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never again, it demands, and it will certainly repay, an extra stretch of patient and profound attention.

It was composed in 1823, about three years before Beethoven's death; and seems to have been an attempt to crowd the whole expression of himself into one great effort. Its first performance was at that memorable time, when the artists and amateurs of Vienna addressed a memorial to him, lamenting the obscurity in which he had kept himself during the universal deluge of Rossini-ism and the triumph of superficial, showy music over the genuine Art of Germany, and beseeching him to produce his two latest and grandest compositions, this Symphony and his solemn Mass, at a benefit concert. Beethoven declined reading the paper until he should be alone.

66 I arrived,"

says Schindler, "only just as he had finished its perusal. He communicated to me the contents, and after running them over once more, handed the paper quietly to me; then turning towards the window, he remained sometime looking up at the sky. I could not help observing that he was much affected, and, after I had read it, I laid it down without speaking, in the hope that he would first begin the conversation. After a long pause, whilst his eyes never ceased following the clouds, he turned round and said, in a tone which betrayed his emotion: It is really gratifying! I am much pleased!'" To Schindler's entreaties that he would accept the proposal, he replied: "Let us get into the open air!" After a great deal of discussion and management, not without innumerable provocations and intrigues on the part of selfish managers, the concert was arranged. Still it was a glorious day for Beethoven and for Art.

"The theatre was crowded. The master, standing with his back to the proscenium, was not even sensible of the tumultuous applause of the audience at the close of the Symphony, until Mme. Unger, by turning round and making signs, roused his attention, that he might at least see what was going on in the front of the house. This acted, however, like an electric shock on the thousands present, who were struck with a sudden consciousness of his misfortune; and as the floodgates of pleasure, compassion, and sympathy were opened, there followed a volcanic explosion of applause which seemed as if it would never end."

And he has left us no key to the interpretation of this music, which visited his soul inwardly, while the outward sense of beauty was entirely closed and deaf, except the constant expression of

his music and his life! We have seen somewhere in a German novel, which we cannot lay hands upon again, a suggestion that the whole progress of Humanity and the procession of the ages are represented in this Symphony. Whether there be anything more than fancy in this, we cannot judge. But one thing we know, that it ends with a choral hymn, whose sentiment is the consummation of man's social destiny; and it commences with a strange rustling of barren Fifths, suggestive of no thought but emptiness or chaos. While working out his idea he felt that he had exhausted the orchestral forces, and was for a long time at a loss how to proceed to bring the composition to a worthy close; at last he exclaimed to one of his friends, "I have it!" and produced his tablet on which was written: "Friends, let us sing the immortal Schiller's Hymn to Joy-Freude, schöner Gotterfunken." The biographies of the great

composer, several of them, contain a strange scrawl in which the words and notes of this were hurriedly sketched.

"The ode "To joy' is a jubilee of all mankind, and has the sublimity of the holiest hymn. No thought has poetry in it, if this has not. Imagine a convivial meeting of men as men, and all ideals are in a moment realized, and conviviality becomes a holy rite; for on what common ground could men so meet, but on the ground of the essential oneness of all souls, the identity of all men's highest interests and aims. A jubilee of the human race, felt through all hearts as suchf would be holy, would be the realization of all religions. This is, if we think of it, the sum of all our human aspirations.

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"The boundless yearning, which is the foundation of our being, and which is nothing less than a yearning to embrace the whole, has found its natural language in music. It is an interesting fact, and one which gives us a glimpse into the deepest philosophy of the Arts, that Beethoven, the most spiritual of composers, should have landed, after one of his sublimest adventurous flights on the ocean of sounds, in this song To Joy. The feelings which revelled in harpure mony, grew weary of their very freedom; they would return to the human; they would have an articulate voice; and they found it in this ode of Schiller's. As in outward life his had been a fruitless longing for the peaceful joys of the family circle, so in his art he returns with all the yearnings of memory and love to men; there grows in him a longing for human music, for song, and it leads him to the climax of his creative power. The ninth symphony, with chorus, is written. Here, in the widest reach of his art, he embraces all the results of his life. With giant force he summons around him the giant forces of the fullest and most active orchestra; they must, they are obliged to play around him:-and their deep, murmuring, tempest, and their light, frolic dances, waft his longing onward, till it dissolves into tenderest regret, into melancholy, sweet renunciation. But all this can satisfy no longer. The harmonies drop away; and the instruments themselves (in the style of recitative) pass into the manner of the human voice. Yet again do all these forms float dream-like over us, when human voices take up the recitative, and lead it into Schiller's song To Joy'-a union-song of all mankind. Nothing can be more moving, nothing lets us look so deeply into his breast, as when first the Basses, then the singers, join so simply, so like a people's chorus in the words 'Joy, thou brightest, heaven-lit spark,' and surrender themselves to the soft love and longing, which seeks but men, only men-requires only communion with men, and knows and will know nothing higher.'"

Concerts of the Past Week.

