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ing's performances, why should you charge him with a loss of feeling for true Art, with descending to 'clap-trap," and disgracing his high position? If you were repaid for your attendance, why should you deduct from the sum of your real enjoyment because of a humbugging manager? Why not charitably think that the man who could deceive an audience, might possibly deceive the performers?

At least, it seems to me that you might have delayed your letter until you had learned the facts, on both sides.

Hoping that your equanimity will not again be disturbed by a similar combination of incongruous material, and that I have succeeded in restoring Mr. Satter to the honorable estimation in which you formerly held him, I am, my Dear Doctor,

Very truly yours, ADVOCATUS.

Musical Correspondence.

NEW YORK, APRIL 6.-With the exception of OLE BULL'S Concerts, there has been no musical event whatever, during the past week, to record. The Norwegian violinist has but partially recovered from his recent illness, and did not play with his usual brilliancy and effect; yet his concerts were fully attended, and gave general satisfaction. By the way, everybody may not be aware that the dazzling diamond set in the end of his bow, and which flashes upon the eyes of his audience with every movement of the bow across the strings, is a present from the Duke of Devonshire, and is valued at quite a fabulous amount of money. Indeed, the market value of Ole Bull's three favorite violins is estimated at three thousand dollars!

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Dwight's Journal of Music. Florestan, Leonora and Rocco; a sweet, flowing

BOSTON, APRIL 11, 1857.

Beethoven's "Fidelio."

(Conclusion.)

We proceed briefly to describe the contents of the second Act.

No. 11. It opens with a remarkable instrumental introduction of some thirty measures, very slow, (Grave), in F minor, and sublime in its suggestion of a high soul languishing in chains, in dreary solitude and darkness. The loud, long bursts of the wind instruments in full chords answering to the low monotone of the strings; the plaintive exclamations of the 'celli, echoed by violins and oboes; the symphonic accompaniment of the drums (in minor fifths) to the wild diminished seventh chords, &c., lend a singular impresstan's cell, and to the prisoner's touching recitative: iveness to this prelude to the gloom of Flores"God, what darkness! O heavy trial!" and with a change of key, (to E major): "I murmur

not, God's will is just." A beautiful modulation to A flat introduces the exquisite tenor melody, a(Adagio cantabı), which forms a leading feature in the "Leonora" overture, (No. 3). In this song all the tenderness and sweetness of Beethoven's heart flow out. The words are:

Our bovine violinist is assisted at his concerts by Signors GASPARONI and GIANONI, second-class Itallan vocalists, and by Miss VICTORIA GILLER, young lady of this city, who has been attacked with an ambition to become a public singer. The lady is young, exceedingly prepossessing in appearance, but her style of singing is better adapted for the parlor than the concert-room. Her execution is very good, and she sings with some taste, but her greatest fault is that, (owing most probably to timidity), she refuses to emit her notes with clearness. If you shut your eyes, you would think from the tones of her voice, that she was a musical Desdemona, whom some unseen Othello was trying to smother. Until this fault be remedied, it is impossible to form a correct estimate of the lady's abilities.

The Harmonic Society give a concert to night, at which Dr. Loewe's Cantata, "The Seven Sleepers," will be produced, Miss MARIA BRAINERD taking the principal soprano part. A Jubilate and Te Deum, by GEORGE BRISTOW, will also be performed. Mrs. ELLIOT, SO well known in Boston as Miss ANNA STONE, singing the solos.

The New York American Music Association, to which I have already several times alluded, is progressing favorably, and has received quite an impetus in the accession to its ranks of Dr. CHARles GuilMETTE as conductor. The next concert takes place on the 27th inst., when several new compositions, among them an elaborate Anthem by W. H. WALTER, organist of Trinity Chapel, will be produced. This society is composed entirely of resident musi cians, and has for its chief aim the development of

native talent; and I am glad to hear that it has every prospect of ultimate success. It is, in my opinion, the most deserving of success of any of our musical societies.

Mr. SCHMEISSER, a pianist who appears to rate his own abilities very highly, and announces himself as the only pianist able to extemporize on any given air, that has ever visited this country, will give a

In the Spring time of my life,

I dared to boldly speak the truth,

And chains are my reward.
Willingly I suffer every pain,
And an ignominious end,

With the sweet consolation in my heart,
That I have done my duty.

The music quickens to an Allegro, (in F), as in a sort of "tranquil inspiration bordering on delirium," the prisoner thinks he feels a softer air about him, and sees as it were an angel of deliverence, in the form of Leonora! Such a scene demands the very best of tenors.

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Allegro, in A major, smooth and melodious enough for Mozart, and yet the tenderness and depth are Beethoven's. The prisoner asks heaven's blessing on the youth who shows such humane interest; Leonora, now persuaded that it is her husband, is agitated by heavenliest hopes, and fears; she has a bit of bread which she would give him; the jailer is touched, but hints it will not do, it is forbidden. Wonderful

is the modulation just here, as Fidelio coaxingly suggests: It can do no harm, it is so soon all over with him! The bread is given, and the Trio kindles to a brighter blaze of feeling. This Trio would be exquisite without the action, sung as a concert piece, if well accompanied; but with true, fervent, natural action, it is as pure a fusion of situation, character and music, as purely lyrical a moment, as any in Don Juan.

