« VorigeDoorgaan »
Pergolese's Stabat Mater, (G. P. Reed & Co.)..
Night's Dream ;" 2. Elegie, by Ernst; 3. Eight Melo-
Haydn, Joseph, Facsimile of his visiting card,..... 132 Onslow, George, Sketch of,..... T. R. ii, 179, 196
.ii. 172 abroad, ii. 199; before Mozart, from Oulibicheff, i.
... 193 121, 130, 138, 145.
Opera House, a few words on, Advertiser, i. 38. In
Boston, 77, 182.
Raimondi, ii. 3-letter on the practice of, from A.
... ii. 19
Organ, at Williams Hall, i. 62—at Cleveland, O., 127–
the Enharmonic, 84, 100.
Organists versus Choristers,..............D. R. S. i. 51
.I. M. I. i. 19, 44
Organophonic Band,.... ... London paper, ii. 27
Ornament in Singing, Anecdote of Rossini,......ji, 188
Our Legislative List,...
Paris, new pianists in, i. 46-theatrical statistics of, n. 3
Paris, Music in, Corr. of Lond. Mus. World, ii. 140.
(See Correspondence and Musical Intelligence.)
Paganini's Heir, Anecdote of .......
Philharmonic Society in New York,
P. ii. 2
...C. P. C. i. 1
Tennyson, i. 18
The Palm Tree of Capri,.. ....C. P. C. i. 26
Hogarth, ii. 155
The Lotus Flower, from the German of Heine,
J. S. D. i. 36
Triumphant Music,... ...R. H. Stoddard, i. 51
The Orcheslra. From the German....
.C. P. C. i. 69
Tennyson's Princess, i. 74
Leopold de Meyer,...
.......C. C. i. 83
.... London Leader, 84
.... 132, 164
The Nightingale's Song,.... .8. T. Coleridge, 99
Old Man's Song, from the German of Rückert,
J. S. D. 107
.....A. W. T. i. 190
his Symphony, ii. 6; his Mass in G, 100; (See“ From
Song of the Night, from Goethe,.........J. S. D. 108
Vineta, from the German, two versions,... .115
C. P. Cranch, 124
Robert Herrick, 132
Song of Caroline Von Ganderode. From the German,
J. S. D. 132
Thomas Hood, 140
.0. G. Flughan, 147
0. W. W. 148
The Bob-o link,
"O heart! long dorinant,” &C..... Christ. Inquirer, 155
The Growth of Good... Dicken's Household Words, 164
Hymn to the Sun,....
H. W. Herbert, 165
R. II. Stoddard, 179
..J. G. Whittier, 137
W. W. M. 202
To Midsummer Day,...... Walter Savage Landor, 204
Translation of the “ Dies Iræ,''.... Dr. A. Coles, ii. 4
The Four Crazy Brothers. From the German,
C. T. B. 12
143, 151, 158, 167, 175, 183, 191, 199, 207 ; ii. 7, 39, 119, Minstrel's Song. From the German of Geibel,..... 59
.J. G. Whittier, 68
A November Sketch,..
...........C. P. C. 73
.C.P. C. 82
The Beautiful,............. Manchester Guardian, 84
Stanzas from the German,..
Schiller's Hymn to Joy,.
..J. S. D. 138
A Lament at parting with my Violin,.......J. A. 155
The Last Poet, from the German, N. L. Frothingham, 187
Old English Verses, 196
......., 180 Prime Donne, About some of the,......A. W. T. i. 193
.E. i. 202
....... 158; ii. 39 Requiem, Latin Words of the... ... ... Nat. Intell. ii. 3
i. 37 Beethoven's Sonatas, Ditson's edition,. .i. 8, 44, 93
82, 83, 84, 92, 99, 108, 115; his Album für Jugend,
133; Schumann and Wagner, by H. F. Chorley, ii. 121.
137; in America, i. 142; ii. 37, 38, 46, 54; copied no-
hus" Faust," (ibid), i. 143.
.. ii. 115
(From the French), ii. 66.
.i. 15. 22
173; Translations from, ii. 137, 185, 193, 200: Letter
A Paper of Art and Literature.