MENDELSSOHN QUINTETTE CLUB.-The last evening (Jan. 20th,) lingers sweetly in our memory,

even amid all the musical crowds and excitements of the week; and chiefly by the potent spell of the opening and concluding pieces. That heavenly Quartet, No. 4, of Mozart, was repeated only to make each appreciating hearer more in love with it. How truly the writer, whom we before quoted, characterized the theme of the Andante: "An impalpable theme, swimming in the harmony and pervading it everywhere, like a melodic fluid!"

Mendelssohn's posthumous Quintet, (op. 87, in B flat) was remarkably well played, and by the vigor of its Allegro Vivace, the sad, wild ballad-like spirit of its Andante Scherzando, and indeed the characteristic beauties, rising at times to grandeur, of the whole, made a deep impression. Of all that intervened between this fine beginning and conclusion--enough in themselves for a concert-we care not to recall much, except the confirmed favorable impression of that sincere and modest young artist, Mr. TRENKLE, who did justice to the piano-forte in a rather light and common-place Trio by Hummel. Sig. GUIDI's song

from Martha, and Don Pasquale "Serenade," were hardly here in place.

OTTO DRESEL fulfilled the letter and the spirit of his third programme, on Monday evening. At these choice little, genial occasions, we can fancy ourselves present at the tempting feasts of Chamber music that we read of in England, in which Charles Halle is the presiding genius. Mr. Dresel is a pianist somewhat after the same order, and his programmes are improvements, if anything, upon the same models.

Beethoven's" Kreutzer Sonata" was finely played by DRESEL and SCHULTZE; the sweet-toned, true, expressive violin of the latter only needing a little more fire and less fear of occupying the foreground. Some of those delicate and dainty variations to the Andante required just the nerve and touch of Dresel. The string of little characteristic piano pieces, by Schumann (nine from the "Scenes from Childhood" and one from the "Album") formed a delightful novelty; they were a sort of musical essence extracted from the little interesting every-day occurrences of our childhood. Some thoughtless whispering somewhere in the remoter portion of the audience disturbed the charm a little. The C minor Fugue of Bach, the Berceuse of Chopin, and the Scherzo (in F sharp minor) of Mendelssohn, were each most admirable in their kind. Mendelssohn's Second Trio was played con amore and effectively by DRESEL, SCHULTZE and BERGMANN, making an impressive conclusion of a most rare evening.

Not the least part of its rarities were the songs by Miss LEHMANN. That "Ave Maria" by Robert Franz, is the most precious acquisition made to the Song-Album of our memory for a long time. It is a real Ave Maria,—not a strain of romance, with common arpeggio accompaniment, like Schubert's, but a deep, religious composition, reminding one of old Italian masters, and yet original. The impression of it lived through the whole, and it was re-demanded at the end. The singer was in fine voice and threw her soul into it, as well as into Schubert's Trockne Blumen, with which she answered the encore. Another deep and noble song of Schubert's: Rauschender Wald, &c., seemed hardly appreciated by the company. But Schumann's airy, delicate little strain: Es grünet ein Nussbaum, was enough to betray the most hardened misanthrope into a smiling reverie of blissful love.

THE FIFTH GERMANIA CONCERT, we have barely room to say, was as crowded and successful as ever. Spohr's descriptive Symphony, the "Consecration of Tones," came out one entire, clear, warm picture, in the admirable rendering of the rchestra. The Overture to "Rosamunda was common-place enough to have come from a commoner man than Schubert. The Polonaise

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from Struensee was in the ultra straining-for-effect style | of Meyerbeer, though the melody itself was vigorous and pleasing; the Polonaise form being in itself one of the eternal types of beauty. The finale from Tannhauser still charmed by rich instrumentation and flowing melody, more than it informed us of Wagner, whose music, by his own theory, is nothing if it be not word-wedded.

JAELL played the Concerto of Chopin with delicacy and clearness; and little CAMILLA discoursed like an earnest artist upon the theme from Beethoven with De Beriot's variations, and bore her part successfully with Jaell in the duet from "Tell." Miss HENSLER made by far the best impression yet by her excellent selection of the air from "Don Pasquale." It suited the best tones of her voice, which all who hear admire, and which, ripened and informed under the best influences of Italy aud Germany will one day, we doubt not, redeem fairest | promise.

Now is the time to furnish yourselves with Davidson's Illustrated Opera Books. G. P. Reed & Co., 17 Tremont Row, have them. They are vastly superior to the common librettos, for which we have often had to pay high prices. Each contains, in cheap but elegant form, not only the words (Italian and English) of the opera, but the musical notes of the principal melodies. Davidson's series already includes all the operas in which ALBONI sings, and in fact about all those now in vogue.

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Musical Intelligence.

Local.

Mme. ALBONI opens at the Howard, on Monday night, in Cenerentola, one of her very finest parts. The "Germanians will be in the orchestra.

Miss ELISE HENSLER is to sail for Europe by next Wednesday's steamer. All success attend her!