No. 14. Quartet, Allegro con brio, in D. Pizarro steals in, throws off his dark mantle and reveals himself to the prisoner: "Pizarro, whom thou wouldst have overthrown, Pizarro, the avenger, stands before thee!" The agitated music yields for a moment to a heroic, measured strain of horns and trumpets, as Florestan with composure replies: "A murderer stands before me." He lifts the dagger, when Leonora throws herself before her husband. He flings the rash youth back; she covers him again: Tödt erst sein Weib! (kill first his wife!) she screams upon a high note-the climax of the opera. "His wife!" "My wife!" exclaim Pizarro, Rocco, Florestan n; the swift quartet proceeds, until Pizarro seeks to kill them both, when she presents a pistol to his breast, and just then in a changed key (B flat) resounds faintly from behind the scenes the trumpet announcing the arrival, (so dreaded by Pizarro) of the Minister. It is the well known trumpet passage of the "Leonora" overture. A few wonderfully expressive bars, in which the wild delight of Leonora and Florestan: "Thou art (I am) saved!" the mortification and curses of Pizarro, and the joyful astonishment of the old jailor find utter

and louder. The quartet closes with a breathless Allegro, like clouds flying before the wind, that sweeps the dull skies clear which is the only piece of music that ever reminded us at all of the quick part of the Sextet in Don Juan.

No. 12 opens with a piece of "Melodrama," short, expressive bits of instrumentation preluding to the brief sentences of spoken dialogue between Rocco and his new assistant, Fidelio, (Leo-ance, and again the trumpet strain rings nearer nora), who have come down into the cell to dig the grave. Leonora: "How cold it is here in this subterranean vault!" Rocco, (pointing to the prisoner), "There he is!" L. God stand by me, if it is he!" &c. Then follows the marvellous duet in A minor, Andante con moto, in which they proceed to dig, she watching the prisoner, as Rocco's back is bent during the prelude. The scriptive of their work, and the contrast of their orchestral part, in dull, ponderous triplets, is devoices, (the old jailor exhorting to fresh efforts, Fidelio brave, but almost fainting), is wonderfully expressive. At length, with a struggling, upward roulade of the double basses, a great stone is heaved up, and on goes the work again to the same movement, she more and more overcome by fatigue and terror, but still anxiously scrutinizing

Here our Boston Theatre performance closed -a mere dramatic, or rather, melodramatic close. But not so Beethoven; he never slights the end of a great work; he is too much in earnest.

No. 15. Duet between Leonora and Florestan, expressing the joy of meeting after long separation: O namen—namenlose Freude! (O joy beyond expression!) It is a rapturous Allegro vivace movement of indascribable beauty, and the true Beethoven inspiration. Its animated rhythm, its alternate mingling and separation of voices, (which, now by short ecstatic responses, and now

flowing together, seem literally to rush into each other's arms, and then to hold each other off as if to realize the union with distinct assurance), the directness, simplicity and earnestness of the main melody, and then the delicious strangeness of the modulation with each new flash of thought or new shade of emotion; all is full of joy and love and gratitude and wonder, of sense of trial past and heavenly reward, a whole eternity in one miraculous and glorious moment.

No. 16. Finale. Scene the court yard of the prison. A quick and buoyant march, (in C), accompanies the entrance of the Minister and his train. The stage fills with men and women. Pizarro, as governor of the prison, accompanies the Minister; on the other side the prisoners come forth, with Marcellina and Jacquino. The march becomes accompaniment to a grand burst of full chorus: "Hail to the day, the much longed for, yet unexpected, when Justice and Mercy appear before the door of our prison grave!" Fernando, the Minister, (basso), announces the royal mercy and deliverance to the prisoners, (they are supposed to be political prisoners). Again a snatch of chorus: "Hail to the day!" Old Rocco comes in, leading Leonora and Florestan. The Minister, astounded, recognizes his dear, his noble friend, whom he had supposed dead. Rocco relates the plot and the deliverance; Pizarro is denounced. "And Leonora," adds old Rocco. "Leonora ? "Yes, the ornament of womanhood I lead before you!" Pizarro would interpose "two words," but is silenced. The prisoner's chains are taken off; it is the wife's privilege to do it. In all this hurried recitative, the orchestra keeps up a continuous movement, full of life and complex beauty; and finally the key gets back to the broad sunlight of C major, (the key of the Leonora overture which Beethoven intended to commence the work), and the whole concludes with a grand ensemble of chorus, with quintet of principals, in praise of Leonora and of Woman's high devotion, borrowing the first lines from Schiller's " Hymn to Joy:"

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"Who a gentle wife has won. Join he in our jubilee! &c."

The Italians (musically speaking). We find the following in the Transcript of last Monday:

66

MUSICAL FANATICISM.-Mr. Editor: Allow me a small space in your paper to make a few observations upon a passage in Dwight's Journal of Music of April 4th, in which it says: Surely the Italians had their triumph-they relished the performance marvellously well!" I wish to inquire of the Editor of that paper, what right or reason he has to suppose that the Italians should relish the complete fiasco of that evening's performance? or to believe that they are so frantic and narrow-minded as to consider their music exclusively good, and all others "mean," "superficial," secular" and "showy," epithets used by that same Editor on Rossini's Stabat Mater? The Editor shows himself utterly ignorant of Italy and Italian minds." If he will take trouble to study the nature of the Italians a little, he will soon perceive his error. Italians are cosmopolitic in their taste, and love the beautiful and good wherever they find it; and although they may have a preference for their own style of music, they do not for this consider all others worthless, nor do they insult every foreign composer because they may not like his style of writing!