BOSTON, SATURDAY, APRIL 10, 1852.
BOSTON, APRIL 10, 1852.
PROSPECTUS. Dwight's Journal of Music , PUBLISHED EVERY SATURDAY,
21 SCHOOL STREET, BOSTON. TERMS.- Two Dollars per annum, or One Dollar for six months, always in advance.
BY C. P. CRANCH.
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 BENEDICT, who has been of late in Naples, At the OFFICE OF PUBLICATION, 21 School St.
preparing for the press a book of travels in By REDDING & Co., 8 State St.
America, of which he has contributed some chap" GEO. P. REED & CO., 13 Tremont Row. " SCHARFENBERG & LUIS, 483 Broadway, N. Y.
ters to La France Musicale, ascribes the secret of “ DEXTER & BROTHERS, New York.
her triumphs to the fact “that the great singer “ E L. WALKER, Philadelphia.
makes a conscience of her Art.” We translate " JOSEPH SHILLINGTON, Washington, D. C.
“ The child, brought up and fashioned in the
school of adversity, and finding in music all the Persons willing to become Agents for procuring consolations which a cruel destiny had refused to subscribers, especially Music-Dealers and Teach her; the young girl, who, thanks to the care of ers, are invited to correspond with the Editor, as her excellent masters and friends, Berg and Lindabove. Satisfactory references required, and lib blad, learned in good season to identify herself eral commissions allowed.
with the masterpieces of the great composers ; and finally JENNY LIND, at the apogee of her
glory, shunning the world and society, and knowFor Dwight's Journal of Music.
ing, loving, dreaming nothing but her Art, bad cerSONNET TO MY PIANO. tainly some powerful elements of success.
“ It would not be easy, in our time, to meet
any cantatrice whomsoever, who could play and Surely there is a soul within these strings,
sing to you from memory, from the first note to So deeply thrills my own, when 'mid thy chords,
the last, the Armida of Gluck, the Chateau de Moving with eager hands, my whole frame rings With inner music, far transcending words.
Montenero of Dalayrac, the Vestale of Spontini, As after absence long I open thee,
the Deux Journees of Cherubini, the operas of Dear friend, and late here linger at thy side, Mozart, Weber and Meyerbeer, the oratorios of To conjure up thy hidden harmony,
Handel and Haydn, all the melodies of MendelsA boundless joy runs through me, as a tide
sohn, of Franz Schubert, of Schumann, the MaFilling the sandy channels and low shores
zurkas and Etudes of Chopin, without counting a Left by the ebb of feelings that depart,
very extensive dramatic repertoire, comprising And the dull slime of tame monotonous hours. Thy dear delicious voice, Harp of my heart,
the scores of Rossini, Donizetti, Bellini, Verdi. Hath won me back to thoughts of noble height,
" It would perhaps be yet more difficult to And wrapped me in a reverie of delight.
name an artiste, who could appreciate and com
prehend these great schools, become penetrated Jenny Lind's Devotion to her Art. with their genius, preserve their local colors, and
appropriate to herself their styles. It would be The prime donne of the opera are seldom great almost impossible to find a musicienne, who could musicians. Many of them have been well trained at sight decipher the most difficult pieces, retain in the use of the vocal organs, and in the style melodies of an irregular and unusual rhythm, and and spirit of their peculiar line of singing; they repeat them, after several days, as if she had know their oft-repeated rôles by heart and what created them herself. Malle. Lind unites these life to infuse into them; but to most of the im precious qualities. But this is not all. The mortal creations of musical genius they are utter grand thing, I repeat it, is that she makes a constrangers. They have had no deep, broad musical science of her art; that in the smallest city of culture. The Swedish songstress, however, is an Germany or of America, she will put the same exception. No one knew the full measure of her zeal, the same verve into the execution of the power, and wherein she was greater than all airs she may have selected, or the roles she may others, until he knew her wide range of studies have undertaken, that she would if she were and her many-sided intimacy with all the styles making her debut in the Salle Ventadour, in her and masters of her Art. She is a musician as Majesty's Theatre, or in Tripler Hall; that she well as a singer; with her whole soul she has never concerns herself about what is said by studied Music, in all its noblest illustrations, as critics, friends, enemies, or the public in general, well as the mere art of giving effect to a certain but thinks of her art, and of her art only. of operatic parts.