The MUSICAL FUND SOCIETY offer an admirable selection for to-night. A symphony by Mozart will be particicularly refreshing after so many Titanic strivings of Beethoven and Schubert and Schumann as we have been lately witnessing. The overtures are noble ones, and the voice of Signora ROSA GARCIA DE RIBAS will renew pleasant memories.

MR. FRY'S LECTURES. Our readers are reminded that the subscription list will positively close on Tuesday next; and that our chance of hearing the lectures this season depends on the obtaining of a sufficient number of subscribers by that time.

The New Hall over Williams Market, corner of Washington and Dover steets, now nearly finished, is described as very elegant, convenient, constructed for acoustic effect, and large enough to seat over 1600 persons. It has a noble organ, built by Simmons & Co., which we shall describe hereafter. It will soon be inaugurated with the oratorio of "Saul," now rehearsing by a new chorus society, under Mr. HAYTER,-aided by the Musical Fund orchestra.

In the spring the Tremont Temple Hall also will be finished, with seats for at least 2200; and thus there will have been added to Boston, within the present year, three elegant first-class music halls.

The QUINTETTE CLUB offer a plentiful and choice selection of MENDELSSOHN's music, in honor of his birth-day, for next Thursday evening. See announce

ment.

England.

LONDON. The Atthenæum thus speaks of "the manner in which Music is pushing out shoots in every corner of this vast metropolis":

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"The advertising columns of the Times that announce the finishing of St. Martin's Hall and the preparation of the New Philharmonic Hall under the auspices of Sir Charles Fox, advertise also New Music Rooms' in Euston Square, and a new Victoria Vocal and Instrumental Society' in formation towards Chelsea. The Panopticon in Leicester Square is in the hands of the decorators; and from the preparations for the new organ that are in progress there, it appears as if gigantic 'demonstrations are contemplated,-since from the arrangement of the manuals it is obvious that three players are to be employed simultaneously. As for the Amateur Choral Meetings,' Club Concerts,' Lectures on Church Music,' Ballad Entertainments,' &c., advertised, to keep pace with them is obviously not possible. It must suffice us to remind 'priests and people' that never has there been in England a time so propitious for the furtherance of sound musical objects as the time present, while we point out that never was success more impossible to high profession without perfect per

formance.

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"We hear from entirely opposite sides of the musical world, of two English ladies entering the field as contralto singers, with more than the ordinary chances of success. One is Miss Felton, who sang the other evening in Elijah' when it was given by the London Sacred Harmonic Society. The other is Miss Huddart, who is familiar to London playgoers as a well-esteemed actress. Her past studies of verbal declamation may be turned to good account should she decide on becoming a singer. The charge of coldness brought against English vocalists, in nine cases out of ten, arises merely from habits formed in early youth,-which connect the idea of "conspicuousness' and immodesty with emphasis in utterance. Let the sotto voce tone of English social intercourse be ever so agreeable to persons of sensitive nerves,-observers must be satisfied that it has cost the world many an impressive and interesting artist.

"Another new English Oratorio, Mr. W. Glover's 'Emmanuel,' is advertised as about to be performed by the Cecilian Society in the course of the season.

Paris.

OPERA COMIQUE. A real success is reported of Marco Spada, the new opera by MM. Scribe and Auber. The music is said to be "good, vigorous and interesting,” including a romance from the defunct Corbeille d' Oranges (which opera also was hailed in its time as thoroughly successful). Mlle. Duprez was the heroine, and pleased as much as the Athenæum foretold that she would. A private letter speaks of her as a brilliant, graceful, distinguished singer-but delicate;" whereupon the Athenæum

46

adds: "We hope that this delicacy will be judiciously watched over; and that no overwork may add the young lady to the too long list of modern singers who have a short lifeand a merry one!"

THEATRE LYRIQUE. Tabarin, an opera written by M. Alboize and composed by M. Georges Bousquet, draws full houses. The music is said to have the charms of gaiety, facility and melody.

Verdi's Luisa Miller has been given at the Italiens four times with undiminished success. CRUVELLI enchains her audience nightly. Mlle. Vera was well received as Adina in the Elisir d' Amore. Belletti and Calzolari are both praised in Belcore and Nemorino.

There is a quartett party at present to be heard in Paris, consisting of MM. Maurin, Sabatier, Mas, and Chevillard, who perform Beethoven's Posthumous Quartets most excellently. These difficult and deep compositions have been as thoroughly read as they are thoroughly rendered by the gentlemen named,-and without that super-precision and over-solicitous coquetry of accent which impair the hearer's pleasure in most French execution of German music.

A new MS. violin Concerto by Vieuxtemps, and introduced at his first concert, has created a real sensation.