The

I wish also to remind the said editor, that the Germans themselves (at least in Germany) have more respect and appreciation of Italian talents; and as I do not feel competent to give examples in musical matters, as I am not a musical man, I will only mention that the Germans are more learned in Italian literature and fine arts than any other nation; and there cannot be found a single German scholar who is not only acquainted with all the great authors, not only the ancient, but also the modern ones of Italy;

and they are more just and liberal in their criticism and appreciation of Italian talent than either the French or English, to say nothing of the Americans, to whom, with some rare exceptions, the knowledge of Italian modern authors of eminent merit, such as Gioberti, Romagnosi, Rosmini, Leopardi, and many others, is utterly unknown.

Excuse me, Mr. Editor, if I diverge from my subject, but I could not in any other way prove the fact of the German's appreciation of the Italian's mind, than by the examples of literature; for I am fully convinced that no German of any education would use towards Italian authors such epithets as the Editor of the Journal of Music, who is not a German, has used towards the greatest musical genius of modern times. Besides I consider it unfair to assail those who have not the means of defending themselves, who have neither newspaper nor men competent to do it; and if I have written these few words it is merely to defend my own country, so shamelessly slandered, and perhaps to induce some person, competent in musical matters, to defend that country which has always stood as the palladium of the Fine Arts, even in the gloomiest days of her political degradation. Finally, I cannot comprehend why the Editor above named should have used those words in that article; but I suppose that, as he has continually endeavored to drag into the mud the Italian music, perceiving the sad fiasco in the execution of that really beautiful composition which has elicited his criticisms, (for I do myself consider it a work of superior merit!) he, in his inflamed imagination. mistook all the foreign physiognomies which filled the theatre that evening, to be Italians sneering at him. But I assure him that he was mistaken, for they were Germans excepting two, a popular teacher of singing, and your humble servant, who is not a MUSICIAN.

Did anybody but this writer once suppose that by "Italians" we meant those born in Italy? We used the term in a quite usual colloquial sense. The "Italians" in our mind's eye that night were partly Italians, partly French and even Germans, but principally Yankees. We meant that numerous class of music-lovers, who think there is no music except opera, and no opera except Italian; and by Italian even then they mean the Donizettis, Verdis, that now occupy the foreground, with Rossini quoted occasionally for glory's sake, but kept quite willingly in the background; for what chance does the ruling taste allow the "Barber" or the "William Tell" in comparison with Il Trovatore and La Favorita?

If there were but two Italians in the theatre (personally we could not vouch that there was one), it is the less likely that we should have referred to them. That would have been entirely too personal. And had we seen them, we were too deeply occupied in cultivating acquaintance with Beethoven's music at first hand, to be studying its reflection in their faces. But let no one tell us that the numerous class of exclusive, partisan admirers of the Italian Trovatore school of music did not enjoy their triumph that night over the fiasco of Fidelio! There is no denying that there are those (who talk in private and who write in public) who habitually sneer at all things German and especially at works of genius supposed to be too good to be popular.

We assure our friend that we have the greatest respect for the Italian Art and literature, for Italian scholarship like his own (if he be whom we suspect), and the warmest sympathy with that Italian patriotism which we have unwittingly wounded in his own sensitive person. There is, or has been rather, an Italian music, too, which has our admiration. To go back no further than Rossini, we would that our Italian opera troupes, and their peculiar publics to whose tastes they cater, showed practically half as much regard for that great master as we feel. If the general report be true, Italy to-day has fallen below herself in the respect of music; Verdi has usurped the seat of her Palestrinas, even in the churches; music has become so much a matter of mere

temperament, that it has run out into a certain common-place trick of melody, florid cadenzas and effects, which are but the ringing of perpetual seeming changes on the same essential story. Rossini, who had ten times more genius, more invention than all his followers put together, (although he left off as soon he had once showed that he could be really in earnest, in his “ Tell"), is far less often heard than any of them.

As to Rossini, our own readers do not need to be reminded that no journal in this city has said so much in praise of him as we have; although we have not been blind to the fact, which he himself confesses, that he rarely wrote sufficiently in earnest, and compromised his brilliant talent for the most part to the syren of success. No one has done more to persuade an unbelieving public of the beauties of Il Barbiere, of the truly noble character, as a work of Art, of "William Tell." No one has oftener pleaded, and in vain, for repetition of such few performances as we have had of these. We assure our friend that that same "German" taste, which leads one to love Beethoven and Mozart, listens with keen appetite to "L Tell" and to "The Barber," when our "Italians" par excellence declare them tedious, and cry out for Trovatore.