“ Detached from what surrounds her, aban
well. But his performance is to me like man I am gossiping beyond al limits. But, although
doning herself entirely to her inspiration, she sive play. As if the music expressed only the In La Gazza Ladra, Steffanone, in her whole impresses on the music that she sings, a stamp of sad undertone of life, it flows seriously on, while movement and method, constantly reminded me originality, that is irresistible. With an inexo all the bubbles of evanescent gayety in the plot, of Alboni. They have both a fair embonpoint rable rigor towards herself, she punishes the break andg leam along its surface. Thus where both the same easy, loitering movement upon the slightest imperfection, which she thinks she has Leporello is discovered, what is more pathetic stage the same careless indifference—the same discovered in her execution, by a redoubled, than the musical movement ? or where before exquisite ease in singing, as if the voice were tripled labor. But then, when by sufficient trials was a minuet made a love-tale teeming with perpetually melodising in the lungs, like streams she has enriched her repertoire with a new piece ; passion ?
gurgling beyond hearing, which upon opening the when in the plenitude of her means she gives They sang also Maria di Rohan at Niblo's. coral gates, will leap and gush in an uncontrolled free
scope to the resources of her genius so rich In this, Bosio was good, because there were no current. and various, who can remain cold and insensible ? foregone conclusions about the character, as there One evening Steffanone had a little grudge The sacred flame communicates itself to her au are in Lucrezia and Lucia. The heroine is an against her old friend Marini, and seriously imdience, a thrill runs through the seats, a profound injured and passionate Italian woman, and that paired the effect of the delicious trio. It was emotion is engraved upon all countenances, and Bosio could represent. But the imperial Lucrezia amusing to watch her, so like a great pouting girl, when at last the solemn silence is replaced by or the lyrical Lucia are too distinctively attired who knew she could spoil the scene, and would universal acclamations, when we try to account in imagination to admit any other than a certain do it -- and did do it; but sang the rest of the for the impression we have experienced, and ask style of figure. It is a great defect of the Italian all the better for it. why we have been seized with admiration and opera, that it persists in selecting historical images, Salvi is past his prime. I do not mean vocally, astonishment, the answer is: That we have heard which are already pronounced in the world of alone, for I doubt if he ever had much more voice an artist, who MAKES A CONSCIENCE OF HER fact, and cannot be recreated, except absurdly as
than he has had for the last three years, during ART!”
in Verdi's Macbetto, in the realm of music. When which he has been heard in New York. But his Charles Lamb said that the scene of Wycherly's physique is unequal to the parts he has underand Congreve's dramas lies beyond the pale of taken. The one drawback to his singing, is the conscience, he made one of his most delicate sense of effort. The quality of voice is sweet criticisms. In the same way it is, that the world and sympathetic, and the cultivation quite unsur
of opera lies beyond that of fact. If you regard passed; but you perceive the manner too clearly. (From our New York Correspondent.]. an opera as a scene of actual life set to music, it I
say that Salvi could hardly have ever had more Music in New York. is unmitigatedly ludicrous.
voice than now, for with such quality and cultivaThe music of Maria di Rohan is poor enough.
tion he must needs have taken higher rank among The golden gates of the opera are closed – It is surprising that artists can hold it in their distinguished tenors. But he secures to the lisgolden, that is, to all but the manager. The memories, there seems such want of melody or tener the same pleasure in hearing that Steffanone experiment of a democratic opera has been tried, method. I by no means share the enthusiasm for does. You are sure that what is done will be and it has succeeded. At least on the demo
. sings -cratic nights — when the price was fifty cents the house was overfull. “It did not pay,” the academic picture, unimpeachably correct and I cannot steal enough of your space to say what manager said. But when did managers ever say uninteresting. As an actor, he has the gentleman should be said of the Philharmonic concerts and anything else?
liness of tranquility, but he is a mere Beneventano Eisfeldt's soirées, I must squeeze in a word of After the quarrel in the early winter the three when it comes to high passion. Roaring and Anna Thillon, who is now singing Auber's opecapital B's withdrew to Niblo's, and we had two slashing and hair tearing are effective, but they ras at Niblo's. If you go to hear moving music, and admirable operas.