MARSEILLES. The re-opening of the Cercle Lyrique has lately taken place. Rossini did not decline the proffer of honorary president. In a letter to the directors of this Musical Athenæum, as spiritual as complimentary, he accepted the presidency with profound thanks. The banquet-hall presented a coup d'oeil truly magical, and the greatest hilarity and the most amicable feeling reigned throughout the entire repast. At the dessert, M. Boze, President of the Office, gave a series of toasts. But that which carried the most extravagant applause, was the health of Rossini, which M. Boze delivered as follows:"Gentlemen, I have the honor to propose the greatest musical name of modern times-to the immortal author of the Barbiere and Moise-to that sublime genius which has been able to realize, with the same felicity, passions the most dramatic, and characters the most comic-to the sire of thirty chefs d'œuvres, who, of his own accord, snatched himself from his laurels in the midst of his glory, and whose regretful silence has created a void so deeply felt on our lyric scenes-to our honorary president, to Rossini!-a name endeared to all lovers of art-a name popular in all corners of the globe, and which will transmit itself from age to age, ever young and fraternally united with the mighty name of Mozart."

Madame Lafon has achieved an immense success in Norma. All Marseilles is in raptures with her. Madame Charton, too, has been lauded infinitely in Adalgisa. Ernst has arrived, and will soon give a concert.

DRESDEN.

Germany.

The celebrated flutist, FURSTENAU, well nown of amateurs even in Boston, has just died at the age of 89. He accompanied Weber to England. COLOGNE.-At the Society's Concerts, M. Ferdinand Hiller conducted Beethoven's Ninth Symphony. He has since left for Paris.

GRAFENBERG-Leopold De Meyer is said to be dangerously ill at the water-cure establishment of the late Priessnitz.

BERLIN. The anniversary of Mendelssohn's birth (Feb. 3d) will be celebrated with great pomp in the garrison church, where he was organist. The programme will consist of two hymns of the great master and his oratorio of "St. Paul," executed by 400 musicians and

amateurs.

Mlle. Joanna Wagner is said to have injured her voice here, by singing above her register.

BRUSSELS.-The music of Meyerbeer's Struensee was played lately at the concert of the Conservatoire, under the direction of M. Fétis, with great succes.

The Paris fashion of the cafes chantants have been so successful here as to injure the theatres. Not only light romances and gay songs are heard, amid the euphony of clinking glasses, cups and saucers; but Rossini's Stabat Mater has been given at one of these cafes. Another announces the engagement of the late prima donna of the great theatre, Mine. Casimir.

Advertisements.

MADAME ALBONI

In Grand Opera, for Six Representations, At Howard Athenæum,

ON MONDAY, JANUARY 31,

IN HER GREAT CHARACTER OF

CENERENTOLA.

Boston Musical Fund Society.

THE

IE patrons of the BOSTON MUSICAL FUND SOCIETY are respectfully informed that the

FIFTH GRAND CONCERT

OF THE SIXTH SERIES WILL BE GIVEN AT THE

NEW MUSIC HALL,

On SATURDAY EVENING, January 29. The Government take pleasure in announcing that they wil be assisted by SIGNORA ROSA G. DE RIBAS, Who has kindly tendered her valuable services.

A Grand Symphony, by Mozart-also Overtures, "Fidelio," by Beethoven, and "Eurianthe," by Weber, will be performed Full particulars in programmes.

Single Tickets. at 50 cts. may be obtained at the usual places and at the door on the evening of performance.

Doors open at 6-Concert commences at 7 o'clock.

N. B. Ushers will be in attendance at the Hall on the evening of the Concert, in order to facilitate the seating of the Per order, JOS. N PIERCE, Sec'y.

audience.

MENDELSSOHN BIRTH-DAY FESTIVAL.

The Mendelssohn Quintette Club

Respectfully inform their Subscribers and the musical public
of Boston, that their
SIXTH CONCERT
Of the Series of Eight, will take place

On Thursday Evening, February 3, 1853,
AT THE MASONIC TEMPLE.

Among the works produced will be the celebrated Octette for stringed instruments, Op. 20, performed for the first time in America, Trio in D minor, Songs without Words, &c., all by MENDELSSOHN.

The following artists will assist :

OTTO DRESEL, F. SUCK,

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2. No sent in the building shall be removed from one place to another, nor any seat be carried into the building from without, except by order of the Superintendent.

3. No person shall have a lighted cigar within the building. 4. No person shall touch the gas fixtures in any part of the building, except by order of the Superintendent.

8. The "Ladies' Room " is exclusively for female visitors to the Hall, as a cloak-room, dressing-room, &c., and gentlemen are not permitted to enter this room at any time.

12. The Superintendent will be in his office (entrance from Winter street) to receive applications for the use of the Hall and Lecture room, every day, (Sundays excepted) from 3 to 6 P M.

13. Persons hereafter hiring the Boston Music Hall, for the purpose of giving Concerts or other entertainments, shall be required to dispose of the seats by their numbers, unless, on special application to the Committee of Directors, this regula tion shall be dispensed with. Published, per order of the Board of Directors. F. L BATCHELDER, Secretary.

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NEW MUSIC BOOK.

