« VorigeDoorgaan »
the orchestra that night. Mme. JOHANNSEN, if | life ideals, of Freedom, Joy and Harmony ! which copious selections from Spohr's "Last Judgin no sense a great singer, is one who has the Another time we hope to have Fidelio whole ment" and Haydn's “Passion” were sung, and
which we regretted to lose. true feeling of such music, and who rises with and thoroughly rehearsed. the occasion. With the wonderful dramatic and musical climax of Beethoven's opera, her power
This No. 1 of Volume XI. commences the sixth year of
CONCERTS. grew, and she sang this scena, though not in per
our Journal. We had hoped to make it a specimen number, fect voice, nor always in perfect tune, with fine
Great things, pretty things and poor things have as to variety of contents, &c, by which its future might be
so jostled each other in this crowded musical week effect. For orchestra and singer it is the most
judged. But, besides the pressure of clerkly added to editorial difficult, as well as perhaps the grandest scena of of Boston, that there has been scarcely time for hear.
cares, Fidelio has come upon us, at an unlucky time for us,
and quite pre-occupied our colamns to the exclusion of news ing and digesting, to say nothing of reporting. But the kind in any opera.
domestic and foreign, reviews, discussions of church and No. 10. Finale of the first act, Chorus of the verily it is a rich week which gives us in its seven
school music, and even advertisements. The number therefore prisoners, who are let out to greet the light. A
days the Requiem of Mozart, Beethoven's Fidelio for is no specimen, and but an accident. We shall try again. wonderfully beautiful piece of music, pervaded
the first time, Beethoven's fourth Symphony, parts by an orchestral figure which indicates the light | and buoyant sense of breathing the free air;"
of his C minor and one of Mozart's Symphonics, the strain alternates with dark allusions to the
Beethoven's B flat Trio (THALBERG at the piano), prison cells; it is full of answering phrases of the overtures to Oberon and Tannhäuser, and the
THALBERG'S the voices; and one, a tenor, sings a strain of
hosts of smaller things which we shall mention, if gratitude and trust in God; then all unite again memory serve us. The fourth Symphony and Tann. LAST CONCERT, in a thrilling climax upon the word Freiheit,
hauser overture were played at the Afternoon Concert AND LAST APPEARANCE IN BOSTON, (freedom)! Then come whispered cautions: of the ORCHESTRAL UNION. Nearly all the rest
AT THE we are watched; then voice after voice again, as has revolved ostensibly or really about the TAAL
BOSTON MUSIC HALL. BERG centre, at first, fall into the original strain : “ () what de
And first (in order of memory) the delightful light, in the free air, &c.” As the prisoners Soirée at Chickering's on Saturday evening, when
Saturday Evening, April 4th, 1857. withdraw, there is a dialogue between Fidelio | we enjoyed Thalberg more than at any time before GRAND COMBINATION. and Rocco. Her desire to go down into the cells or since, and when he played this extra choice se.
MADAME D'ANGRI, MRS. BARROW, with him is granted. This in spoken dialogue, lection : followed by recitative; then in an Allegro moallo 1-Trio. (B flat). ...
The entire German Opera Troupe :
........ Beethoven movement he informs her of their first task, to
Mr. Thalberg, Carl Bergmann, Theodore Thomas.
MME. JOHANNSEN, MME. VON BERKEL, 2-Fantasia. "The Iluguenots."..
Thalberg dig that grave, alludes to the poor half-starved
MESSRS. WEINLICH, BEUTLER & OEHRLEIN, 3-a. Ave Maria-b. Serenade......
..... Schubert prisoner, &c. She hopes to see her husband, and 4--Marche Funebre.......
MR. SCHREIBER, CARL BERGMANN, 5- Etude (Repeated Notes )....
...... Thalberg so does not shrink. Then the duet assumes a
And a FULL ORCHESTRA. 6-Adelaide........
.Beethoven flowing Andante movemet in six-eight rhythm, 7-Airs Russes......
Selections from “Fidelio," « Freyschütz,” & “Don Giovanni," beautiful and strange, in which the ear is charmThalberg played the Trio admirably, especially the
by the German Opera Troupe. ed, but your soul shudders: “ We must straight Scherzo, which we never heard come out with such
MR. THALBERG to work." " I follow, were it to my death," &c.
Will play another of Beethoven's Concertos, the one in E flat,
and Five other Pieces. Then Marcellina and Jacquino rush in and give energy and clearness, such effectiveness in all its
MRS. BARROW points. Mr. Thomas is an excellent violinist, firm the alarm: Pizarro comes in a great rage that
Will recite & Poem from a celebrated author. the prisoners are out. The jailor's excuses are and true, and our old friend BERGMANN's violoncello
THE ORCHESTRA will play Overtures and Selections from it did one good to hear again. The Huguenots is the quite touching : “ The coming in of Spring......