SALVI, STEFFANONE and require profound discrimination. Only an artist to be touched with genius or feeling, you will be MARINI sang at the Astor Place; BADIALI, of the very highest genius can tear his hair prop sadly disappointed. Madame Thillon's beauty and Bosio and BETTINI at Niblo's. The latter erly.
singing and general impression are as cold and troupe you have heard, and have doubtless made Against all this we have had Robert le Diable unsympathetic as frost-work. It is all artificiality. your own notes upon theirs. They filled their and La Gazza Ladra as the novelties at Astor Every movement, tone, and look, is painfully house nightly, here, and among the other operas, Place, and to “interpret” them, Steffanone, Salvi, elaborated by a very commonplace standard. We they sang Don Giovanni. The orchestra was and Marini
have no feeling for the woman, no hearty sympainefficient, which is a fatal fault in an opera de
" Was willst Du mehr?'
thy with her singing, and no permanent emotion pending so much upon it, and the whole time was Steffanone is incomparably the finest lyrical from the performance. taken too fast, so that Ole Bull went one even artist we have recently had in America. She is But with all that, it is thoroughly French. It ing behind the scenes, exasperated, to protest whimsical and uncertain and indolent, and she is is an evening at the Opera Comique to hear her in against such murder of Mozart - nor was the always better than she does. There is that fine Auber's rôles. Your employment is Parisian opera well sung, except by Bosio. Her Zerlina
consciousness of reserved strength in the impres- employment. Instead of light you have sparkle, is by far the best of her rôles. Nature fits her sion she makes, which is the certificate of genius. instead of bloom you have paint, instead of grace for it. She is arch and of a winning charm in I did not see her Norma, which is so warmly you have conventional posing. But if you go to action. She has a sparkling beauty, with ex described by those who did. But as Alice, in
hear Madame Thillon, you must not go as to treme feminineness of voice and manner, and Robert, she was most successful. She was all the Grisi or to Bosio or Steffanone. It is a ball at she has the ladylikeness that lurks in the gay simple country girl, safe and strong in her sim the Chateau rouge. Colored lamps — pretty woSpanish peasant and attracted the Don.
plicity, and in the very last scene, when she defies spangled dresses ---a musical whirl — that Badiali, as Don Giovanni, was wooden and Bertram and waves him back, she struck a higher is all. Quarrel with it, if you please. I enjoy it. cumbrous, and indulged in unpardonable liberties note of the genuine lyrical drama than I have No- I will not undertake the Philharmonic, with the music. To bring down the house — for ever seen in America, and which is rarely sur at this point of my paper. Be assured that the one can hardly suppose ignorance of the score — passed in Europe. Whenever Steffanone played, concerts of this Society are the first in America, he concluded both La ci darem and the Serenade we were sure of our evening. Perhaps she would and that they are securely based now upon with the most commonplace Italian phrases — nor be out of humor, uninterested, not great in per
the appreciation of those who intelligently enjoyhad he the slightest trace of the irresistible formance, that evening; but it would not be the of those, I mean, to whom music is not a tickling gentleman, which imagination demands in the result of incapacity. We should not be obliged sensation, but a genuine delight, like the happily character. Sanquirico's Leporello is broad buf to sit and listen, and while the straining artist was married thought and cadence of a great poem. foonery, sometimes pushed quite beyond patience. displaying every possible resource of skill and Eisfeldt's soirées are of the same character, and
But with every defect it was still pleasant to force, be excusing her to ourselves, and saying attract a similar audience. In the security of the hear. Music so sweet and rare enchants the eye deprecatingly: "She is doing as well as she can;" best music so perfectly performed, and the ear. The puppets move upon the stage, that is a kind of doing, which exhausts the listener
Calm as a Summer's morning, we but the fair and stately figures of the music through his sympathy, almost as much as it does
Can all the Madame Thillons see, throng imagination with their magical and penthe singer.
nor fear that the meretricious French fascination
(which is yet, however, fascination) will destroy either our opportunities or our satisfactions in the noblest music.