THE PIANOFORTE: A complete and thorough Instruction Book, selected, compiled, and arranged principally from the works of Hunten, Bertini, Czerny, Herz, &c., to which is added a Collection of about fifty popular Airs, Waltzes, Polkas, Quick-Steps, Marches, &c., with and without variations, properly arranged and fingered. By MANUEL FENOLLOSA, Professor of Music. 152 pages; an elegant work. Price $150. J. P. JEWETT & CO. ii 13 3m. 17 & 19 CORNHILL.

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NEW YORK NORMAL MUSICAL INSTITUTE.

THE SUBSCRIBERS have made arrangements to commence

in New York city an institution under the above name, the object of which shall be to afford thorough musical instruction, and especially to qualify teachers of music. The first term will commence on MONDAY, APRIL 25th, and continue three months, during which time it is expected that the entire attention of members of the class will be given to the subject. Daily lectures and private instructions will be given in the theory and practice of sacred and secular music. Circulars containing further particulars can be obtained by application, personally or by letter (post-paid) to MASON & LAW, 23 Park Row, opposite the Astor House, New York.

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MASON & LAW'S

ANNOUNCEMENT OF

NEW MUSICAL WORKS.

NOW READY.

THE FLOWER QUEEN;
Or, The Coronation of the Rose.

A CANTATA, IN TWO PARTS.

For the use of Singing Classes, in Academies, Female Seminaries and High Schools; adapted especially for Concerts, Anniversaries, and other Festive occasions, and also for the Social Circle.

Poetry by Miss FRANCES JANE CROSBY, a Graduate of the New York Institution for the Blind.

Music composed by GEORGE F. Roor, Prof. of Music in Rutger Institute, Abbott's Collegiate Institute, Institution for the Blind, Union Theological Seminary, and Editor of Academy Vocalist.

The plot of this new and original work is as follows:-The flowers (personified by the performers) are met in the forest to choose their queen. The Crocus, Dahlia, Heliotrope, Mignionette, Camelia, Japonica, Sun-flower, Violet, Lily, Rose and Hollyhock present their claims to the crown, in Solos, Duets, &c.; some in a humorous manner. In the difficulty of deciding who shall be queen, a person who, discontented with the world, has become a Recluse in the forest, is appealed to as umpire. The Recluse (this part may be taken by the teacher or one of the scholars) decides in favor of the Rose. The Second Part consists mainly of the ceremonics of the Coronation of the Rose. In the course of the piece the flowers tell of love and duty, and at the conclusion, the Recluse, having learned that to fill well the station allotted by Providence, is to be happy, returns again to usefulness and contentment among his fellow creatures.

Although one connected whole, the work is made up of Solos, Duets, Trios, Semi-Chorus, Choruses, &c., all of which are adapted to use as detached pieces.

Price of the work, 84 per dozen. Single copies will be sent for examination by mail, post-paid, on the receipt of fifty cents. Librettos containing all the words, and intended to be used as programmes, will be furnished at a low price.

PUBLISHED THIS WEEK, WILDER'S MUSICAL ELEMENTARY. A new book of instructions and music, for Juvenile Singing Schools. The arrangement of the Elementary portion of this work is new and very progressive;-it is divided into lessons, and fully illustrated by exercises, and songs prepared expressly for examples. The second part contains a choice selection of new recreative music for Schools.

By LEVI WILDER, Teacher of Music in Brooklyn City Schools. Price, $2 25 per doz. Teachers wishing to examine the book previous to its introduction, will receive copies by mail (postpaid) by sending us twenty-five cents, in money or postage stamps.

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(WILL BE PUBLISHED 15th FEBRUARY.) THE AMATEUR ORGANIST, A new Collection of Easy Church Voluntaries. Original and Selected.

By JOHN ZUNDEL, formerly Musical Instructor of the children of Madame Sontag, Countess of Rossi; and Organist of St. Ann's Church, St. Petersburg.

The selections are from Handel, Haydn, Rinck, Beethoven, Mozart, Bach, Mendelssohn, Hesse, etc. Great care has been taken to adapt all the compositions to those who have made but little progress upon that instrument, and they will be found excellent practice both for the Melodeon and the Organ. The contents will be found much more easy of execution even than the "Two Hundred and fifty Voluntaries and Interludes" by the same author. Price $1,50 each.

(WILL BE READY EARLY IN SPRING.) A new and complete MELODEON INSTRUCTION BOOK, By JOHN ZUNDEL.

This will be a much more comprehensive and complete book than is yet published for this instrument. Besides a complete course of Elementary Exercises, arranged in the most progressive manner, together with the Scales of the different Melodeons manufactured, and a choice selection of Secular Music, as Airs with variations, Marches, Overtures, etc., together with Sacred Music, including Voluntaries, Interludes, Airs, etc., it will include other important and valuable matter, amongst which may be mentioned a complete set of

MODULATIONS THROUGH THE VARIOUS KEYS. The book will contain about One Hundred and Fifty large Quarto pages, and will be a most complete Self-Instructor for the instrument.

