERHOUSE!' - and you will have, every hour in the day, such crowds of guests, that one will pass the latch to the next, and your shop never be empty."

The taverns, which he used to frequent to dine, drink a glass of beer or wine, read the newspapers, &c., were easily found: the " Bugle Horn," and the "Sun" (I think) in the court near St. Stephen's, called the "Brand," and others; the two theatres, where his Fidelio, great Mass, and other pieces were first performed, and the Pasquillatischer House, where he lived so much at intervals.

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By the true artists and friends of Music in Vienna the memory of Beethoven is cherished as a sacred thing, though a stranger has more opportunities of hearing his great works in Berlin, and many memorials of him are preserved with jealous care. Among the enthusiastic admirers of the great composer, Herr Aloys Fuchs stands in the front rank, and to him I was indebted for several hours of high enjoyment. Mr. Fuchs is known throughout Germany as a most industrious and indefatigable collector of the portraits and autographs of musicians; Bach, Handel, Mozart, Beethoven, all whose pictures and “handschrift' are worth having, are represented in his collection. As he turned over the collection of Beethoven portraits, arranged in chronological order, he came to the fine copperplate of Latrone, published in 1814; as he opened to this he exclaimed with strong emphasis, "So habe ich ihn kennen gelernt!" "Such was he when I first saw him!" This was in 1816. Fuchs, then quite a young man, had, in some manner obtained so much of the good will of Beethoven, that he ventured, soon after, (May 3d, 1817,) to call on him with a request for his autograph. It so happened that on the morning of that day, Krumpholz, the vio

* A sort of dry, wheaten cakes.

NO. 12.

linist of whom years before the great master had taken lessons, while walking on the glacis was smitten with apoplexy, and died immediately. Beethoven took the album, wrote a short Trio for men's voices, to words from Schiller's "William Tell,"

"Rasch tritt der Tod den Menschen an" &c., and added at the end: "Zur Erinnerung an den schnellen und unverhofften Tod unseres Krumpholz." (In remembrance of the sudden and unexpected death of our Krumpholz.) This interesting autograph is of course still in Mr. Fuchs' possession.

This gentleman is also librarian to the great "Society of the Friends of Music, in the Austrian Capital," the same society to which Archduke Rudolph, the patron of Beethoven, bequeathed his immense and invaluable musical library. Through his kindness, I spent a couple of hours glancing at the treasures, preserved in the rooms of the Society. Besides the splendid collection of musical publications, there is quite a musical museum of instruments of all sorts. In one glass case are preserved the various stringed instruments, which once belonged to Esterhazy, the patron of Haydn, and some which belonged to Haydn himself. Among them several "barytons," the instrument for which Haydn wrote 163 compositions, it being the favorite instrument of

the Prince. This was in form a small violoncello with two set of strings, one above, and one under the bridge. Here also was to be seen the Viol d'Amour, mentioned in Shakspeare. 'Twas truly a feast for the eyes to look at the immense collection of music and musical works here preserved of all kinds and qualities, old and new, rare and common-splendid autographs-among them that noble MS. copy of the great Second Mass, which was presented by Beethoven to the Archduke Rudolph. Among the various medals and similar curiosities, which have come into possession of the Society, I saw with deep emotion that heavy golden medal, which Louis XVIII. sent the Composer upon the receipt of a copy of the Great Mass. This medal was sold at auction after Beethoven's death, for its value as old gold! The purchaser had the magnanimity to present it to the Society, which now preserves it. It will never again be sold for old gold!