The Boston Music Hall. ✓
Dear Mr. Editor :
whole orchestra is 30 feet deep and 63 long, and is so connected with the lower balcony that a portion of the latter might, if required, be easily connected with it and occupied by choral singers. The walls of the Hall have a series of piers which support the balconies, and which are formed, above the upper one, into Corinthian pilasters supporting the cornice of the wall and coving of the ceiling. This coving is circular and is groined; semi-circular lights are placed in the walls under the groins, and ventilators in the ceilings of the
The Hall will be lighted at night by a series of gas-jets along the top of the cornice, which, being placed under the ventilators, will perform the ventilation as well as the illumination of the Hall. Corridors are carried, on the level of the floors and balconies, all around the building, communicating with the Hall by doors in the side walls at intervals of not more than 15 feet. It is estimated that nearly 3,000 persons can be comfortably accommodated in this Hall of whom will be so placed that they cannot both hear and see the orchestra, or easily leave the Ilall by some adjacent door leading into the corridors.
The drawings for the contractors are now finished and the estimates going on. In a few weeks the architect will also have completed a set of drawings, showing the design of the interior as it will appear when finished.
We will give notice in this Journal where these drawings may be seen by the public.
The Drama.-Mrs. Mowatt.
As a large number of those, who will have the first look at the first issue of your new journal, are interested as stockholders or patrons of art, or both, in the new Music Hall now in process of erection, I make no hesitation in offering you a short history of the enterprise.
You yourself will remember the occasion on which the multiform projects and plans of a few of us, (so long entertained with hopes growing fainter) finally found expression in a distinct proposal. It was at the annual supper of our little “ Harvard Musical Association," Jan. 1851. The new child was born into a genial atmosphere, though the season was mid-winter, and was embraced with a sympathy as generous as it was unanimous. They “ of little faith” have since hinted that the ardor of the first embrace smothered the bantling - but they knew not the depth nor the cunning of the maternal instinct !
A committee was drafted on the spot to report a location — with a general plan, estimates, &c. at an early day. Their action was prompt and vigorous. Within four weeks a meeting of the Society was called to hear the Report. Six localities were presented, with full descriptions, price of land, advantages, and drawbacks, &c. &c. Four were at once rejected on various grounds; the remaining two (the Bumstead estate, and the Apthorp estate, on Tremont, in the rear of Boylston street) were briefly discussed. The former was, however, unanimously adopted, and a new committee charged with obtaining subscriptions and forming a Anssociation, with a view to incorporation. ** The baby” had now left off swaddling clothes, and was launched into a somewhat colder climate, and had she been delicate, would probably have succumbed under the successive chills she encountered. But she now exhibited a high degree of vitality and health (traceable, we think, to the circumstances attending her birth and baptism) destined soon to result in an excellent constitution. Triumphing over all obstacles, she at length found favor with the public, money came forward most liberally, and an act of incorporation was obtained; the ground-plans were decided on, the foundations were contracted for and commenced late last autumn, and are now nearly finished, and the building will go steadily and rapidly forward to completion.
The entrances will be very commodious, the Association having recently purchased from Mr. William Phillips a strip of the estate next adjoining their premises on the north-west, and giving them a superb entrance to their west corridor, at the foot of Bumstead place, of about twenty-five feet in width.
Description :— The Music Hall is to be 130 feet long, 78 wide, and 65 high. The lower floor level, and 78 feet square.
The orchestra rises from one extremity, and at the opposite, rises a wall supporting an upper floor, or end gallery. At the back of this rises another wall, supporting a second floor, and, from the ends of these, two balconies are carried along the sides of the Hall, projecting 8 feet 6 inches from the walls. The front stage of the orchestra rises 4 feet from the floor, and, from this level, continues rising rear-ward in successive platforms to the extremity of the Hall in that direction, the upper platform being on a level with the lower balcony. The
This accomplished lady, extensively known both as an actress and an authoress, has but lately concluded an engagement at the Howard AtheAlthough she
from a severe cold during most of the time, she never, in many important respects, acted better. Some of her finer tones, it is true, were clouded by hoarseness, and on a few evenings her voice was seriously affected; but generally she never exhibited greater vigor and refinement in the conception of her parts, and felicity in their representation. In the play of Ingomar, she appeared in a character wholly new,
and one demanding more than ordinary subtlety of sentiment, and she succeeded in popularizing it. Her Armand, Marianne, Juliana, Juliet, were as beautiful as ever, and improved in ease and energy of movement and gesture.
