ence.

ed to have the sympathy of a large and refined audiAll the rest was done by the Mendelssohn Quintette Club, who played the first Allegro and Adagio from Beethoven's B-flat Quartet (op. 18) and Schubert's Quartet (posthumous) in D minor; and by Miss ADELAIDE PHILLIPPS, who sang, in ad mirable style, two capital selections. The first, how ever, "Lascia ch'io pianga," from Handel's Rinaldo, was better suited to her large, rich organ tones, than the song of the page: “Voi chi sapete," in Mozart's Figaro, which we associate with voices of a lighter calibre. The Handel piece had to be repeated.

We must go back merely to record the matter-no room for the manner of several concerts which we had to pass over in our last. And first,

Mr. J. C. D. PARKER'S Vocal Club of amateurs sang on two successive Monday evenings to an invited company the following choice programme: Part I. Salve Regina, by Hauptmann; Slumber Song from Schumann's "Paradise and Peri" (Soprano Solo, Miss LORING, and chorus); Songs, Mrs. HARWOOD; Part-Songs: "Good Night," Schumann, and "Hunting Song," Mendelssohn; Spring-Fantasie (piano solo and quartet), by Gade. Part II. The Walpurgis Night (Eve of the First of May), by Mendelssohn-the solos by the Messrs. WINCH.

Mr. PERABO's Piano-forte Soirée of April 18 (his last concert for the season) offered: a Prelude and Fugue in D minor, by Mendelssohn; Schubert's great Sonata in B flat major (four movements); and the sixth Partita of Bach in E minor, (consisting of Toccata, Allemande, Courante, Air, Sarabande, Gavotte and Gigue);-all greatly relished, especially the last. Moreover the sweet singer of the German Opera, Mme. FRIEDERICI-HIMMER, sang "Deh vieni," from Figaro, Schumann's "Du meine Seele" and "Spring Night," and for an encore "The Wanderer," the last with remarkable power, and all with fine fervor, though some of the higher notes were almost too piercing for the small concert room.

Both of the new "Conservatories" have had Chamber Concerts, for their pupils chiefly. The "Boston Conservatory," at Chickering's, April 13, gave: Beethoven's E-flat Trio, op. 70, played by Messrs. EICHBERG, LEONHARD and H. SUCK; a couple of Franz Songs and Schubert's "Erl-king," sung by Mr. KREISSMANN; Variations, from the 4th Beethoven Quartet (Messrs. EICHBERG, FORD, H. and A. SUCK); a Scherzo and Andante Spianato of Chopin (Mr. Leonhard); the Haydn Trio in G; and a harp piece by Miss MARIE HARTLEY. All, except the lady, are teachers in the institution.

The more mixed programme of the first Soirée of the "New England" rival was this:

Cabinet Organ and Piano, "Pensée Religieuse," Battman. Song, Air with Variations. Rhode. Piano, 1, Symphony, J. 8. Bach; 2, "On Wings of Song," (Transcribed by Mendels

us, corresponding to those from German authors. Not that he should change the author's text, but that he should add in notes either in the margin or at the end of the chapters, that which would adapt the book specially to the use of American students.

It should be strictly a text-book. The instructor should be a man of wide-reaching knowledge in the history of music, as well as a thorough contrapun-❘ tist; so that the text-book might be but the skeleton of the body of science, which his classes should be enabled by him to master.

Of course the reading of common music at sight, some preliminary knowledge of harmony, and the simple rules of musical composition, should be required of the student before taking up the study of the system just as a certain degree of knowledge upon other topics is required before the pupil is admitted into college.

It may be said that such a professor and such pupils are of "the things that are not." Perhaps so; but suppose such a professor should be sought.How long before the demand would create a supply? And as to pupils, in my time we could have given such a professor a very respectable class in old Harvard. I will leave you to reflect upon and carry out these ideas, and turn for a moment to Dr. Krüger's book. The best idea I can give you of it will be by a glance at the table of contents.

A short philosophical introduction, then
Book I. Nature and Spirituality of tones.

9. Mozart-paralipomenon. 10. "Leonore" or "Fidelio." 11. Beethoven im Malkasten.

12. Beethoven and the new Edition of his works. Of these Articles the 4th, 6th, and 12th are of very great interest; the two upon Wagner's operas altogether the best that have been written. They judge those works in the lights afforded by a fully competent knowledge of German literature (to criticize the texts) and of musical science, combined with com mon sense, an article which in general has sadly failed when Wagner's compositions have been the subject of discussion.