Symphonies by Beethoven, Mozart and Weber. most grandiose and interesting of all Thalberg's the cheerful warm sunlight......and then (a touch
fantasias, and we were more than ever astonished by Soats ONE DOLLAR-may be had at Russell & Richardson's. of patriotism) it is the king's Namens-fest.” The
the mass of pure tone which he rolled out in those forpoor prisoners are ordered back, and their ex tissimo full chords of the religious theme, and his
A CONCERT quisitely pathetic chorus: "Farewell, thou warm inimitable climaxes. Chopin's March was rather
-OFsunlight," with expressive orchestral accompani hurried; but the transcriptions from Schubert's and English Cathedral and Oratorio Music, ment, and with the quintet of principal char Beethoven's melodies sang themselves most exqui
By a powerful ANTIPUONAL CHOIR, (the “ Boston Chorigacters, (each characteristic: Marcellina and sitely. Thalberg was evidently inspired that night by
ters' School,'') will take place at the Jacquino commiserating, Fidelio full of his purthe new Chickering instrument, which combined
TREMONT TEMPLE, such even purity and sympathetic quality of tone, pose, Pizarro urging on the jailor, the latter with such power and brilliancy, and such perfection
On Wednesday Evening, April 15, at 7% o'clk. lamenting his cruel duty), brings the act to a of touch, as made it a delight for him to play, as for
The music of the first part of the Concert will be introduced grand musical and dramatic conclusion. Nothing
by brief historic and explanatory notices read by Alex. W. his audience to hear.
TAAYER, E«q. could be finer than this Finale, which is thor He has also given two more Matinées ; one on For programme see future advertisements. Single tickets, oughly original and Beethovenesque; but our Fridav, March 27, when he plaved his fantasias on
50 cents, or three for $1, to be had at the music stores and at
the Temple. “Orpheus” friends, who had never been upon Don Giovanni, Semiramis and Lucreziu Borgia ; his a stage, nor sung with orchestra before, and who Etude with repeated notes, and Tarantella, (two of
his most delicate bits,) his Concert Waltzes; and on had had but one rehearsal, made but sorry work
NEW MUSIC, of many parts of it. the Alexandre Organ the finale from I Puritani,
JUST PUBLISHED BY Between the acts we would gladly have heard
which showed the instrument to better advantage J. H. HIDLEY, No. 544 Broadway, Albany. the Leonora overture, (No. 3) which is quite
than before. often given in this way abroad, but there was no
Of the third Matinée, on Monday, this was the
LA Conquête, Morceau de Salon, by AUGUSTE Scheme:
GOCKEL, ............................. lack of instrumental prelude without it. The 1- Fantasia. “Prayer of Moses.".................. Thalberg
MARCHE D'AURORE, pour piano, par A. GOCKEL,..50 second act is preceded by a very slow, dark, 2-Etude.......
L'ONDINE, Morceau mysterious and sublime orchestral introduction, 3-Barcarole..........
SOMETHING SWEET, (comic medley) 0. A. ARCHER, 30 4-Fantasia. “Airs Russes."..
THE WITCHES' GALOP, for piano, by M. LIEBICH, 35 shadowing forth the gloom and silence of the
5-Songs without words ...
.......Mendelssohn dungeon in which Florestan is pining, and on
6-The Last Rose of Summer.... which the curtain rises. But we have left our
BOSTON MUSIC SCHOOL. 7-Fantasia. “Masaniello."....... ......... Thalberg The object of this institution is to furnish & solid musical selves no room to go through the opera at this
education in all its branches, practical and theoretical, to those rate, and must postpone the remainder.
Mozart's Requiem, sung for the second time by the who intend fitting themselves for the profession, either as
artists or teachers We can only add that the second Act, every HANDEL AND HAYDN Chorus, with quartet of solo by Instruction will be given in the following departments, moment of which is of intensest interest, musical Mrs. Long, Mme. D’ANGRI, Mr. ARTHURSON and System of Notation, Harmony, Counterpoint and Fugue, and dramatical, was much less poorly rendered
Composition with reference to Musical Form and InstrumenHerr WEINLICH, deepened its impression on a large
tation, Vocalization, Practice in Chorus Singing, Piano Forte, than the first, and did produce a deep impression; audience Sunday evening. The German basso made
Violin, and any of the Orchestral Instruments. Each pupil that Herr BEUTLER, although his tenor is weak, sad work with Tuba mirum, but his voice told well will be required to devote himself practically, either to the
cultivation of the voice, or to some one instrument, as the in concerted pieces. A so-called “Sacred Concert " and required transposition, sang the touching
followed the Requiem, in which THALBERG played his main object of his study, with a view to artistic excellence as a soliloquy of Florestan with much true expression; Huguenots, Prayer from Moïse, his Andante, and his
solo performer; and, as incidental to this, and necessary to a that the grave-digging scene was finely done, and Marcia Funebre, which we thought insignificant.
thorough knowledge of his art, some insight into theory, and
a sufficient practice of the Piano Forte to enable him at least that Mme. JOHANNSEN revealed high lyric power JOHANNSEN sang the old church air: Pietá, Signore,
to accompany, will also be deemed essential. and feeling throughout the scene, particularly in by Stradella, admirably; D'ANGRI the Ah! mon fils
There will be two terms each year, commencing on the first in very perfect style, almost atoning for her vile It
Mondays of April and October, and continuing twelve weeks. the startling climax: “Kill first his wife !”