Rosalind and Ion, however, seemed to us her masterpieces. The clear, lark-like merriment of Rosalind was given with inimitable sweetness and grace; and Ion, as an ideal embodiment of moral beauty, we never saw exceeded. It was the thought of the poet taking form and movement before the eye, and it evinced a power and a refinement of imagination rarely witnessed on the stage.
We understand that Mrs. Mowatt is recovering slowly from the severe accident she lately met with, though she will probably not be able to act for some weeks.
THE DUSSELDORF GALLERY. We are happy to learn that this most interesting collection of German paintings, which for several years has been a favorite resort of all lovers of Art in New York, will in a few weeks be exhibited in Boston.
ARY SCHEFFER's “ DEAD CHRIST” is again exposed for sale at our friend Cotton's, in Tremont Row. It cost originally $4,000, and was drawn as a prize in the International Art Union by a gentleman in Providence, who had no place for it, and can well afford to offer it at the present very low price.
The Piano Forte Sonatas of BEETHOVEN, a
complete Edition. 0. Ditson, 115 Washington St., Boston.
This publication, when completed, will form the most valuable contribution, that could possibly be made, to the studies of our young pianists, as well as to the libraries of all true lovers of classical music. Beethoven's Sonatas are the noblest compositions in their kind, the noblest music ever written for the instrument. They are more than thirty in number. Masterly in style, they are at the same time monuments, each in a distinct and characteristic way, of that great tone-poet's purest inspiration. Many of them are in every cultivated home in Germany as familiar as the plays of Shakspeare here; and several, like the “Sonata Pathetique," the “Moon Light” Sonata, in C sharp minor, &c. &c. are becoming indispensable to any character for musical taste and culture even here. Mr. Ditson is supplying a correct, cheap, elegant edition of them all; and the manner in which he is enabled to do it by the lively demand for such things, tells well for the progress of a serious musical interest among us.
About half of the Sonatas are already issued.
CZERNY's Method for the Piano Forte. Pub
lished by Oliver Ditson.
There is no need of recommending CZERNY, as a writer of finger exercises and illustrations for the young student of the piano. No man has had the same amount of this kind of experience, or has produced so much in this line. And his Method enjoys an almost universal popularity. He has only been objected to as too voluminous. The present reprint contains three-fourths of the original, which is in three large volumes, and the retrenchments consist wholly in reducing his five or six illustrations of some given points to three or four. Rules and scales and passages are all along well interspersed with examples, or short and attractive pieces.
PERGOLESE's Stabat Mater. Complete, or in
Seven separate Numbers. Words, Latin and
A work world-famous, and yet little known among our cultivators of great sacred music. Without a rival in its kind, it ought to be as familiar among our choirs and amateurs, to say the least, as Rossini's brilliant composition of the same name and words. Rossini's has all the modern effects of the full choir and orchestra, and although grand and beautiful in parts, smacks always of the worldly, epicurean tone of the genius of modern Italian opera. PERGOLESE died a quarter of a century before HANDEL, at the early age of twenty-five. He had shown a genius for the buffo species, some quaint traces of which appear possibly in some of the strains of this remarkable sacred composition. But its pervading style and color are profoundly religious, beautiful and unique. Though written only for one or two voices, (partly soli, and partly, as in some easy fugue portions, for a choir of two parts,) with a mere quintette accompaniment, (here reduced to the piano,) it is full of musical ideas, whose interest seems inexhaustible. No two can practice it without getting more and more enamored with its spiritual beauty. To most of us, with our musical habits, it seems newer than the newest forms of genius of our own day. We would have given much to have heard some strains of it from the Italians, Bosio, &c., in one of their so-called sacred concerts.