And this brings us to Rossini's Stabat Mater. We are quoted as having applied disparaging epithets to that so-called sacred and, we admit, beautiful composition. Would it not be more thoughtful and more fair to quote the circumstances with the words? We were reporting of a performance of Mozart's sublime and solemn Requiem, followed immediately by the leading themes of the Stabat Mater, hashed up in the shape of an overture by Mercadante. Then it was we felt and wrote: " After the Mozart's Requiem, how mean, superficial, secular, &c., seemed that Stabat Mater business!" Had it been the Stabat itself, opening with chorus, and all, we probably should' not have called it mean. After the Requiem, what we heard was so in comparison. It was a great descent from one tone of feeling to another. The terms “secular," "superficial," &c., (in spite of our perception of the great beauties and occasional grandeurs of the work), are not unfitly applied to it at any time. It is the general European opinion, the opinion of most musicians and appreciative publics everywhere, that the prevailing style of this Stabat is more operatic than sacred; and that in many parts, as for instance, the Cujus animam, the music makes its own sparkling plaything of the solemn words. But that there may be no further question about it, we have the testimony of Rossini himself, who in a conversation with Ferdinand Hiller, at a watering place the summer before last, confessed that he never meant it for publication, and that he only wrote it "mezzo serio," in a half-serious style. Here is the passage from the conversations as reported by Hiller:

"But this excursion of yours to Madrid was the cause of your composing your Stabat Mater, was it not?"

"I composed it for an ecclesiastic, a friend of Aguado's," replied Rossini. "I do so merely from a wish to oblige, and should never have thought of making it public. Strictly speaking, it is even treated only mezzo serio, and, in the first instance, I got Tadolini to compose three pieces, as I was ill, and should not have been ready in time. The great celebrity of the Stabat Mater by Pergolese would have been alone sufficient to prevent my setting the same text to music for public performance."

GERMAN OPERA.-Fidelio was followed last week at the Boston theatre by two operatic medleys. On Friday evening a small audience were very agreeably entertained by extracts from four operas. First came the scene from the first Act of Der Freyschütz, in which Max, (tenor), sings the air: Durch die Wälder, durch die Auen, the wild music darkening and brightening as the evil genius Zamiel creeps behind or leaves him; and then Caspar, (bass), sings his drinking song, and tempts Max to go with him to the Wolf's Glen. Herr BEUTLER was Max, and WEINLICH, Caspar; and both quite inadequate. Then came that Minna and Brenda duet between Agatha and gay Annchen, (Mmes. JOHANNSEN and VON BERKEL). The latter lady acted in a very sprightly, pretty manner, and sang more true than in Fidelio; the voice, however, is thin and hard. Agatha's recitative, prayer and aria: Wie nahte mir der Schlummer, closed the scene. Johannsen sang it with truc feeling, and with fine abandon in the spirited finale.

Herr OERTLEIN, in the character of the Burgomaster, sang a comic solo from Lortzing's Czar and Zimmermann, (one of the many operas founded on the story of Peter the Great's apprenticeship in the ship yards). The subject of the song was the burgomaster's importance, and the music as much like Rossini's Figaro, (Largo al factotum), as a burgo. master could be supposed to sing. It was quite amusing. Lortzing's music is more Italian than German.

For part third was announced the second Act of Fidelio, with the Leonora overture, No. 3. But instead of No. 3, we again had the No. 4, in E, and the Act this time was curtailed of the beginning as well as of the end. The extract commenced with the grave-digging music.

The best performance of the evening was a sparkling comic duet from Auber's "Mason and Locksmith," sung by Mmes. Johannsen and Von Berkel. It is clear that this company are better suited to such light opera, than to Fidelio.

On Saturday afternoon the same programme was represented, with the omission of the Fidelio extract; and so ended this first and most imperfect experience of German Opera in Boston.

CONCERTS.-For the third weck the field has been almost wholly THALBERG'S. Last Saturday evening the Music Hall was filled, even upon the stage, with audience to his "last." The bill contained the names of Mmes. D'ANGRI, JOHANNSEN, VON BERKEL, the principals of the German Opera troupe, Mrs. BARROW, (who recited Gray's Elegy), Herr SCHREIBER, the trumpeter, and CARL BERGMANN with an orchestra. The programme was one of the lengthy sort, embracing various kinds. The orchestra gave the overture to "Egmont," and that to the "Merry Wives of Windsor," by Nicolai-not a bad overture, but about as suggestive of the "Merry Wives" as it was of "Waverley," for the overture to which by Berlioz we found it substituted at the very last moment; also a march from Tannhäuser. THALBERG played with orchestra, and with masterly power and beauty, the first movement of Beethoven's E flat Concerto; also his "Home" and Concert Waltzes, his Norma fantasia, and the Volkslied and Frühlingslied of Mendelssohn. The Quartet from Fidelio: Mir ist's so wunderbar, was sung almost as badly as in the opera; and the Trio from Don Juan, we are told, fared not much better. Mme. JOHANNSEN sang again the scena from Freyschütz, and Mme. D'ANGRI an air from the "Barber of Seville" and Ah! mon fils.

A theme of much talk, wonder and amusement at this "last" concert, was a Card of the Management, scattered over the seats, announcing, with grave reasons and gracious revelations of the mysteries of management, a series of three "Half Dollar Con

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The interest in the Afternoon Concerts of the ORCHESTRAL UNION deepens, if the audience does not increase, as they approach their close. Last Wednesday's was the thirteenth and last but one. The performances were excellent, and the programme a particularly good one, as follows: 1-Symphony. (E flat). 2-Aria from "Zanetta”.

With solos for Clarinet by I. Schultz. 3-Overture: "Midsummer Night's Dream,". 4-Waltz: Vorstaedtler.". 5-Andante from Symphony No. 2, 6-Concordia Quadrille.. 7-Finale from "Lohengrin,'

Mozart ..Auber Mendelssohn Lanner Beethoven ..Zerrahn R. Wagner

Next Wednesday will be the last-and then we shall begin, when it is too late, to miss our orchestral privileges. May we not suggest, for one item of the programme, that Leonora overture, the No. 3, which was promised us and not given in the German opera, and which has not been heard in any concert here this winter. It was always a favorite, and the recent performance of Fidelio will clothe it with fresh interest, and make its motives more intelligible.