R-r-r-ataplans; and the Hallelujah Chorus closed the A pupil may be admitted at any stage of his musical progress, was a great pity to omit the duet of recognition whole.
and commence with whichever class the board of Instruction between wife and husband : O namenlose Freude, Tuesday evening Thalberg gave a “grand Festival
may deem him qualified to enter.
Certain evenings in the week will be appointed for the Concert,” with an orchestra, led by BERGMANN. The and the magnificent choral Finale, in which the
practice of chorus singing by the whole school united, and also stage should be flooded with people, and which overture to Oberon, first movement of Beethoven's C
for solo perfornances, vocal and instrumental, before an minor Concerto, extracts from two Symphonies, five or assembly of invited friends. Beethoven has wrought up in the spirit of the
six fantasias by Thalberg, five or six pieces by Mme. The price of tuition will be $20 a term, payable in advance Choral Symphony. even borrowing here as there D'Angri, made a very rich, but overloaded programme, at the commencement of each term, and $2 entrance fee. a verse from Schiller's Hymn to Joy: that one, which was increased by the senseless “encore swin The school will go into operation the first Monday in April namely, which begins : “ Who a lovely wife holds dle" to some seventeen in all. It was an enthusiastic
next. The classes will be formed on the Saturday previous at
11 o'clock A, M. at Mercantile Hall, Summer St. audience. dear, mingle in our Jubilee," and in which Beet
Board of Instruction :-B. F. BAKER, J. W. ADAMS, LEVI P. During the week, also, the Geruar: Trio have
HOMER, and J. C. D. PARKER. hoven's peculiar longings for the joys of domes
given their sixth and last Concert, and the MEN For further information address B. F. BAKER, No. 4 Rowe ticity found utterance as earnestly as his great deLSSOHN CHORAL SOCIETY a private Concert, at 'Place.
the cufficient practice so be deemed esse commencing
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O Death, where is thy sting. Duet, A. T. THE GOLD MEDAL.
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Ap allowance of one third off the marked price is given to
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A Paper of Art and Literature.
WHOLE No. 262.
BOSTON, SATURDAY, APRIL 11, 1857.
VOL. XI. No. 2.
Dwight's Journal of Music,
At the OFFICE OF PUBLICATION..
21 School St. Boston.
Providence. R. I.
* C. BREUSING..
* G ANDRE & CO.....
* MILLER & BEACHAM,..181 Baltimore St. Baltimore.
Weber was, like Mendelssohn, of a feeble con been in a great measure led and borne along by
stitution, sickly, sensitive, and irritable. The circumstances, instead of what is indispensable PUBLISHED EVERY SATURDAY.
consequence was mistrust towards himself and to a great artist) standing above them and conTERMS: By Mail, $2 per annum, in advance. others, so that, much as his otherwise large and trolling them. In a distinguished Berlin circle, When left by Carrier, $2,50
noble character strove to suppress it, he was not -I am not sure whether it was at Mendelssohn's SINGLE COPIES, SIX CENTS. entirely free from envy.
or at Fouque's,--he made the acquaintance of
But being on the other hand, as we have said, the authoress, Helmine von Chezy, who read there J. S. DWIGHT, EDITOR AND PROPRIETOR.
full of a deep, noble and essentially true German in his presence her opera poem, Euryanthe.” EDWARD L. BALCH, PRINTER.
feeling, he exhibited this latter very early in the No spark could kindle up more quickly than D OFFICE, No. 21 School Street, Boston. urgent way in which he repeatedly conjured this poem in the mind of Weber, so susceptible
Meyerbeer—who in his first period inclined to to all that was noble and etherial. Those tender, SUBSCRIPTIONS RECEIVED
the Italian taste and manner--and, when he met etherial, womanly rhymes, with their almond By RUSSELL & RICHARDSON, 291 Wash'n St.
him in Dresden on his return from Italy, besought bloom, their chivalrous romance, their mystical « CLAPP & CORY,.
him with tears in his eyes to become German demonic element, their splendid and darkly .701 Broadway, New York. 66 SCHARFENBERG & LUIS, 769 Broadway,
again in his compositions, and to remain so, and brooding intrigue! What a rich field for descrip" GEORGE DUTTON, Jr.,
306 Chestnut St. Philadelphia. no longer deny his nationality--not considering tion, for revelling in all the shades of sentiment, ** JOUN 11. MELLOR,
. Pittsburg, Pa.
at all, that he was here appealing more to Orien for melting melodies and awe-inspiring harmonies! 4 W. D. ZOG BAUM & Co.,
Savannah, Ga. tal than to German blood. But what was most There moved at that time in those circles a 1 W. P. COLBURY,
Cincinnati, O. " IIOLBROOK & LONG,
Cleveland, O. remarkable about it, some peculiar fatality, or small reviewer, (Refendarius), in whom we meet
chain of harsh experiences, led this same glowing soon after one of the sharpest musical heads, now For Dwight's Journal of Music.