The English version is an attempt, (so far as we know, for the first time,) to preserve almost literally the sense of the Latin rhymes, in English at the same time somewhat sing-able, and married to the music. But perfect success in a thing of this kind is of course impossible; for what English equivalent is there for that succession of long quantities in the first line: Sta-bat ma-ter do-lo-ro sa?
Scena and Prayer from Der Freyschutz, by C. M.
Von WEBER. pp. 11. Geo. P. Reed g Co. Every note of the Freyschutz has a mysterious charm that never quits its hold. This scena, where Agatha
Dwight's Journal of Music.
sings at her window, by moonlight, looking out over the to feeling, if not to the understanding,) has never severe, friendly voice to point out steadfastly the forest, in expectation of her lover, for whom she offers ceased to make to us. From childhood, there models of the True, the ever Beautiful, the Diup 4 prayer, then bursts into a strain of rapture at the
was an intense interest and charm to us in all vine. sound of his footsteps, yet fear still alternating with joy,
things musical; the rudest instrument and most was one of the most effective and transporting pieces in
We dare not promise to be all this; but what the concert répertoire of Jenny Lind. It is at least no
hacknied player thereof seemed invested with a we promise is, at least an honest report, week by harder than the florid Italian cavatinas, in which so
certain halo, and saving grace, as it were, from a week, of what we hear and feel and in our poor many waste their voices and their patience, and it re higher, purer and more genial atmosphere than way understand of this great world of Music, pays long study by a real soul satisfaction.
this of our cold, selfish, humdrum world. We together with what we receive through the ears This is a beautiful edition, with words German, Eng
could not sport with this, and throw it down like and feeling and understanding of others, whom lish and Italian.
common recreations. It spoke a serious language we trust; with every side-light from the other We have a great assortment of new works on hand for to us, and seemed to challenge study of its strange Arts. notice, for which we have no room now.
important meanings, like some central oracle of The tone of our criticisms will, we hope, be oldest and still newest wisdom. And this at a found impartial, independent, catholic, concilitime, when the actual world of music lay in the atory; aloof from personal cliques and feuds ; main remote from us, shooting only now and then cordial to all good things, but not too eager to
some stray vibrations over into this western hem chime in with any powerful private interest of BOSTON, APRIL 10, 1852.
isphere. We felt that Music must have some publisher, professor, concert giver, manager, &c. most intimate connection with the social destiny This paper would make itself the “ Organ” of
of Man; and that, if we but knew it, it concerns no school or class, but simply an organ of what Introductory. us all.
we have called the musical movement in this We here present, some days in advance of
A few years have passed, and now this is a country; of the growing love of deep and
general feeling Music is a feature in the earnest date, the first number of a new weekly Journal
genuine music. It will insist much on the claims of Music and the Fine Arts; which we take the
life and culture of advanced American society. of “ Classical” music, and point out its beauties
It enters into all our schemes of education. It liberty of sending, as a specimen, to some thou
and its meanings ; — not with a pedantic parhas taken the initiative, as the popular Art par sands of persons, who may be interested in the
tiality, but because the enduring needs so often to discussion of these subjects. And yet it hard
excellence, in gradually attempering this whole be held up in contrast with the ephemeral. But ly can be called a specimen; since in a sin
people to the sentiment of Art. And whoever it will also aim to recognize what good there is gle number there is barely room to indicate,
reflects upon it, must regard it as a most impor in styles more simple, popular, or modern; will still less to treat, all sides and points of our
tant saving influence in this rapid expansion of give him who is Italian in his tastes an equal design. Besides, it is a first number, a first our democratic life. Art, and especially Music, hearing with him who is German; and will attempt amid much hurry and distraction, to
is a true conservative element, in which Liberty print the articles of those opposed to the parproduce a rough sketch which may serve to give
and Order are both fully typed and made beau tialities or the opinions of the editor, provided some notion of what we hope to do more perfectly tifully perfect in each other. A free people must they be written briefly, in good temper and to as we become more at home in the outward be rhythmically educated in the whole tone and
the point. limitations and conditions of our work.