With another gentleman, I walked out one day, some three miles east of the city to the palace of

Schönbrunn-not to see the favorite residence of Maria Theresa, not to see the palace which Napoleon occupied when at Vienna, and in which his son died so early,- not to see the beautiful gardens and pleasure grounds, which extend to the top of the ridge, where the Gloriett, a temple of Fame, built by the Empress Maria Theresa, affords such a splendid view of Vienna and the mountains in the distance; - but to find the spot where, half a century ago, a young man afflicted with disease and incurable deafness, loved to come from the village of Hetzendorf at the foot of the ridge on the other side, and sitting in the thickest of the wood, which crowns the height, gave utterance in immortal tones, to the mighty emotions which oppressed his great heart. Here he, Beethoven, wrote that remarkable Will, that record of gloom and despair, which long afterwards was made known to the world, when its author was no longer struggling with fate. Here afterwards when he had become somewhat reconciled to his calamity, he used to sit in a natural seat, formed by the triple stem of an oak, and work upon his immortal Fidelio. It was a delightful day (May 18, last year) and Schönbrunn was in all the beauty of the opening spring. But trees and shrubs and flowers, and fountains, cool allies and shady walks, all these had little of interest compared with an oak, which we found "in that part of the park to the left of the Gloriett," two stems of which "shot out from the main trunk at the height of about two feet from the ground." We found many double trees, which formed good seats, but this one alone answered the description, which Schindler gives of that which he and Beethoven found in 1823, and on which the composer assured him he used to sit while engaged in the composition of his "Christ on the Mount of Olives," and his Opera.

When one passes through the Schotten Thor (Scottish Gate) on the west side of the city proper, the glacis spreads out between him and the Waehring suburb at least quarter of a mile in width. Directly opposite, the Waehringer Gasse, or rather avenue, leads through the suburb to the village of Waehring some two miles distant. As you cross the glacis, on the left of this avenue, overlooking the pleasant open space with its walks and trees, and the city beyond, stands a huge block of buildings. First is a gun manufactory, then comes a range of building, seventeen windows in length, occupied as a beer house and shops below, and let in suits of apartments above; and at the other extremity is an edifice, evidently once a church, but now some sort of a military office. The central part of this block is known as the Schwartzpanier house; and here in the third story, on the evening of March 26, 1827, in the midst of a tempest of hail and rain, and thunder and lightning, Beethoven breathed his last! Plenty of air and sunlight were necessaries of existence to him, and here for some time previous to his death, when not in the country, he had lived. In front of this house collected that vast multitude on the day of his funeral, when the pressure became so great that companies of soldiers were at length ordered out, to stand sentinels and keep open a passage for the funeral procession. An anecdote which I got on good authority, shows how universally the great deceased was known.

A stranger who happened to pass, turned to an

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There is nothing picturesque or peculiar in the Schwartzpanier house; and yet how much more interesting than the noblest of the palaces, which rise proudly from the city opposite!

One pleasant morning, with an autograph or two, and a rare print of Beethoven after his death in my hand, which I just succeeded in obtaining, I stepped into an omnibus for Waehring. Just before starting, three gentlemen entered. We had not ridden far when I touched my hat to one of them, and said, "Excuse me, sir, perhaps you can tell me if I am right; I wish to visit Beethoven's grave?" He seemed pleased, and with true German kindness said he would see that the driver left me at the right place.

This led us into conversation, and as my speech, like the apostle Peter's, soon bewrayed me, I had to tell them that I was from America, from America, that distant, barbarous land where there is neither science nor art-in the opinion of so large a portion of the German people. The idea of one from America being there bound on a pilgrimage to the grave of Beethoven, interested them exceedingly. They examined my autographs, and a little lock of gray hair, which an admirer of Beethoven had given me; congratulated me upon their acquisition, and expressed their regret that such things should be allowed to leave Vienna. One of the gentlemen, a middleaged, fine looking man, himself a composer, and who had known Beethoven well, assured me that my memorials of the composer were genuine an assurance however which I did not need. This gentleman was the brother of FRANZ SCHUBERT! Our acquaintance was soon cut short, to my sorrow, by our arrival at the cemetery - the Wachringer Friedhof."

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Ring at the door of the keeper's house, said Mr. Schubert, and when it is opened pass directly through, and up the walk, and in the upper part of the enclosure you will find the monument against the wall, and just beyond that of Franz Schubert.

The Waehringer Friedhof, which may contain some four or five acres, lies upon the gentle slope of a ridge which rises a mile perhaps from the outer barrier of Vienna. It is on the slope from the city, so that one sees nothing but the tall spire of St. Stephens to recall to mind the hurry and bustle of the capital. The grounds are laid out in uniform and monotonous lines, but beautified by many a lonely monument, by a profusion of young trees, and innumerable flowers.