advocate of the pure German, this same Weber, world-famous as a theorist,* who shook his head Characteristics of C. M. von Weber. in his later years, to lean to the Italian music and prophesied no good result from an opera By Dr. HERMANX Zorry, of Berlin.
more than any other native German composer. text so full of faults, and especially upon the It has become more and more common, in esti I but allude in passing to the real triumph g round that the people's first enthusiasm had mating artists, to consider the circumstances
which Weber celebrated with his Freyschülz, as passed, and that this middle age chivalrous rounder whicn they have produced their works. a genuine German national opera, which he was mance was already too remote from all our symYet few have thought enough of the importance obliged to conduct at Berlin, (where he had be pat hies, to take a lasting hold on many minds. of viewing these circumstances in the light of the come the king of Prussia's kapellmeister,) fifty
But Weber listened to him with distrust; he was special individuality, the temperament, the char times within one year, and by the publication of outvoted by Fouqué and Tieck, and finally igacter of the man, especially his mind and every which the house of Schlesinger in Berlin acquired | nored by all. In short Euryanthe was swallowed intellectual influence upon the same.
the name of “ the Freyschütz house.” Various whole in this concio in pleno. Weber, naturally In this regard unquestionably Weber and circumstances, to be sure, conspired to produce at the head, heard and saw nothing. They saw MENDELssohn, those two leading representatives this most remarkable success. Besides his good the lameness and the want of action, saw the obof musical Romanticism, have much in common, fortune in a text precisely suited to his nature, scurity and the unsatisfactoriness of the catasin spite of the great difference in outward mani which
gave him an opportunity to provide a last-trophe, saw above all that a successful lyric poetfestation, and especially in the outward relations ing place for his favorite people's melodies, col ess was far from being equal to a drama. At the amid which they wrought.
lected in Bohemia and Ilungary, there was the first representation in Vienna, these defects ob. C. M. von WEBER, so far as Art was con excitement of the times, the period of the war of scured the beauties of Weber's music. The cerned, spent his youth in rather a wild and liberation ; there was the awakening of the Prus Viennese, who in connection with the failure of irregular manner, as his youthful compositions sian, the German people, to a livelier national important operas, such as the Idomeneo of Mozart, clearly show. Not until he studied, in company feeling than has been shown since; these greeted his Don Juan, and furthermore the Fidelio of with MEYERBEER, under the Abbé VOGLER, this romantic opera as their own possession, all Beethoven, had earned a proverbial fame, not was there more intelligence and clearness in his the more gladly, since a people inspired with the only let the Euryanthe fall completely through, in efforts, and here he received at least a genuine thought of self-emancipation, and consciously spite of the most carefully prepared performance, impulse in regard to contrapuntal studies. living in a heroic period, always inclines to the in which the first and most distinguished It is well known that Meyerbeer learned here, romantic,
singers did their utmost to produce it in a worthy $0 to speak, as much again as Weber, in whom In short, Romanticism had acquired a various and successful manner, but the popular wit of the consequences of a, not to be sure careless, foothold in this opera; it even went so far, not the Viennese took compassion only too soon on but yet not well regulated education were very reckoning some downright absurdities, as to lift the fatal title, Euryanthe, and changed it into clearly manifested in his want of perseverance.
up and adorn all the more the purely popular Ennuyante. Indeed, when Weber made the In short be was, in this respect, to the regret of and purely natural element. But Weber, at the trial of a second performance at Berlin, this witVogler, totally outstripped by the tough pertinacity same time engaged in the composition of Körner's ticism pursued him there on wings, like a fate, in of Meyerbeer, and never could attain to the same Songs of Freedom, felt here in his element, and spite of the then extremely slow and difficult eminent dexterity in harmony and polyphonic grew more and more at home in it; he revelled communication. Besides, the Euryanthe, at its composition."
in it, like every tender nature, unconcerned about first produetion in Vienna, was half as long again the causes of the success in this one case.
as in its present dress; for Mme. Von Chezy in * For instance, the attempt at fugue in the overture to Euryanthe, which is splendid in invention, but
All the more bitterly therefore was he soon her lyrical effusion could not find an end; and lame in execution.
undeceived and taught to recognize that he had * The celebrated Professor, Dr. A. B. Marx.