temper of their daily life; must be taught the This time, the accidents of starting have had a instinct of rhythm and harmony in all things, in
Music in Boston. order to be fit for freedom. And it is encouraglarge share in the composition and shaping of the number. Our news is necessarily not of the ing, amid so many dark and wild signs of the
The season past affords texts for a volume of newest; and then the best that we could do was
times, that this artistic sentiment is beginning to commentary, had one the time and space. It to place one musical region in the foreground ally itself with our progressive energies and make
marks a period in our musical growth. No preand foreshorten all the rest, including Germany,
our homes too beautiful for ruthless change. vious winter has been rich with one-third of its “the land of real music,” which another time
Our motive, then, for publishing a Musical amount of presentations of the highest forms of must occupy the front space and the largest.
Journal lies in the fact that Music has made such Art. Evening concerts and afternoon rehearsals Our review of our own concert season is diffused rapid progress here within the last fifteen, and
(for the word “ rehearsal” has become almost over too much ground to amount to much more even the last ten years. Boston has been without
synonymous with concert by daylight), have been than a brief, dry abstract. Our Correspondence such a paper, and Boston has its thousands of
thronged, the winter through, by eager listeners is scarcely organized. Our best articles and es young people, who go regularly to hear all good to the orchestral symphonies and overtures of says, among which we number some choice con performances of the best classic models in this Haydn, Mozart, Beethoven, Mendelssohn and tributions, have had to yield place for the present
art. Its rudiments are taught in all our schools. Gade ; to Handel's and Mendelssohn's sublime to lighter and shorter things; but they will keep.
The daughters of not the wealthy only pursue it oratorios; to choice Chamber Music; to the Our talk of other Arts, besides the Tone-Art (as
into the higher branches; and music teachers miscellaneous feasts of virtuosos coming and going; the Germans call it) is a mere intimation that we
count up well amid the other industrial categories. to our own finished cantatrice, BISCACCIANTI,
Think of fifteen hundred people, listening every mean to talk about them, and that we invite sin
who returned a second time from European cere communications thereon from the lovers and
week to orchestral rehearsals of the great sym studies, more than redeeming every promise, a connoisseurs in each of their departments.
Of phonies and overtures! Think of those August refined artist now in higher senses of the word ; Sacred Music, as such, and of that formidable “ Conventions,” when thousands from all parts of to our young debutante, who has just sailed abroad, business in our land, music-teaching, we have this
the country spend whole weeks together in les exciting hopes at least as high ; to the classic and time not a word; but will not those texts claim sons and rehearsals of great Choral and Oratorio the modern piano-forte interpretations of musical, their full share of us, as the annual Pentacost
music! Think how familiarly and how exacting mercurial ALFRED JAELL, who seems at once of psalm-book makers and Conventions comes ly we talk of the opera singers, before whom our German and Italian, of the North and of the round? Take this, then, as a sample only of early admirations have entirely vanished! Think
South, a mere child of impulse and a thoughtful the outward “ form and pressure ” of our jourof the ovations of the LIND, and our whole na
All this came ushered in most nobly, with nalism, of our good printer's clever way of mak
the austere commanding beauty, and yet sparkling ing us "presentable,” and for the rest turn to our came to us incarnated for once in so pure a living sunshiny humanity, of that last series of the Prospectus on the first page. form!
LIND concerts, in the Melodeon, where the volume Our columns overflow, and we could barely All this requires an organ, a regular bulletin of of the singer's voice and soul told as in no other save ourselves this little space for the unfolding of progress; something to represent the movement, hall; and where the singer, who is most queen the motives and the spirit of our undertaking. and at the same time help to guide it to the true with an orchestra, was queen enough without, Without being in any sense a thoroughly edu end. Very confused, crude, heterogeneous is giving us in each admirably chosen programme cated musician, either in theory or practice, we this sudden musical activity in a young, utilita specimens from all her varied and in fact universal have found ourselves, as long as we could remem rian people. A thousand specious fashions too range of song; where too the lover, since become ber, full of the appeal which this most mystical successfully dispute the place of true Art in the world-famous, then the modest young pianist, and yet most human Art, (so perfectly intelligible favor of each little public. It needs a faithful, told by the fervor and the true and delicate adap
tion's homage paid to Art, the moment that it th