The keeper's lodge is at a corner of the cemetery, and the path which leads to the monuments I sought is the outer one on the left side of the enclosure, on entering. Advancing, perhaps two thirds up this path, a monument on the right caught my eye, inscribed with the name of Ritter von Seyfried, the friend and biographer of him whom I sought, and just beyond, on the left, almost hidden by the foliage of a small willow was the single word in gilded letters, sunk into the granite block, BEETHOVEN.

The monument, about eleven feet in height, is placed against the wall of the enclosure, and is

supported by a few courses of brick built up from the top of the wall. Nothing can be more simple. A pedestal inscribed with the name merely, from which rises a modest obelisk, adorned with a harp, surmounted by a blazing sun, and, near the top, with the serpent emblem of eternity, enclosing a butterfly. In front of this monument lies a large granite slab and beneath this repose the remains of Ludwig van Beethoven. Neither on this nor on a subsequent visit did I discover those Latin inscriptions given in Moscheles' translation of Schindler; certainly that single word the name —is all that is wanting upon the monument of Beethoven.

Just beyond lies Franz Schubert — he of whom Beethoven as he lay upon his death bed and examined some of his works, exclaimed with deep emotion: "Truly, Schubert is animated by a spark of heavenly fire!" But how soon was that fire quenched after the great luminary had departed! Beethoven died March 26, 1827, and he who possessed so much of his genius followed on the 19th of November, the next year.

Schubert's monument is ornamented with his bust in bronze, and the following inscription: Die Tonkunst begrab hier einen reichen Besitz Aber noch viel schönere Hoffnungen. FRANZ SCHUBERT liegt hier. Geboren am XXX Jaenner MDCCXCVII, Gestorben am XIX Nov. MDCCCXXVIII XXXI Jahre alt.

[The Art of Music buried here a rich possession, but yet far fairer hopes. FRANZ SCHUBERT lies here. Born on the 30th January 1797, Died on the 19th Nov. 1828, thirty-one years old.]

I have seldom been more affected by tender and sorrowful emotions than during my two visits to the grave of Beethoven. Some person had been there and laid upon it a wreath of "immortels," how fitting a tribute! There it lay undisturbed, and I felt almost as if guilty of sacrilege, when, after plucking of the clover and other leaves, which grew around the slab, I ventured to add a loose sprig or two from the wreath of "immortels."

The Quartet.

A. W. T.

The following fable is given in "Lectures on Russian Literature," by Dr.. Boltz, published in Berlin, last year.

A waggish Ape, an Ass, a Ram and a bandylegged Bear, once were smitten with the idea of performing a quartet. They procured therefore a violoncello, a viola, and a pair of violins, and took their stations beneath a linden on the meadow to enchant the world with a specimen of their artistic abilities. Now they raise their bows and scrape away- but their music will not harmonize.

Stop, brothers, stop, screamed the Ape, wait a bit! How can our music be in harmony? You don't sit right. Bear, place yourself with your viola opposite the violoncello, and I will play the first here opposite the second violin; now you shall see how it will go; mountain and forest will then begin to dance.

They placed themselves thus, and the quartet began anew; still, not a bit the better.

Halt, halt! cried the Ass, I have the trick of it; we shall certainly harmonize if we only sit in

a row.

The Ass's counsel was followed; they seated themselves in a perfectly straight line—and lo, And now they the quartet was as bad as ever. began to argue and to quarrel more briskly than ever, as to how they ought to sit.

It so happened that in the midst of the noise and confusion a Nightingale came flying by.

They all appealed to him at once to satisfy them on this point.

Pray, be so kind, and stop awhile with us, said they, and bring our quartet into order; here are the notes, and the instruments; just tell us how we should sit.

To be a musician, answered the nightingale, one needs more knowledge and better ears than you have. You, my good friends, sit as you may, will never answer for musicians.