so it happened that the greatest beauties of the Weber. From that day, the progress of the dis- charm about this andante. The return of the composition were overlooked and found fatigu
ease which was consuming him became fearful. subject is effected by a crescendo, and takes
On the 2d of June, before the performance of ing by the superficial pleasure-seeking public of
place in E flat, ending in a coda, quasi à l'ItalDer Freischulz, which he was directing, he wrote ienne. As for the finale, it has been frequently Vienna, who had expected a second Freyschütz, | his wife a touching letter, in which he described | executed at the Société des Concerts of the Cononly with even more, if possible, of people's his sad presentiments as to his approaching end. servatory. Nothing can be more original than music. Criticism chimed prudently in, and even Three days afterwards, he had ceased to live. the commencement of hautbois and bassoons. among learned musicians this noble work found
Oberon is the work of a master, and has never The duet between Rezia and Fatima is delight
left the repertory of the German theatres. But | fully spirited, and the march of the Guardians small response. Even Beethoven himself, at
almost everywhere, in Germany as in England, of the Harem," executed on the stage, in combileast at first, pronounced a rather hard judgment the execution is defective, as far as the vocal part nation with the choruses and the vocalisés of on it, although in the justest manner. He missed of it is concerned. In assimilating this work to Rezia, forms a most pungent whole. decision, firm carrying through of characters,
the French stage, the first and ruling idea was to A march which, in the original score, forms
present it to the public in a becoming and com part of the finale of the work, is now introduced found fault with the composer's revelling in soft and
plete manner. Nothing could be more legitimate between the acts. Weber here gives us, fortissisweetish melodies, and his ever ready “back ihan such ambition, and the entire audience, mo, the introduction of his overture, a curious doors," as he called those transitions with the so ravished and enthusiastic, sanctioned the hardi repetition, which will escape more than one hearcalled superfluous sixth* chord, which had behood of the enterprise.
er. The chorus of the harem, which, in the
But before paying each person the tribute of second act is linked with this piece, is highly come one of Weber's hobbies, and characterized
praise due to him in this revelation of Oberon, characteristic. Fatima's arietta strikes us as his overtures as potpourris and epilogues, faulty we must mention the valuable services and labo somewhat vague in the first part, but the termiin as much as they might serve for postface rious efforts of the conductor, M. Deloffre. This nation is charming. It is followed by a quartet better than for preface.
excellent artist, during his long sojourn in Eng commencing as a duet in a very graceful manner, (To be continued.]
land, had frequent occasions of hearing and exe- | and ending in an ensemble borrowed from the cuting himself Weber's entire score, fragments of principal motive of the overture. This quartet
which he had previously interpreted under the is succeeded by the invocation of Puck, a grand Weber's "Oberon" in Paris.
direction of Habeneck. No one could, therefore, and admirable scene. The morceau of the temTranslated from Le Ménestrel.
be better calculated for the task, with reference pest is simply a master-piece of genre, and may Till very lately the Carvalho management had
to an exact acquaintance with the traditions, the be compared to that in the overture of Guillaume proved its skill and success-two excellent ele
secret of the details, and the organization of the Tell and the Pastoral Symphony. Another ments, no doubt, for carrying on a theatre. To
whole. Assisted by his recollections, M. Deloffre master-piece, in a more tender style, is Huon's day it has a new claim on us, and has acquired a
set to work, and has succeeded in accomplishing prayer. This piece, accompanied only by the right to the gratitude of the musical world and
a formidable task---a triple collaboration ; he was tenors and violoncellos divided, produces most of true artists. Its revelation of Oberon will be
obliged to help the writers of the libretto in the strikingly the effect of an organ. What a model, accounted as a real mark of honor for it. Ohe
appropriation of the words; to consult and com and what an example for many modern comporon, that last chef-d'œuvre of Weber, was known
pare the German score, the original English sers, who seek their effects in the number of to the public of Paris only by a few fragments
score, and that of the library of the Conserva- | notes! We then have Rezia's scene and air, a executed at concerts, and by the overture, a ma
toire, in order to become completely imbued with worthy counterpart of the great air in Der Freijestic preface, stamped with that fantastic poetry
the intention of the author, and to remain true to schütz. The finale of the second act is well known of which Weber's genius seemed to have concen.
the text, to the music, to the various nuances and to concert-goers, who will recollect the charming trated the essence. A few musicians alone were
varieties of expression : he undertook this work little duet between Puck and Oberon, with a initiated in the treasures of the score, and hoard
by degrees. When all these materials had been | violin solo, to which is linked the chorus of sea ed them up in their souls. We are speaking of
well combined, there was still another task to be nymphs, a combination which imparts to the end the musicians of Paris, for London has enjoyed
accomplished : the vocal and instrumental study, of this act a most mysterious coloring. the good fortune of kouring the entire work by
the labor of the rehearsals, and the direction of The third act differs greatly from the first two, the light of the font. London had the first fruits
the orchestra. hporssant toil for three months as far as the musical character and type are conof Oberon- & melancholy piece of good fortune,
and indefatigable solicitude-such are the bonds cerned. It seems as if all we hear now is merely alas! since it was, also, Carl Maria's dying strain
by which M. Delofire is associated with the fitting light music, and pic sia the comie opiera style. of the swan.
production of Oberon. The theatre will not for Fatima's arietta and the following duet partake We know under what circumstances the imget, and the artistic world will recollect it.
of this character; the duet terminates in a 6-8 mortal author of Der Freischütz composed Obe
The subject of Oberon is as naïve as that of movement, written altogether in the happy spirit ron. After the success of Preciosa, the German
Die Zauberflöle. What do we care about the of Weber's rondos. The following trio forms one managers, anxious to bring out the new works of
king of the fairies separated from his wife by an of the finest pages of the work. We will say as this master, besieged his door to obtain operas.