If "St. Paul" and Elijah" were not so well known with us, and had not already so often been the sub

2. Rhythm and Harmony,-what is Music.

Jahn as also of uncommon interest.

The volume is not large, only 337 pages; but it is

4. The Scale.

Book II. Music as an Art. Here we have

1. Melody,-its genesis-analysis — RhythmMetre. Quantity.-Accent, &c., &c.

2. Musical Syntax-thirty pages of very rich and suggestive matter, but it will take too much space to continue to particularize.

Sixty pages upon Harmony follow, and twentytwo upon Rhythm.

Now comes the Doctrine of Forms :Variable forms,-as the Prelude, the Fantasia, Recitative, &c., &c.

Determinate forms,-the Song form, Simple Song, Air, Rondo, Variation, &c., and Accompaniment. And so we come to

"Lake Mahopac," Goldbeck. Duo for Harp and Piano. Six Preludes, J. S. Bach. with accomp. of second Piano by R. Goldbeck. Song, "L'Estasi," Arditi. Piano, "Eulogy of Tears," (Trans. Schubert), Liszt. Cabinet Organ, Piano and Violin, Brisson: Fantasie on the "Pardon de Ploermel."

New Works on Music. LETTER FROM A. W. THAYER.

Trieste, March, 1867.

DEAR DWIGHT,—I wish to call your attention to two volumes which are probably still unknown in the United States, as they have but recently appeared from the press of Breitkopf & Härtel, in Leipzig.

The first, of about 500 pages, 8vo., by Dr. EDWARD KRUEGER, is "System der Tonkunst." I have often thought of the necessity of some epitome of musical science, which would be a good basis for instruction in our colleges, when the divine science shall once find entrance there-and have made myself pretty| familiarly acquainted with the productions of the press in that direction, from the catchpenny little volume of Fétis, years ago, on to the present time. Now, at length, I think the right book has come, and I can only hope that it will soon find a competent translator. Such a translator is one who not only is fully able to give the German again in English, but one who has knowledge sufficient io give examples from English and other composers well known with

phony, Oratorio, Opera, with analytical remarks upon some of Handel's Oratorios and Mozart's Operas.

I need hardly speak of the abundant proofs of vast research which this work exhibits on every page, and of the clear logical progress of the author from simple tones to the grandeur of Handel's Israel in Egypt and the magnificence of Don Juan.

That this is not an A, B, C book for beginners you have already seen; that it is "meat for men of full age"-not❝milk for babes"-is perhaps manifest. I shall be glad to hear hereafter the opinion of some of our cultivated German musicians upon it, for it is not to be doubted that a work like this will find some purchasers in the United States.

The other volume is: "Gesammelte Aufsätze über Musik" (Collected Articles upon Music), by OTTO JAHN. Of course every body, whose studies lead to that kind of knowledge, knows who Jahn is:-Professor at Bonn; the great archaeologist and philologist; the author of the great Biography of Mozart; one of those men whose stores of learning fill us with wonder, and whose capacity for labor, with astonish ment. In addition to his philological studies in his youth and early manhood, he made a special study of music, both at Leipzig and in Berlin under Dehn,

who read German and care for this branch of literature.

A. W. T.

NEW YORK. Parepa and Peralta-the musical chime of the two names will be worth something to

Maretzek another season; but now his season's done.

"Angela Peralta” (says the New York Musik-Zeitung) "is the name of a new prima donna who has appeared at the Academy of Music and brings the season to a close with a certain eclat. She comes from Mexico and Havana. Her voice, to be sure, is no longer young, but it has a certain Schmelz, to which one gladly yields himself. Moreover she sings She with taste, understanding and correctness. knows what she wants, and she never wants more than she can accomplish. She is a cultivated singer. We would gladly have availed ourselves of her earlier. With the exception of Parepa the lady singers

of the Italian Opera have not been very attractive. Miss Kellogg, to be sure, is a clever artist; but there is a certain tiresome monotony in her performances. She has not made progress, and it would seem to be about time that she should appear before a foreign public; here she is such an enfant gate, that she must in the end lose all earnestness in Art.

Sonnambula, the Puritani, and Lucia. She seems "Mme. Peralta has appeared three times in the fond of singing the Bellini operas; and as she does this with success, she earns at all events an honorable place among the singers of the day; for it presupposes far more artistic ability, to make Bellini's parts effective, than it does Verdi's."