Something to cast Bertini in the Shade. The great "Pianoforte School," of CARL CZERNY, the teacher chosen by Beethoven for his nephew - which was in course of publication last summer, must we think now be near its completion. We wonder what house would publish such a work in this country, and how many pupils would undertake to go through it!

It was to consist of ten parts or volumes, as follows:

I. Eighty Easy Progressive Pieces, with daily practice of the Scales in all the 24 keys. (Opus 817.)

II. Ninety New Exercises for daily practice in fingering in all available forms. (Op. 820) to be constantly practiced until the fourth year of study. III. "The Beginning"- Twenty-five Easy Melodious Exercises for Little Hands. (Op. 748.)

IV. Fifty Exercises in Modulation, in all keys, for four hands. (Op. 751.)

V. "Progress," in Twenty-five Instructive, Progressive Exercises. (Op. 749.)

VI.

Do. Do. (Op. 753.)

VII. Dexterity of Fingering. Fifty Studies to improve the flexibility of the fingers and hands. (Op. 818.) VIII. Melody. Twenty-eight Studies in Melodic-Harmonic style (Op. 819.)

IX. The Finishing Course (Der Vervollkommnung.) Twenty-five Characteristic Studies. (Op. 755.) X. Style. Twenty-five Chamber Studies. (Op. 756.)

Music in the past Half Century.

An Address delivered before the Harvard Musical Associa tion, at Cochituate Hall, Boston, Dec. 22, 1851.

--

BY SAMUEL JENNISON, JR.

[Continued from page 83.]

It would be curious, in the next place, did time permit, to observe how in the course of a few centuries many of the characters denoting the duration of the note have become obsolete, others indicating greater rapidity of execution taking their place.

The semibreve, the half short, once with a single exception the shortest note, has long been practically the starting point in our measure of time : while the minim, minimum, originally the least in duration, has been completely outstripped by crotchet, quaver, semi and demisemiquaver, whose minor subdivisions, like numerals ascending beyond millions, have become difficult of appreciation or name. These designations have, under the simplifying and reformatory processes which mark the age, already become in some degree, and may eventually be wholly superseded by the names of half note, quarter note, eighth, sixteenth, and so on, as in a similar manner you now find the figures 2-2, 4-4, &c., often substituted for the character formerly in use to mark the common time.

Changes like these would seem to indicate a constantly increasing rapidity of execution from century to century. Of the tendency to take too quickly the tempo of the more rapid movements, (to which in the excitement of the moment performers are often prone to do even more than justice) as well as of the solemn Adagio, or stately Andante, you are aware what complaint has been

made within our day. HAYDN gave expression to his vexation; and fearful indeed must have been the indignation of the impatient BEETHOVEN to have heard his Andante converted into Allegretto, Allegretto into Allegro, and Allegro into Presto. MAELZEL'S Metronome, an invention of this period, has in a great measure obviated this evil. In this connection it is worthy of notice that the ancient sober Minuet of the Symphony and Sonata has been in many instances, and particularly by BEETHOVEN, converted into the sprightly Scherzo: while the comparatively moderate measure of the Landler or Rustic Waltz, which is exemplified in such airs as "Buy a Broom," has within the last fifty years been superseded by the exciting, champagne-like sparkle of the brilliant sets of STRAUSS, LANNER and LABITZKY. The modern Waltz, at first called the Vienna Waltz, from its origin in that gay and fashionable metropolis, partakes, as has been suggested, of the intoxication and glitter of the ball room, as clearly as the Landler does of the simplicity of rural, outdoor amusement.

In one of the volumes of the Quarterly Musical Review since 1825, mention is made of an apparent elevation of the standard of pitch, which, if not confined to England, might be supposed to have its influence in helping on the reign of brilliancy. Bartleman, the celebrated bass singer, would take ‘Non piu andrai' in E instead of D, where it is written. Madame Mara is said to have been seriously offended with a Don Giovanni who would not sing' La ci darem' with her upon B flat instead of A; and Mrs. Billington is related to have thrown a whole orchestra into convulsions when once, in the performance of the Messiah, she insisted upon taking Rejoice greatly' in C, a whole tone above its proper key of B flat. Were such transpositions of frequent occurrence, the gradual elevation of pitch would not be an improbable result. The correspondent of the Review, complaining of this evil, expresses the apprehension that his "bread and reputation" may be affected by it; and a clarinet player, then lately from the Continent, found he could not use his instrument at a concert in London, the standard of pitch being half a tone higher than in the country he had left.