incompatibility of temper, or about the puerile much for the seduction scene, the principal moEuryanthe followed very closely the score of Pre
love of Sir Huon of Bordeaux, for the daughter tive of which is remarkable for its grace and ciosa. This time success was counteracted by
of the Caliph of Bagdad? Let us devote our freshness. Lastly, a most original waltz, and the the complete nullity of the poem, to which it was
attention to Weber's music, and enter on the con- | final chorus on the apotheosis of Oberon comimpossible to listen without being wearied. The
sideration of a score which all Paris will wish to plete this magnificent score. libretto killed the music.
know. Let us listen to the splendid overture, We said just now that a tenor de force was reWeber, who had become the spoilt child of the
commencing with the mysterious summons of quisite to resist the vocal and instrumental masses public, felt this failure very sensitively. His mel
Oberon's magic horn; a fine phrase of the violon in Oberon. Such a tenor has been found: his ancholy character was affected by it, and, conse
cello comes to lend a coloring to this introduc- | name is Michot. The public were as much surquently, when asked to write a work for Covent
tion ; it terminates by a chord fortissimo, which prised as charmed at the vigorous manner in Garden Theatre, London, he began by refusing.
seems to separate us abruptly from the domain of which Michot, a pupil of M. Guillot, acquitted The perseverance of the envoy triumphed, how
fancy, and bring us back to the actual world. | himself of the part of Huon of Bordeaux. In ever, over Weber's will.
The allegro is full of spirit and grace. A melo- | his air of the first act, so difficult to sing, the " When shall you be ready?" inqured the en
dious song of the clarinet, a phrase of violins finale, and all the concerted pieces, he was most voy.
taken from the body of the score, a return to the warmly applauded. Madame Rossi-Caccia, for* In eighteen months," was the reply.
principal subject, and, lastly, the vigorous pero- | merly one of the stars of Favart, represented The ambassador cried out at this; the time
ration of the violins, complete this admirable very conscientiously the character, rather young named struck him as too long.
overture—which was encored, a thing unheard for her, of Rezia, the daughter of the Caliph of "I shall require three months to read the book of on the stage.
Bagdad. She sang her air in the second act with of Oberon; three months more will be necessary
The introduction of the first act, (the chorus a great deal of animation. for me to understand the plot of it, and I shall
of fairies), corresponds in coloring with the com Fromant is an unsatisfactory Oberon, but we take twelve to write the score.”
mencement of the overture. It is the same in know that this king of the fairies who gives his At the epoch named, he was ready.
strumental design. Oberon's air, which follows, name to the work, plays a very secondary part in On the 2d of March, 1826, he embarked for
affects the form of a recitative, except a single it. To Mme. Borghese, (Puck), and to Mme. England, already suffering from the first attacks
phrase with a melodic turn. The vision of Rezia Girard, (Fatima), we offer the most sincere of a complaint of the chest, which was destined
is formulated by a simple recital ad libitum, with praise. Both excellently accomplished their task. to allow him no repose till his death. On the
a harp accompaniment. After this, there is a Mme. Girard sang her air of the second act with 12th of April, an eager crowd were awaiting the
great scene between Huon, Oberon and the fair real expression. Her charming aria in the third rising of the curtain at Covent Garden Theatre.
ies, the finale of which is most energetic; it re act was encored; the suave and celebrated roOberon obtained only a success d’estime, which
quires a real tenor de force-a singer who can mance of Puck, (Mme. Borghese), was also en. has since increased.
give the high B flat from the chest to resist the cored. Girardot undertook to enliven the audiThis blow to his amour-propre proved fatal to
masses which accompany him. Huon's air which ence under the rather trivial type of Aliboufar.
succeeds this scene is of a chivalrous character. But to the orchestra belong the honors of the * For instance: (from B flat major to D major)
The first part of it appears to be transposed half evening, for it truly distinguished itself. It reapwith the chord : 6 flat, d, f, g sharp to a, d, f sharp, a; , a tone lower.
a tone lower. The andante, restored in the orig.
The andante, restored in the ed the largest share of the bravos of the audience, a very striking, softly sweet harmonic succession, of inal mode, calls to mind the phrase announced and it was but right it should. genuine romantic coloring.
I by the clarinet in the overture. There is a great! The mise en scène, likewise, enjoyed its ova
tions; the scenery, the costumes, the tempest in and his Men.” Among the living, Meyerbeer | Piccolo and Organ Diapason. The bass runs the second act, the final tableau, the amusing stands lofty and unapproachable as Olympus, in down to what is termed 16 ft. C, and all the scene in the compulsory dance, and the apotheo- the grandeur and variety of his operas. He effects of light and shade depend upon the blowsis, form a most attractive sight. The magnificent favors no particular school, but combines the chief ing, which takes more skill than strength. A score of Oberon has, we see, been surrounded excellencies of each. His reputation commenced very ingenious thing, called the Percussion Action, with all theatrical splendor. Honor to the Thé with “Il Crociato in Egitto," (in 1825), and | is attached to the * Flute Stop," and with it the âtre-Lyrique !