The PHILHARMONIC SOCIETY celebrated its 25th Anniversary last Saturday evening by a concert at Steinway Hall. The noble orchestra of ninety, under BERGMANN, is said to have done its best; especially in Beethoven's C-minor Symphony (a reminiscence of the Society's first concert 25 years ago), and in Liszt's "Les Preludes." Of the rest the Tribune says:

The cantata of Frithjoff's Saga, a fine work by Max Bruch-the breath of the Norlands and the mystery of the Sagas running through its choral chapters-was sung at length by the Liederkranz, Mme. Rotter, Mr. Frederick Steins, and a tasteful tenor whose name does not appear on the bill, giving acceptable soli. The Liederkranz has never acquitted itself more ably, and it is seldom that choral performances are so deeply and delicately, and, at need, so vaguely and darkly shaded. The work must be heard many times before final judgment, and, of

course, it is the intention of the Society to repeat it often. The programme still further included a Concerto for two pianos, by Mozart, delightfully played by Mr. William Mason and Mr. Emile Guyon, and Weber's beautiful and inspiriting Jubilee Overture. There was, beside, an almost irrelevant but respectable oration by the Rev. Franklin Johnson, sandwiched between Beethoven and Mozart, and suffering to the extent of the contrast.

Mr. Harrison's "Grand Musical Festival" of a week, beginning June 3, is announced in full. Monday, the Messiah; Tuesday, Hymn of Praise, and a new Forty-sixth Psalm, written for the occasion by F. L. Ritter; Wednesday, Creation; Friday, Elijah. All the Oratorios to be conducted by Mr. Ritter. On Thursday, an Orchestral Concert: Beethoven's "celebrated" Eroica Symphony (Bergmann conductor), and Liszt's "Les Preludes" (Carl Rosa conductor). Saturday, Miscellaneous : Orchestra under Anschütz, Grafulla's Seventh Regiment Band, and Drum Corps (!!). There is a long list of solo-singers, including Mme. Rosa, Mme. Ritter, Messrs. Castle, Simpson, Thomas, Campbell, &c. For pianists: Miss Gilbert, Mr. Pattison, Pease and Colby; solo violinists: Wenzel Kopta and Rosa; organists: Morgan and Conolly. Chorus (Harmonic Society) of 300 voices; Orchestra of 90.

BANGOR, ME. We are pleased to learn that: "A Choral Festival was held at Norombega Hall, commencing Tuesday, April 23d and continuing four days. The "Messiah" was given on Thursday evening, and Rossini's "Stabat Mater" closed the Festival on Friday evening. The soloists were Miss J. E. Houston, Mrs. J. S. Cary, Mr. James Whitney and M. W. Whitney of this city. The instrumental assistance was The Mendelssohn Quintette Club,with Mr. A. Stein, contra basso. The Chorus numbered two hundred voices. The Conductor was Mr. F. S. Davenport of Bangor. The chorus rehearsals were entirely devoted to Oratorio music, no Church music nor glee music being introduced. It was a great success and has done much for the cause of musical art in Maine."

This lifting of the old-fashioned psalm-singing and psalm-book selling "Convention" into an Oratorio Festival was, we understand, purely the enterprise of Mr. Davenport, and initiates a movement in a right direction. It is high time that the great musical gatherings in the large towns should use their powers and opportunities in studying and bringing out real masterworks of Art, instead of longer taking their turn at the old machines for grinding out trashy psalm-tunes by the thousand every year. Voices they have, and zeal; and even with imperfect instrumental means they may do much to bring the oratorios of Handel, Haydn, Mendelssohn home to the people.

NEW LONDON, CONN. Mr. Ralph Beecher Doane, organist of St. James Church, had a benefit concert on the 30th ult. at Lawrence Hall, which seems to have been a considerable event for that region. Two hundred persons went to it from Norwich on a special train. The Norwich Bulletin says:

The great feature of the concert was Mr. Petersilea's playing. In the first part of the programme he performed Thalberg's variations on a favorite air from "Elisir d'Amour," and subsequently an elaborate and brilliant composition by Chopin. These selections afforded a fine opportunity for the display of the strength, firmness and delicacy which are so happily combined in his style. He plays with great ease of manner, and with little apparent effort, and with a reserve of force which is equal to any demand of the score. Mr. Suck, violinist, gave to the "Ballads and Polonaise" by Vieuxtemps-a beautiful composition -an enthusiastic and graceful rendering, being well sustained in the accompaniment by Mr. Petersilea. He afterwards played the popular "Sounds from Home," and received an encore. Miss Loring appeared in an aria from "Wm. Tell," and in "Spring Time," a song by Fesca. She has a pure soprano voice and rendered her selections in good style. Miss Addie S. Ryan sang a cavatina from "Tancredi,"

DESCRIPTIVE LIST OF THE

LATEST MUSIC, Published by Oliver Ditson & Co.