You may have observed that in the course of some remarks upon the progress of music among us within the last fifty years, made the last summer by a gentleman of this city distinguished for his labors in the cause of Church Music, it was stated that at the commencement of the century the Alto of the female voice was unknown here: the part, when made use of, being sustained by men. Old singing books will accordingly show you the alto written in Counter Tenor upon the high notes of the staff, an octave above where it now stands for the female voice. To that remark it be added that the contralto part, of which the first effective employment was made by ROSSINI in Duetts for two female voices, within this period, is said to have been brought into favor by GRASSINI, the celebrated friend of the more celebrated GRISI, and by whom the latter was encouraged to follow the path which led to her fame.

may

The tremulous style of singing so observable in some of the popular favorites of the day, I judge to be of modern origin. Effective as this is in producing the rich, cantabile expression of the violin, its too frequent abuse by vocalists would lead us to cherish the firm, un-Italianized,

sustained tone which comes from the throat of a LIND.

As an instance of the new "turns of melody," characterizing music since RosSINI's day, may be mentioned the modulation, usually at the conclusion of the first half of an aria, into the minor of the third above the original key note; instead of into the simple dominant, as in former days; thus, suppose an air upon B flat, we now more frequently expect the modulation into the key of D minor, than into that of F; take for a familiar example the fourth line of "Involami," or of "Tu chi a Dio" in the Finale of "Lucia Di Lammermoor."

Among other events worthy of mention are the Musical Festivals, which, having their origin just beyond the dividing line between the last and present century, have within the past fifty years spread over the world. In 1784, England witnessed the successful achievement of the first great project of assembling a vast number of performers in Westminster Abbey, in commemoration of her revered HANDEL. The example of England was early followed, first by Switzerland, next by Germany in 1804, and again, after an interval of six years, on a larger scale, in 1810. The wars of Napoleon put an end to them on the Continent until the year 1816: at which time in Hamburg the custom was revived, rapidly becoming general throughout Germany, where the Festivals were held often under the auspices of the celebrated Academies, as the St. Thomas School, the Seminary of BACH. One of these great gatherings was held at the Hague in 1834, in 1836 at Amsterdam. The first in Italy took place at Bergamo in 1835; in France at Strasburg in 1836; in Russia in the same year at Riga. Those of England have been perhaps most conspicuous, where the cities of York, Birmingham, Manchester, Worcester, &c., have frequently witnessed immense concourses of the lovers of thousand-voiced harmony. The Germans of New York, Philadelphia and Baltimore do not suffer to die in this country and in our day the recollection of the reunions of the "Liederkränze," "Liederbunde," and other "Musikalische Gesellschafte" of the Fatherland.

Nor ought we to overlook, among the novelties of our time, those small troupes which, under the appellation of "Ethiopian Serenaders,” “Negro Melodists," "Sable Minstrels," "Eolian Vocalists," and the like, have become from their endless number, and the peculiarity of their song and designation, a national characteristic of the United States of America; a class whose widespread influence, it cannot but be feared, has been detrimental to the purity and dignity of the Art; nor those other and similar bands which under the designation of "brothers" and "families," by their simple and oftentimes (from the natural affinity of voice existing between father and son, sister and brother,) peculiarly blending strains, have left pleasing recollections in ten thousand of the less tutored ears at home and abroad. The Hermanns, and after them, at a considerable interval, the Rayners, whose arrival here is within the recollection of all, were, if I mistake not, the pioneers in this country of this species of singing.

It has been often remarked that no female composer of acknowledged eminence has ever yet appeared. The year 1851 still records the lack. Without intending any disparagement of a sex which has given so frequent evidence of the

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