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125,000 COPIES IN TWO SEASONS! Live Music Book! THE DULCIMER,

A COLLECTION OF SACRED MUSIC, BY I. B. WOODBURY.

THE DULCIMER is the most popular Music Book ever published in America: no previous work having met with so large a sale in the same time. It is truly AMERICAN in its spiritfresh and life-like. The secret of its success is like that of the far-famed "Uncle Tom's Cabin,"-it is a LIVE BOOK! It talks and sings like a live book. Attention is awakened, the thoughts are arrested, the sympathies touched, curiosity aroused-and such is the interest created, that the book has only to be seen to be adopted. Published by

Jan. 22. 2t

WM. J. REYNOLDS & Co. School and Music Book Publishers, No. 24 CORNHILL, BOSTON.

Davidson's Illustrated Opera Books,

Already issued, to which other Operas will be added as soon as published.

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"Davidson's Illustrated Oratorios" are also published

on the same plan as the Operas, in a cheap but elegant form. HANDEL'S MESSIAH, in a form at once portable, readable, and suitable for the music-stand, in vocal score, arranged by Dr. Clark. 4to. 228 pages, price $1,75.

HANDEL'S SAMSON, in same style, and arranged by Dr. Clark. 188 pages. Price $1,50.

MOZART'S MARRIAGE OF FIGARO, entire, including the Recitative, with the original Italian Libretto, and an English translation, by George Soane. 4to. 185 pages, only $2,00. English price $2,50.

DAVIDSON'S SIXPENNY ELEMENTARY INSTRUCTION BOOKS, contain Jousse's Catechism of Music, a Vocabulary of Musical Terms, and the Art of Singing.

DAVID DAVIDSON, PUBLISHER AND AGENT, 109 Nassau Street, New York. G. P. Reed & Co., Boston :-Lee & Walker, Philadelphia:Taylor & Maury, Washington: Nash & Woodhouse, Richmond. iil0 3m

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Journal

VOL. II.

of Music.

A Paper of Art and Literature.

BOSTON, SATURDAY, FEBRUARY 5, 1853.

Nlusir,

cate the meaning of his purely musical creation

Dwight's Journal of Asir, with any thoroughness. Yet so nobly do they

PUBLISHED EVERY SATURDAY, TERMS....TWO DOLLARS PER ANNUM, (IN ADVANCE.) CITY Subscribers can be served at their houses by the further payment of fifty cents per annum.

For Rates of Advertising, see last page. POSTAGE, if paid in advance, for any distance within the State, thirteen cents a year; if not in advance, twentysix cents. To all places beyond the State, double these

rates.

J. S. DWIGHT,......EDITOR AND PROPRIETOR. EDWARD L. BALCH, PRINTER. OFFICE, No. 21 School Street, Boston.

SUBSCRIPTIONS RECEIVED

At the OFFICE OF PUBLICATION, 21 School St.
By REDDING & CO., 8 State St.

"GEO. P. REED & CO., 13 Tremont Row.

" A. M. LELAND, Providence, R. I.
"DEXTER & BROTHERS, 43 Ann Street, N. Y
"SCHARFENBERG & LUIS, 483 Broadway, N Y.
"MASON & LAW, 23 Park Row, New York.
"G. ANDRE, 229 Chestnut St., Philadelphia.
"F. D. BENTEEN, Baltimore.
"COLBURN & FIELD, 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.

Back numbers can be furnished from the commencement. Price of the First volume, One Dollar.

[Translated for this Journal.]

Richard Wagner's Programme to the Ninth Symphony of Beethoven.

It is a difficult matter for any one, not intimately acquainted with this wonderfully significant work of Art, to understand it on the first hearing. Hence it may be permitted to offer some aid to that considerable portion of an audience, who find themselves in this predicament; not indeed with a view to imparting an absolute understanding of Beethoven's masterpiece-since that can only come from intimate personal study and insight-but simply with the hope of furnishing some hints illustrative of its artistic arrangement, which in the great peculiarity and entirely unimitated novelty of the work might escape the observation of the unprepared and easily confused hearer. Taking it for granted that it is the essential problem of the higher instrumental music, to express in tones what cannot be expressed in words, we think we can approximate to the solution of an insoluble problem by calling in the aid of words of our great poet GOETHE. These, to be sure, stand in no immediate connection with Beethoven's work, and can in no wise indi

express those higher moods of the human soul which lie at the foundation of this symphony, that in the impossibility of any fuller understanding one may content himself with identifying these moods, so that he need not go away from a hearing of the music without at least some apprehension of its purport.

FIRST MOVEMENT (Allegro ma non troppo, D minor.)—A most sublimely conceived conflict of the soul, struggling after joy, against the pressure of that hostile power, that stations itself between us and all earthly bliss, appears to lie at the foundation of this first movement. The great main theme, which at the very outset steps forth from a gloomy veil in all the nakedness of its terrible might, may perhaps, not altogether inappropriately to the sense of the entire tone-poem, be translated by the words of Goethe:

"Entbehren sollst du! Sollst entbehren!" [This in most of the translations is rendered: "Renounce! Thou must renounce." But the word entbehren does not signify 66 renounce." The meaning of the phrase is, (for it cannot be given in a word), that it is the destiny of man always to have wants which cannot be satisfied.]