J. Lovy. reached the highest point with • Robert le Diable,” most brilliant passages can be executed with all
(in 1831) and “Les Huguenots,” in 1836). the promptness and elasticity of a pianoforte
But it must be remembered that Meyerbeer takes | action. The highest priced instruments have Operatic Composers and their Works. a period of five years to compose an Opera, and other like ingenious arrangements for prolonging (From Fitzgerald's City Item).
is besides the most careful of composers in keeping tones, etc., and some have an extra key-board
back every new Opera for some years longer, with an excellent piano attached, (all in the same Some musicians compose at such a rate, as if to
case,) and one was made for Liszt with “ Grand give the world assurance of a “plentiful season;" produced with the greatest possible eclat. With Piano" combined, that cost several thousand and as though to provide against the inevitable Meyerbeer we close our list of remarkable men. dollars. The tones are all produced by what is " dearth" of original talent, the “barren years". Verdi is still a young composer who has much 10 called flat reeds, which take very little room, and in the annals of musical art.
do yet for posterity. At another time we will a pipe organ of the same power would occupy six There are others again who employ a lifetime resume the subject. In the meantime we subjoin times the space and would also cost three times as with one single work, that is to make their a list of the principal composers with their works: much as one of these fine little instruments. reputation for evermore. Examples of certain
Auber, 40 operas; Adam, 30; Balfe, 16; Bellini,
Alexandre & Sons, of Paris, the makers, have the composers of the dramatic art will prove very
10; Bishop, 75; Boildieu, 31 ; Carafa, 31; Cherubini, greatest of European reputations and their cirentertaining. We will only cite the most cele 31; Cimarosa, 76; Donizetti, 63; Fioravanti, 25; culars contain high testimonials from such men as brated of these names. The earliest and at the Galuppi, 52; Gluck, 50; Gretry, 60; Guglielmi, 80; Auber, Adam, Liszt, Berlioz, Thalberg and same time most productive composer of renown
| Halevy, 31; Handel, 42; Haydn, 25; Herold, 26;
others. The same style of instruments, under the was Scarlatti, (1650-1725,) who managed to bring Lindpaintner, 26; Lulli, 45; Marschner, 20; Mehul,
name of “Harmonium," are now made in this forth nearly 200 Operas; certainly none equal in 49; Mercadante, 47; Meyerbeer, 18; Mozart, 18; country, but the quality of tone does not compare length to the present grand Operas, yet very Pacini, 69; Paer, 60; Paisiello, '150 ; Piccini, 175; with the Alexandre Organs, which are received amazing to consider when we think of his 200 Porpora, 24; Ricci (brothers) 26; Rossini, 50 ; Scar:
direct from the factory by Mr. Bernard, of New Masses, 400 Cantatas, and so 'on to infinity! | latti, 200; Spohr, 12; Spontini, 25; Verdi, 20;
York, the sole importer, who has appointed Firth, Such examples are, however, rare, although the Wagner, 8; Weber, 11 ; Weigl, 46 ; Winter, 54.
Pond & Co. agents for New York, who will attend Italian school has ever been remarkably produc
to any order or inquiry on the subject. tive. Witness the labors of Piccini, (1728-1800,)
Monster Organs. and of Paisiello, (1741-1816), two celebrated | The following table of comparative sizes of composers who have had their day; the former is
For Dwight's Journal of Music. credited to the amount of 175 Operas, while the | some of the largest organs yet built, will be of
A Note to “An Up-Country Doctor." latter was contented with the modest sum of 150! | interest. The number of stops given is intended
MY DEAR DOCTOR:—Since the publication of However, such fertility was due to the good old in every case to represent the speaking stops only. times. Handel composed no less than 42 Operas,
your letter complaining of the management of a cer
Manuals. Stops. Piper, and not one of them has outlived him. His immor St. George's Mall, Liverpool, England. ......4 100 8.000
tain concert in Manchester, I have been waiting for Cathedral, Ulm.........................
7.000 tality is contained in 23 Oratorios, the brightest
some friend of Mr. Satter's to come out and relieve Marien Kirche. Lubec.......
4.700 stars of which, “ The Messiah," “ Judas Macca York Minster, England....................
8000 him from the blame you attach to him in the affair. bæus," " Israel in Egypt," will long yet illumine the Cathedral, Rotterdam, (incomplete). .......
But as no one scems inclined to reply, I have taken do do (when completed)...
7.000 firmament. It is not generally known that Haydn Cathedral, Merseburg.......
8.000 it upon myself to say a word or two, premising that composed 25 Operas, whose " tongues are mute”. St. Paul's. Frankfort...
5,000) to this day. Cathedral, Halberstadt....
I do it only as an act of justice; for I do not know Still, had he never written anything
5.400 St Dopienico, l'rague.......
6.050 else but " The Creation," this alone would furnish
Mr. Satter, except as I have seen him in the concertCathedral, Seville..........
6.300 him with a passport to immortality. The great St. Michnel's, Hamburg....