For Dwight's Journal of Music. MR. EDITOR:-There is a remark in the criticism of last Saturday's "Journal of Music," on the performance of Fidelio, which I cannot let pass without a few words. It is as follows: "We have had to grope our way through most imperfect, miserable first representations, and almost perversions, to at last a clear presentment of the thing. So we came to the great symphonies now so generally loved." Here is a trifling difference to be noticed, viz.: the "first representations" of the great symphonies, as given by our old Boston, Academy, with somewhat limited means and far from perfection, were equally far from being miserable representations; they were likedenjoyed and created a taste and desire for repetitions. I think it will generally be found that first representations of classical compositions, imperfectly and miserably given, are not likely to produce that effect-as was the case last week with Fidelio. Yours truly,

Boston, April 6, 1857.

WM. KEYZER.

Musical Chit-Chat.

The days fixed for the great Musical Festival here are Thursday, Friday and Saturday, the 21st, 22d and 23d of May, immediately preceding "Anniversary

week." There will be an oratorio each morning, a concert with Beethoven's" Choral Symphony" on Saturday evening, and possibly some oratorio or sacred concert also on Sunday evening....THALBERG gives us the fourteenth concert, (to say nothing of Matinées), of this his second visit, this evening, and his very last on Tuesday afternoon. After that he will re-visit Hartford, Albany, &c., and in the latter part of the month he will join STRAKOSCH and Company, under whose agency he will make a two months' concert tour of the West. Mme. D'ANGRI in the meantime will go South.... Mr. ULLMAN, we understand, expects to import HECTOR BERLIOZ and a grand orchestra, for concerts in the New York Academy during the coming year. Among his thousand and one great plans, too, it is said, he contemplates a series of twelve oratorios in that same Academy. Query: Can these be possibly the twelve unwritten oratorios which one of our American composers wanted to contract with a Boston music publisher to bring out at the rate of one a month ?. ...The MARETZEK-GAZZANIGA troupe, fresh from their Philadelphia triumphs, open in New York next Monday, with La Traviata.

Something new in the way of concerts is announced at the Tremont Temple for next Wednesday evening. Mr. H. S. CUTLER, organist at the Church of the Advent, and a zealous advocate of English Cathedral music, as sung autiphonally, by answering choirs of boys, is to give us some specimens of that style of music. He will be aided by historical and critical explanations by Mr. A. W. THAYER, Our well known "Diarist" and correspondent. The programme will be found below... Master ERNST PERABO, a youth of eleven years old, of German parentage, but reared in New England, is well known among our Boston musicians as possessing decided talent for music. He already plays upon the piano and the organ, and knows by heart difficult fugues, by Bach, &c. He also plays the violin. He is full of native intelligence. All he needs is thorough education in a musical sphere, where humbug has not entered, and we are happy to hear that an effert will be made by subscription among our liberal friends of music, to send him to the Conservatoire at Leipzig. It is really due to such derided indications of the true gift.... We have received a most capital photographic likeness of THALBERG from Messrs. Masury, Silsbee & Case.

The following, from a foreign paper, will interest those who are curious to know about Beethoven's only opera:

As I have already taken up the pen for Fidelio, another not so well known notice of the other forms in which the same subject was treated may be here appropriate. In the year 1798. there was produced in Paris Leonore: on. Amour Conjugal, opéra en trois actes, paroles de J. N. Bouilly, musique de Gaveaux. It was successful, and, some years afterwards, the text was translated for Beethoven into German by the then secretary of the Theatre Royal, Joseph Sonnleithner, and into Italian for Fernando Paer, by some one unknown. Paer's opera, Leonora, ossia l'Amore Conjugale, was produced at Dresden in the year 1805, (simultaneously, therefore, with Beethoven's Leonore ) and subsequently, translated into German, produced on the 8th of February, 1809, at the Kärnthnerthor Theatre in Vienna. Paer's music was not unsuccesful (after Beethoven's) even in Vienna, for it was given some few times in 1810. From that period, however. Leonore disappeared entirely from the stage, while, it is to be hoped, Fidelio will long maintain its ground.

Musical Intelligence.

LONDON.-The concerts of Miss ARABELLA GODDARD, the pianist, and her performance of some of Beethoven's latest Sonatas, (op. 109, 110, and 111,) are the theme of general and unqualified laudation with the London press. Some papers speak as if the difficulties of these sonatas had proved insurmountable, and as if their beauties had been a sealed book; but we believe they are pretty well known among the best pianists in Germany, where the Beethoven of the latter or third period is no stranger....The great Handel Festival stands postponed to the 15th, 17th and 19th of June....Mr. CHARLES HALLÉ has gone to Paris to engage an orchestra for a series of concerts to take place during the great Art exhibition at Manchester.