Vocal, with Piano Accompaniment. Thinking, ah! I'm fondly thinking. C. A. White. 30 A pleasing reminiscence of boyhood's years. music.

Good

Mr. Doane sustained, with the exception above mentioned, the thankless and often unappreciated duty of accompanist. He however performed a solo, and took the second part in a duo with Mr. Petersilea. The fact that the concert was undertaken for his benefit, and the intense enthusiasm with which he entered into and arranged all the preliminary details, enlisted the interest of the audience in his behalf. He certainly labored most ambitiously to gain the public approval and he deserved it. His solo was an Andante and a Presto movement from Mendelssohn. His touch is not as crisp and vigorous as that of Mr. Petersilea, neither has his style that character, and in playing upon the same stage with that gentleman he Love hailed a little maid. Ballad. W. Ganz. 40 exposed himself to a comparison which would not siasm and determination than himself. His touch is have been risked by anybody with less artistic enthumarked rather by delicacy and sprightliness than by Parted friends may meet again. Song. W. W. Gilchrist. 30 precision and energy, by tenderness and expression sion gained from the not altogether favorable test of Happy hearts are free. Concert song. K. Merz. 30 rather than brilliancy-at least that was the impreslast evening. He is an artist of great promise, and we hope he will give us another hearing. It will be a friendly one. We understand concerts are to be given by the same company in this city, Hartford, Saratoga, etc.

A piquant rencontre, charmingly described. A decidedly pleasing song.

A piece of excellent sentiment.

A very powerful and brilliant song, and well calculated for a strong voice and energetic manner. Only moderately difficult.

Whom but Maud should I meet. Song. Balfe. 50

Tennyson's words make music almost in them-
selves, but Balfe has shown a fine appreciation of the
master in this exquisite arrangement.

Clear and Cool. (The Brook.) Song. Dolores. 50
Words by Kingsley, and the song is very impressive
and of a high order. Capital for Contralto voices.
Found dead. Song.

Very pathetic and plaintive.
Something sweet to think of.

W. H. Day. 40 Song and Chorus.

Dr. Ordway. 30

Dr. Ordway's compositions have attained a great popularity, and this and his other recent songs may well circulate as freely as the others. Leaf by leaf the roses fall. Song. A. Vane. 40 Very beautiful in every way. Illustrated title. Golden smile of parting day. Song. M. Keller, 30 Heart broken child.

30

Well written. The last a temperance song. I'll forgive thee, "bye and bye." S'g. Musgrave. 30 Very well turned is the phrase, and nicely accompanied by the music.

Meet me early. Ballad.

Gugliemo. 30

Either early or late, he was pleased to see her. The Brook. (Wohin). "Maid of the Mill."

"Our musical readers will learn with pleasure that the house of Messrs. Ewer will shortly publish some important works of Mendelssohn, which his executors have only just decided on allowing to appear. The first composition to be brought out will be the concert overture in C, known as the 'trumpet overture,' from the frequent recurrence of a characteristic passage for that instrument. This work was written in 1825, and was performed at the Dusseldorf musical festival in 1833, and two or three times by our Philharmonic Society, but was withheld from publication by Mendelssohn himself. The most important promise, however, is that of the production of Mendelssohn's great Reformation Symphony, in D minor, a work composed in 1830, in celebration of the German Reformation Festival. Mendelssohn wrote the Reformation Symphony during his stay in Rome, probably incited to the composition, as Mr. Benedict says in his memoir of the composer, 'by the sight of the mongustine monk, had been resident.' As the work was astery in which Martin Luther, whilst still an Authe result of the same period that produced the materials for his Italian symphony, as Mendelssohn has said to have been much pleased with it at the time, and as he frequently played a transcript of it on the piano-forte to admiring hearers, among whom were some of the most eminent musicians of the day, it is fair to assume that this symphony, so long withheld, will prove a rich addition to the already published works of its composer. Others of his posthumous works are also promised for publication, comprising an eighth book of Lieder ohne Worte,besides some detached songs and piano-forte studies. In the present comparative dearth of creative musical genius, the prospect of the appearance of such art treasures is most welcome and gratifying, and it is to be hoped that their publication will lead the way to that of Mabel Waltz. 4 hds. (Social hours.) others of the many works of their composer which still remain in manuscript."