5.150 room, and have no personal interest wbatever in the St. Dennis, Paris.......
4.500 reformer of dramatic music, Gluck, had composed
matter. St Eustache, Paris.....
4.110 over 40 Operas in the "dolce far niente" style of St Sulpire. Paris.........
5.000 In vour letter, you take it for granted that Mr. his predecessors before he opened his eyes to the
Abbey of Weingarten..
6.775 Church Italhenstadt..
Satter had a hand in getting up this humbug of an fact—that he had done nothing yet for posterity. Cathedral, Beauvois.....
3.210 Eastern Princess, that he lent his name to give some What a gigantic step in the history of dramatic
4 088 prestige to her sham royalty, and that he deserves art! The next ten of Gluck's Operas were of a
the castigation due for whatever insult might have kind that will forever hand down his name and St. Catherine, Ilamburg.....
Bremen (athedral............ deeds to future generations. What Gluck had
been offered to Art on each repetition of the exhibiTemple, Boston..........
8.518 originated was then carried out and brought to the Ashton. Under Lyne, England...
tion. highest point of perfection by Mozart, who has Great George *t. Chupel, Liverpool, England.
4.000 My Dear Doctor, you make a great mistake; in Town llall, Birmingham, England......
4.000 perpetuated his name and fame in the pages of
Concert Hall, Chester, England..........
the city we understand thesc things better. Let me * Don Juan," • Figaro" and " Zauberflöte.” Next Doncaster (hurch, England.......
tell you the facts which seem to have eluded your to Mozart should Beethoven be mentioned. His
3.000 Metropolitan Church, Paris....
3.992 observation, and then I think you will restore our single Opera “ Fidelio" is worthy a niche in the Presbyterian Church, Savannah, Giorgia....3 45 3,300 temple of Fame. The genial Weber has created Collegiate Institute, Liverpool, England. .....3 40 3,600
pianist's image to the pedestal on which it was wont an Opera in “ Der Freyschütz" that will never
to stand, and from which I conceive you deposed it. die as long as Music is endowed with heart and
THE “ ORGUE ALEXANDRE.”—This instru
Some wecks since a person–10 all appearance a soul. The Italian school was in the beginning of
gentleman-called upon Mr. Satter and inquired if this century enriched by the illustrious name of ment, played by THALBERG in his Matinées, and
he was free from engagements on three nights which Rossini, who contributed 50 Operas to the stage recently introduced with effect by Mr. G. W.
were mentioned. On receiving an affirmative answer, of his native country. “The Barber of Seville,"
he stated that on those nights he wished to give conand - William Tell” are his master-pieces. His
concerts at Albany, N. Y. is thus described in the
certs in Lowell, Lawrence and Manchester, and success brought forth a host of imitators; of whom, only Bellini and Donizetti were the most remark
“ Crotchets and Quavers" of the Albany Times : would be glad to have Mr. Satter perform ; adding able. Of the two, Bellini had cultivated the The “ Alexandre Organ" is destined to be as that Pinier, Stein, Heinicke and others would assist. Sentimental school with most success. Of his ten popular and useful an instrument in America as Not a word was said of any “ Princess Kirmazinga." Operas (for he died in the flower of his life) it is now in Europe. For small Churches and He then offered Mr. Satter his own price, and the * Norina," " Sonnambula," and “I Puritani," Chapels it is the best thing to take the place bargain was struck. Doubtless a similar managewere most successful. The latter opera gave of a good organ that can be obtained, (and much
ment induced the other gentlemen to join the troupe. great promise of coming excellence. The pro better than any small organ,) and in such places
And it was only when the day of performance was ductiveness of Donizetti was extraordinary. In will produce all the grand effects of a large a space of 30 years he had composed 63 Operas, organ. Thalberg has just introduced them at his
at hand, that Mr. Satter knew that there was another which is an almost herculean task in our days. Matinées in New York, and with the greatest
name on the programme. He had but two alternaOf these Operas some 30 were successful, and success. The critics call it a small Orchestra, tives: to play in the company of the “Delbi Prinmany gave evidence of remarkable talent.
and under his magic singers it can be nothing less. cess," or throw up his contract, at a forfeiture. . The composers of the French school of the As it has been lately heard in our city, a little A pianist must live, you know, Doctor, and that present day are headed by Auber, who has description of its capabilities cannot be amiss.
not on air. The sum to be received for three nights' composed some 40 operas. His “Masaniello" is The Alexandre Organ (or Harmonium) is made a work of great dramatic excellence. Among in size from one stop to fifteen, and varies in price
playing is not so inconsiderable as to be rashly lost. the English composers, Sir Henry Bishop was the from $35 to $600. The one used by Mr. Warren
So Mr. Satter went and played; you tell us that he
at the Concert just spoken of has twelve stops, | played well. If, now, he played so finely, did such claim him as author; the best of them are: which successfully imitate the tones of the Flute, justice to the authors whose compositions he under. - Maid of the Mill," “ Clari,” and the Miller | Hautboy, Clarionet, Bassoon, English Horn, I took, and in no way slighted his share of the even