The Musical World is very severe upon the Philharmonic Society, which, at a recent election of new members, black-balled such musicians as Mr. Henry Smart and Charles Hallé in favor of candidates of little note. The World ceases "to attach any artistic importance to that Society and its doings."....Mr. Charles Salaman has been delivering three lectures at the Marylebone Institution on "Music and the Dance," with illustrations of the dance music of various times and nations....Ella's "Musical Union" concerts, for some time suspended, are resumed. The first programme was as follows:

Quartet, B flat. No. 78 (Pleyel Ed.).
Trio in D. Op. 70, Piano, &c...
Part Song" Departure".
Quartet in E, Op 43

Elegy "Peaceful Reposing "-MS.

.Haydn Beethoven

.Mendelssohn

..Spohr ....Graun

Gigue, 6-8, in G; Fantasia Melodique, MS.... Mozart & Derffel Madrigal-" Hard by a fountain ", Waelrent

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THE ITALIAN OPERA.-We take from The London Daily News the following account of the performances to be given at the Queen's Theatre during the approaching season:

"The following are the company engaged: Madame Alboni; Mlle. Maria Spezia, of La Scala, Milan &c. (her first appearance); Mlle. Angiola Ortolani of La Scala, &c. (her first appearance); Mile. Baillou, Mme. Franchi, Mlle. Berti, Mlle. Poma; Mlle. Treneta Ramos, from Turin (her first appearance); and Mlle. Piccolomini. The tenors and basses are: Signor Antonio Giuglini, of La Scala, &c. (his first appearance); Signor Jacopi, Signor Mercuriali, Signor Luigi Bottardi (his first appearance), Signor Belletti, Signor Beneventano, Signor Napoleone Rossi Signor Giovanni Corsi (his first appearance), Signor Baillou, Signor de Soros, Signor Gariboldi, and Signor Filippo Vialetti (his first appearance).

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This list, beside the principal favorites of last year, contains several new names of great Continental fame, particularly Mlle. Spezia, Mlle. Ortolani, Signor Giuglini, the most celebrated tenor in Italy, and Signor Vialetti, a basso profondo of renown. For the ballet we are to have our old favorites, Marie Taglioni, Rosati, Paul Taglioni, &c., beside a number of others whose names are as yet unknown in England.

"The theatre is to open on Tuesday, the 14th of April, with La Favorita in which the new stars Mile. Spezia, Signor Vialetti, and Signor Giuglini, will appear, and with the ballet La Esmeralda (for the first time these ten years), in which the heroine will be represented by Mlle. Pocchini, described as a danseuse of the highest order. Soon after the opening of the theatre, Mlle. Ortolani will appear, with Giuglini, in the Puritani. Mlle. Piccolomini will arrive early in April, and will appear in a number of new characters beside those which she performed last Mme. Alboni is to arrive before the 1st of May, and will make her first appearance this season as Azucena (the gipsy), in the Trovatore. Giovanni is promised, with a cast of unprecedented strength, including Spezia, Ortolani, and Piccolomini, in the characters of Donna Anna, Donna Elvira, and Zerlina. Nothing is said about the production of any new opera; but two new ballets are announced, the one for Marie Taglioni, the other for Rosati. The subscription for the season will consist of thirty nights."

season.

Don

PARIS.-The immediate hopes of the Grand-Opera are founded on the new ballet of MM. Scribe and Auber, to be called Marco Spada, doubtless taken from the opera of the same name, by the same authors, produced last year at the Opera-Comique. Mesdames Rosati and Ferraris will both sustain principal parts. Some expectations are also entertained of a new twoact opera, Francois Villon, by M. Membreè. The indisposition of Madame Steffanone has led to the postponement of I Puritani, at the Italiens, which theatre is announced to be closed on the 31st instant. The success of Oberon at the Theatre-Lyrique increases nightly. The Bouffes-Parisiens has produced a new operetta in one act, entitled Apres l'Orage, the words by M. Boisseaux, music by M. Galibert, which promises to have a run. On Monday week Mozart's Requiem was executed by the Société des Jeunes Artistes du Conservatoire in the Church of the Madeleine, under the direction of M. Pasdeloup. M. Calzado intends having a new repertoire for the TheatreItalien next year. His son has gone to Italy for the purpose of negociating with Mercadante. M. Calzado wishes to produce in the Salle-Ventadour, several of the works of this celebrated composer, who is admired everywhere but in Paris. It is, however, desirable, indeed important, that the illustrious composer should superintend their production himself. Mercadante, (says M. de Rovray, in his last feuilleton in the Moniteur), is the intimate friend of Rossini, and perhaps this fact may triumph over his natural id eness; for nothing in the world has yet induced him to leave Naples. where he is perfectly contented, greatly esteemed, and enjoys the same position as Auber in Paris. At this moment Mercadante has a new opera in rehearsal at the San Carlo. If the work succeeds as every one expects, M. Calzado will produce it in Paris. M. Calzado's troupe will be strengthened by the addition of new talent, worthy of being placed at the side of Mario. Alboni, Graziani, and other distinguished artists. Everybody is speaking about Giulini, one of the best tenors in Italy.

At the Opera Comique the reprise of M. Halévy's L'Eclair proved a great success. The principal characters were sustained by Madame Duprex-Vandenheuvel, Mlle. Boulart, MM. Barbot and Jordan.

Mademoiselle Piccolomini took her benefit on Monday the 26th ult, at the Italians, when La Traviata was given with a concert. The Salle Ventadour was crowded to excess, and the lady recalled several times in the course of the performance. M. Calzado has

re-engaged Mademoiselle Piccolomini for three supWhen plementary representations of La Traviata. these are given, Verdi's opera will have been performed sixteen times at the Italiens. Signor Mario and Graziani have appeared on each occasion in the Traviata with Mademoiselle Piccolomini.