Opposed to this powerful enemy we recognize a noble spirit of defiance, a manly energy of resistance, which to the very middle of the movement rises to an open conflict with the adversary, in which we seem to see two mighty wrestlers, each of whom leaves off invincible. In isolated gleams of light we may discern the sweet sad smile of happiness, that seems to seek us, for whose possession we strive, and from whose attainment we are withheld by that maliciously powerful foe, who overshadows us with his nocturnal wings, so that even to ourselves the prospect of that far off grace is dimmed and we relapse into a dark brooding, which has only power to rouse itself again to new defiance and resistance, and to new wrestlings with the demon who robs us of true joy. Thus force, resistance, struggle, longing, hoping, almost reaching, again losing, again seeking, again battling-such are the elements of restless movement in this marvellous piece of music, which droops however now and then into that more continuous state of utter joylessness, which Goethe denotes by the words:

"But to new horror I awake each morn
And I could weep hot tears, to see the sun

NO. 18.

Dawn on another day, whose round forlorn
Accomplishes no wish of mine,-not one;
Which still, with froward captiousness, impairs
E'en the presentiment of every joy,
While low realities and paltry cares
The spirit's fond imaginings destroy.
And then when falls again the veil of night,
Stretch'd on my couch I languish in despair;
Appalling dreams my troubled soul affright;
No soothing rest vouchsafed me even there," &c.

At the close of the movement, this dreary,

joyless mood, growing to gigantic magnitude, seems to embrace the All, as if in grand and awful majesty it would fain take possession of this world, which God has made—for Joy!

SECOND MOVEMENT. (Scherzo molto vivace.) A wild delight siezes us at once with the first rhythms of this second movement: it is a new world into which we enter, in which we are whirled away to giddiness, to loss of reason; it is as if, urged by desperation, we fled before it, in ceaseless, restless efforts chasing a new and unknown happiness, since the old one, that once sunned us with its distant smile, seems to have utterly forsaken us. Goethe expresses this impulse, not without significance perhaps for the present case, in the following words:

"The end I aim at is not Joy.

I crave excitement, agonizing bliss," &c.
"In depths of sensual pleasure drown'd,
Let us our fiery passions still!
Enwrapped in magic's veil profound,
Let wondrous charms our senses thrill!
Plunge we in time's tempestuous flow,
Stem we the rolling surge of chance!
There may alternate weal and woe,
Success and failure, as they can,
Mingle and shift in changeful dance;
Excitement is the sphere for man!"

With the headlong entrance of the middle-subject there suddenly opens upon us one of those scenes of earthly recreation and indulgence: a certain downright jollity seems expressed in the simple, oft-repeated theme; it is full of naiveté and self-satisfied cheerfulness, and we are tempted to think of Goethe's description of such homely con

tentment:

"I now must introduce to you
Before aught else, this jovial crew,

To show how lightly life may glide away;
With them each day's a holiday;
With little wit and much content,

Each on his own small round intent," &c. But to recognize such limited enjoyment as the goal of our restless chase after satisfaction and the

noblest joy, is not our destiny: our look upon this scene grows clouded; we turn away and resign ourselves anew to that restless impulse, which with the goading of despair urges us unceasingly on to seize the fortune, which, alas! we are not destined to reach so; for at the close of the movement we are again impelled toward that scene of comfortable indulgence, which we have already met, and which we this time at the first recognition of it repulse from us with impatient haste.

THIRD MOVEMENT. (Adagio molto e cantabile, in B flat major). How differently these tones speak to our hearts! How pure, how heavenly soothing, they melt the defiance, the wild impulse of the soul tormented by despair, into a tender and melancholy feeling! It is as if mem

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awoke within us, the memory of an early

enjoyed and purest happiness:

"Then would celestial love, with holy kiss, Come o'er me in the Sabbath's stilly hour, While, fraught with solemn and mysterious power, Chimed the deep-sounding bell, and prayer was bliss." And with this recollection there comes over us once more that sweet longing, that is so beautifully expressed in the second theme of this movement (Andante moderato, D major), and to which we may not unfitly apply Goethe's words:

"A yearning impulse, undefined yet dear,
Drove me to wander on through wood and field;
With heaving breast and many a burning tear,
I felt with holy joy a world revealed.”

It seems like the longing of love, which again is answered, only with more movement and embellishment of expression, by that hope-promising and sweetly tranquillizing first theme, so that on the return of the second it seems to us as if love and hope embraced, so that they might the more entirely exert their gentle power over our tormented soul. It is when Faust speaks, after the Easter bells and chorus of angels:

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Wherefore, ye tones celestial, sweet and strong,
Come ye a dweller in the dust to seek?