Schubert. 40

One of the songs included in Schubert's "Cyclus," wherein the pretty maid figures in almost every one of about 20 songs. Very taking.

Instrumental.

Carousal. Paraphrase of "We won't go home till morning." S. G. Pratt. 60

A clever piece, in which the jovial songs of the topers, the groans from the "dead men" uuder the table, and the subsequent head-aches, are skilfully rendered into music.

Fine for learners.

Fète Hongroise.

S. Smith. 60
Brilliant arrangement of a Hungarian Mazurka.
Keller's Am. hymn. Trans.
By Grobe. 50

On Miss C. Laura Harris's appearance at the Ital-
iens in Paris, in place of Mlle. Patti, ill, M. Escu-
dier makes the following remarks in La France Mu-
sicale: "It is a deplorable system, that of producing L' Jet d'Eau. (Drops of Water).
on the stage of the Theatre Italien artists unknown
or untried, whom the provinces could hardly sup-
port. Thus we had, a few days ago, the pain of
hearing, in the "Sonnambula," in the stead of Mlle.
Patti, who at two o'clock only in the day announced
herself ill-probably on account of the unsatisfactory
state of the treasury-an American Mlle. Harris, wor-
thy at the most of figuring on the stage of the Bouffes-
Parisiennes. Imagine a wee little girl of eighteen
years, with a thread of thin voice, which rises, rises,
like the continuous chirp of a grasshopper, without
cause and without aim; a slight figure; a childish
mien; and all this devoid of study, method, intelli-
gence, or spirit; and you will have something of an
idea of the new Amina."

In Grobe's well-known and useful style,

S. Smith. 75
Arpeggios and runs in profusion, like diamond
drops from the fountain.
Wood Chapel. (Wald-kapelle).

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THE WESTERN MUSICAL WORLD.-A Monthly Journal of Music and Literature: each number containing a choice selection of new vocal and instrumental music, and a large amount of interesting musical reading, consisting of ORIGINAL TALES AND SKETCHES, MUSICAL STORIES, INSTRUCTIVE EDITORIALS, CORRESPONDENCE, News, GOSSIP AND INTELLIGENCE, from all parts of the world. It is printed on the best an elegant volume for binding at the close of each year.

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A charming lively Serenade, with an excellent chorus, sure to be one of the most popular Songs ever published.

Mozart. 40

A lovely German Air, with Variations, decidedly one of the best pieces of that favorite Composer. Fairy's Musical Box.......... Welstone. 25 A charming imitation, very good teaching piece. Mazurka in G minor, Op. 67, No. 2. ......Chopin. 20 The most pleasing of Chopin's posthumous works, it will be a favorite with all lovers of good music; and forms No. 20 of the justly celebrated Golden Treasury. Cascade de Rubis... Smith. 75

Andante from Trio William Tell.. ....Prudent. 85 L'Esperance Mazurka de Salon. ....Green. 35 Canon, Op. 56........ ...Schumann. 40 ...Jullig. 20 .Henselt. 30

Howe. 85 Green. 35 ...each, 60 These Favorite Studies are published with great care and correctness.

Duvernoy Ecole de Mecanism, Op. 120, Book 1,

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WINNER'S PERFECT GUIDE for the Piano, Violin, Flute, Melodeon, Cabinet Organ, Guitar, Accordeon, Fife, Flageolet, and Clarionet, designed in its Lessons, Examples and Exercises to impart a Knowledge of playing without the aid of a teacher: with selections of choice Music. Price of each book 75 ets. Sent post-paid. OLIVER DITSON & CO., Publishers, 277 Washington St., Boston. CHAS. H. DITSON & CO., 711 Broadway, New York.

PIANOFORTE MUSIC,

CHOICE! SPARKLING! BRILLIANT! Will be found in the New Collection entitled, "The Pianist's Album," just out. containing all the popular pieces that are invariably called for, and with which every player should be familiar. Adapted to the capacity of the majority of performers. Price, Plain. $2 50: Cloth, $3 00; full gilt, $4.00. Sent post-paid. OLIVER DITSON & CO., Publishers, 277 Washington Street, Boston. CHAS. H. DITSON & CO., 711 Broadway, New York.