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PHILADELPHIA.-Fitzgerald gives us the following report of opera at the new Academy of Music during the last week of March: Wednesday, March 25th.. .La Traviata. Friday, 27th....Barbiere di Seviglia. Saturday, 28th........Lucrezia Borgia. Monday, 66 39th...Linda di Chamounix. Wednesday, April 1st......Barbiere di Seviglia. Friday night witnessed the debut of Miss Adelaide Phillipps, from Boston, in the sparkling role of Rosina. This lady has been successful latterly in Havana, and comes to us heralded with no mean reputation as an American Prima Donna. Miss Phillipps is good looking, has a voluptuous form, and with more animation might show off to better advantage. Nevertheless, she has a fine voice, and is to all appearances an excellent musician. As Rosina, she lacked the vivacity but not the musical education of that young lady. She has studied in a good school, and we think she deserves great credit as an artiste of the Divine Art. The Music Lesson, in Art 2nd. was remarkable in point of execution; there Miss Phillipps displayed the resources of her voice to great advantage. And so in the Finale, where she introduced Non niu mesta, from Cenerentola, very effectively. Next in importance comes Figaro, the merry barber, with a not very fitting representative in Assoni. Amodio seemed to us the most successful in his role of Friar Basil, which he rendered with exceeding gusto. Brignoli, poor Signor, was incorrigible. Count Almariva was missing from the scene; we only saw and heard Brignoli, with his sweet, tender, bewitching, ravishing voice. The orchestra wanted nicety, of execution, it was all too noisy and unpractised, notwithstanding the repeated attempts of the handsome and indomitable Max to control it.

On Saturday night was repeated "Lucrezia Borgia," with Miss Phillipps in. the role of Orsini. She gave much satisfaction in this character, and on the whole was better liked than on the first night.

"Linda di Chamounix' was repeated on Monday night to a fine house. with even greater eclat than the first night. Miss Adelaide Phillipps pleased very much in the rôle of Pierotto. Signor Arnoldi, unfor

tunately, did not and could not please. Mme. Gazzaniga's benefit took place on Friday of last week in Verdi's Luisa Miller, which has since been repeated several times. The role of Luisa Miller, it is said, was written for her.

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MR. SCHREIBER. SIGNOR ABELLA. Mr. THALBERG will play Norma, the Prayer of Moses, The Huguenots, Semiramis, and two Songs by Mendelssohn. The programme contains twelve pieces.

Tickets 50 cents, to be had at Russell & Richardson's, 291 Washington street, and at the door. Seats reserved without extra charge.

Doors open at 7%; Concert to commence at 8 o'clock.

TUESDAY, APRIL 14....MUSIC HALL. ONLY AFTERNOON CONCERT. Positively Last Appearance in Boston. S. THALBERG, MME. D'ANGRI. MME. JOHANNSEN, MR. SCHREIBER. Doors open at 2% -Concert to commence at 3 o'clock. The sale of seats commences April 13.

On MONDAY, Thalberg's only Fifty Cent Concert in Salem.

MRS. J. M. MOZART, (Formerly Miss SOPHIA BOTHAMLY,) Will give her first and only GRAND CONCERT In Boston prior to her departure for Europe, AT TREMONT TEMPLE, Saturday Evening, April 18, 1857, Assisted by

Miss TWICHELL. Mr. ADAMS, Mr. MOZART, Mr. L. H. SOUTHARD. Mr. W. R. BABCOCK, THE GERMAN TRIO,

And the MENDELSSOHN CHORAL SOCIETY. Tickets 50 cents.....To cominence at 7% o'clock.

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From the "Messiah." "Every valley shall be exalted." Sung by Mr. C. R. Adams.

"Messiah."

2-Chorus,. "And the glory of the Lord." 3-Solo,. "Messiah." "Come unto him, all ye that labor and are heavy laden." Sung by Master Fred. White. 4-Solo, "Elijah." "If with all your hearts ye truly seek me." Sung by Master Loring. 5-Chorus,... From "Samson." "O first created beam, and thou great word. Let there be light,' and light was over all."

Single tickets, 50 cents, or three for $1, to be had at the music stores and at the Temple.

ORCHESTRAL UNION.

The above Society respectfully inform the public that the LAST CONCERT

Of the season will be given at the BOSTON MUSIC HALL, on

Wednesday Afternoon, April 15, at 3 o'clock.

CARL ZERRAHN,

For programme, see papers of the day.

..Conductor.

Packages containing Six Tickets, 81; Single Tickets, 25 cts. To be had at the music stores of E. H. Wade, Russell & Richardson, Tolman, and at the door.

MENDELSSOHN MUSICAL INSTITUTE. THE Summer Term commences April 30th. Pupils may receive, as amateurs or teachers, a thorough education in every department of Music. Also in the Modern Languages, Drawing, Painting, &c., and higher English branches as accessaries. Situations secured to pupils who become qualified to teach. A few vacancies for young lad es in the family of the Principal. For circulars, &c., address

EDWARD B. OLIVER, PITTSFIELD, MASS. NEW MUSICAL WORKS,

RECENTLY PUBLISHED BY

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COOKE'S VOCAL METHOD.