Ring out your chimes believing crowds among." Even so seems the yet quivering heart with soft resistance to wish to keep them off: but their sweet power is greater than our already mitigated defiance; we throw ourselves overpowered into the arms of this gracious messenger of purest bliss:

"O still sound on, thou sweet celestial strain, Tears now are gushing,-Earth, I'm thine again!"

Yes, the bleeding heart seems to be getting healed and re-invigorated, and to be manning itself to that exalted courage which we think we recognize in the almost triumphant passage, towards the end of the movement. Siill, this elevation is not yet free from the reaction of the storms survived; but every approach of the old pain is instantly met with renewed alleviation from that gentle, magic power, before which finally, as in the last expiring gleams of lightning, the dispersed storm disappears.

FOURTH MOVEMENT. The transition from the third to the fourth movement, which begins as it were with a shrill shriek, may be pretty well indicated again by Goethe's words:

"But ah! I feel, howe'er I yearn for rest,
Content flows now no longer from my breast."
-"A wondrous show! but ah! a show alone!
Where shall I grasp thee, infinite nature, where?
Ye breasts, ye fountains of all life, whereon
Hang heaven and earth, from which the blighted soul
Yearneth to draw sweet solace, still ye roll

Your sweet and fost'ring tides-where are ye-where! Ye gush, and must I languish in despair?"

With this beginning of the last movement, Beethoven's music assumes decidedly a more speaking character. It quits the character, preserved in the three first movements, of pure instrumental music, which is marked by an infinite and indeterminate expression. The progress of the musical invention or poem presses to a decision, to a decision such as can only be expressed in human speech. Let us admire the way in which the master prepares the introduction of speech and the human voice, as a necessity to be expected, in this thrilling Recitative of the instrumental basses, which, already almost forsaking the limits of absolute music, as it were with eloquent, pathetic speech approaches the other instruments, urging them to a decision, and finally itself passes over into a song-theme, which sweeps the other instruments along with it in its simple, solemn, joyous current and so swells to a mighty pitch. This seems like the final effort to express by instrumental music alone a secure, well-defined, and never clouded state of joy; but the untractable element seems incapable of this limitation; it foams up to a roaring sea, subsides again, and stronger than ever presses the wild, chaotic shriek of unsatisfied passion upon our ear.-Then steps forth toward the tumult of the instruments a human voice, with the clear and sure expression of speech, and we know not whether we shall most admire the bold suggestion or the great naiveté of the master, when he lets this voice exclaim to the instruments:

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Kisses she to us has given,

Wine, and friends in death approved;Sense the worm has;-but in heaven Stands the soul, of God beloved. CHORUS

"Myriads, do ye prostrate fall?
Feel ye the Creator near?
Seek him in yon starry sphere:
O'er the stars he governs all.

"Joy impels the quick rotation,

Sure return of night and day: Joy's the main-spring of Creation,

Keeping every wheel in play. She draws from buds the flowerets fair, Brilliant suns from azure sky, Rolls the spheres in trackless air, Realms unreached by mortal eye.

CHORUS.

"As his suns, in joyful play, On their airy circles fly,

As the knight to victory,Brothers, speed upon your way.

"From Truth's burning mirror still

Her sweet smiles th' inquirer greet; She up Virtue's toilsome hill

Guides the weary pilgrim's feet; On Faith's sunny mountain, wave, Floating far, her banners bright; Through the rent walls of the grave Flits her form in angel light.

CHORUS.

"Patient, then, ye myriads, live!
To a better world press on!
Seated on his starry throne,
God the rich reward will give.

For the Gods what thanks are meet?
Like the Gods, then, let us be:
All the poor and lowly greet

With the gladsome and the free;
Banish vengeance from our breast,
And forgive our deadliest foe;
Bid no anguish mar his rest,

No consuming tear-drops flow.

CHORUS.

"Be the world from sin set free!

Be all mutual wrong forgiven; Brothers, in that starry heaven, As we judge our doom shall be. "Joy upon the red wine dances; By the magic of the cup Rage dissolves in gentle trances, Dead despair is lifted up. Brothers, round the nectar flies, Mounting to the beaker's edge. Toss the foam off to the skies! Our Good Spirit here we pledge!

CHORUS.

"Him the seraphs ever praise,

Him the stars that rise and sink.
Drink to our good Spirit, drink!
High to him our glasses raise!
"Spirits firm in hour of woe-

Help to innocence oppressed-
Truth alike to friend or foe-
Faith unbroken-wrongs redressed-

Manly pride before the throne,

Cost it fortune, cost it bloodWreaths to just desert aloneDownfall to all Falsehood's brood!

CHORUS.

"Closer draw the holy ring!

By the sparkling wine-cup now,
Swear to keep the solemn vow-
Swear it by the heavenly King!

Animated, warlike sounds approach: we fancy that we see a troop of youths marching up, whose joyous, heroic spirit is expressed in the words:

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