New and revised edition. Comprising all the latest lessons and exercises of the author 1 vol 4to. Price $3. THE CONCERTINA. A Complete Course of Instruction, with a choice Collection of Popular Music, for the German Concertina. 8vo. Price 50 cts. NEARLY READY, Instructions and Music for the English Concertina. 50 cts. THE PSALMS OF LIFE. A Compilation of Psalms, Hymns, Anthems, Chants, &c., embodying the Spiritual, Progressive and Reformatory Sentiments of the present age. By Jons S ADAMS. 1 vol. 12mo. cloth. Price 75 cts. Nearly Ready : THE MEMORARE. A Collection of Catholic Music.

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Anthems for the coming Season. Novello's Cheap MUSIC,

(Imported from England)

389, Broadway, NY.

EASTER-TIDE.

BOYCE. IF WE BELIEVE THAT JESUS DIED. Verse,
A. B. Vocal score, 38 cts; Vocal parts, 19 cts.
HELMORE and NEALE.-CAROLS FOR EASTER-
TIDE. Edited by the Rev. THOS. HELMORE and the Rev.
J. M. NEALE. 18mo. 13c. Post free, music folio, $1,13.
HANDEL.-1 KNOW THAT MY REDEEMER LIVETH.
Soprano solo, 19c.

Since by man came death. 13c. Vocal parts, 50c.
Behold, I fell you a mystery. Recit. B. 19c.
The trumpet shall sound. Air, D.

Then shall be brought to pass. Recit.

O Death, where is thy sting. Duet, A. T.
But thanks be to God.

Chorus.

}

25c.

Ther shall the eyes-He shall feed his flock. Air, 13c.
His yoke is easy Chorus, 19c.

Behold the Lamb of God: Chorus. He was despised:
Air, A. Vocal score, 25c. Vocal parts, 16c.
HERMAN. - JESUS

(Hymn,) 38c.

CHRIST IS RISEN TO-DAY.

Lift up your heads. Anthem, 63c. JACKSON, (Masham.)--CHRIST OUR PASSOVER.

Vocal parts, 13c.

KENT.-HEAR MY PRAYER.

13c.

Verse, two trebles, and chorus. Folio, 13c. Octavo, 6c. Chorus parts, 3c.

The Lord is my Shepherd Verse for treble or tenor and bass, with chorus, 50c. Vocal parts, 25c. MONK, W. H.-THE EASTER HYMN, Jesus Christ is risen to-day." Cheadle Prize Composition. 13c. NORRIS, THOS.-HEAR MY PRAYER. Treble solo, with chorus, 44c. NOVELLO.-THE EASTERN IIYMN, newly adapted and variously barmonized, as Solo, Trio, Quartet, and Chorus. 26c. Class copy, 3c.

——— The Lord is my strength, 19c. Vocal parts, 13c. Class copy, in score, 3c.

PALESTRINA.—BEHOLD THE LAMB OF GOD. B. A. T. T. B. 31c.

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These Carols may be sung by a Solo voice, with Accompani ment of the Piano and Organ, in which form they are printed in Music Folio, Ad libitum Vocal Parts for Alto, Tenor, and Bass, have been added, in order that, when these voices are present, the harmony may be rendered complete without an instrument.

HALLET, DAVIS & CO.

MANUFACTURERS OF

Grand, Parlor Grand, and Square

PIANO FORTES,

WITH THEIR

PATENT SUSPENSION BRIDGE AND GRAND ACTION.

409 Washington Street, Boston, (Near Boylston Market.)

J. C. D. PARKER, Instructor of the Piano-Forte, Organ & Harmony,

3 HAYWARD PLACE.

S. B. BALL, OTTO DRESEL TEACHER OF MUSIC, Gives Instruction on the PIANO, and may be addressed at Richardson's Musical Exchange. Terms. $50 per quarter of 24 Rooms at Rev. A. A. Miner's Church.. ....School Street, Boston. lessons, two a week; $30 per quarter of 12 lessons, one a week. EDWARD L. BALCH. MUSIC AND JOB PRINTING OFFICE.

Important to Conductors, Masters and Leaders of Bands.

BOOSEY & SONS, OF LONDON,

BE

EG to announce that they will forward, postage-free, to any part of the Uni ed States a complete Catalogue of the contents of their celebrated

Musical Journals for Military Band, Stringed

Band, and Brass Band.

These three works have been in course of publication many years, and now comprise the most extensive repertoire of STANDARD & MODERN OPERAS, MARCHES, QUICK-STEPS, DANCES, &c.,

Arranged by C. Boosé, (Band Master Fusilier Guards,) and other eminent Professors. A number of each Journal is published every month.

There are now published 120 numbers of the Military Journal, (for a reed band,) price 15. each; 60 numbers of the Brass Band Journal, price 7s each; and 70 numbers of the Orchestral Journal, (for stringed band,) price 5s. each. The Orchestral Journal consists of Dance music only.

An allowance of one third off the marked price is given to the profession and trade. All orders must be accompanied with a remittance payable to

BOOSEY & SONS, MUSIC PUBLISHERS,

24 and 28 HOLLES ST., LONDON, (ENG.)

SIGNOR AUGUSTO BENDELARI Gives Instruction in Singing. Residence No. 86 Pinckney Street.

ADOLPH KIELBLOCK,

Teacher of the Piano and Singing,

U. S. HOTEL.

Piano-Forte Instruction.

MLLE. GABRIELLE DE LAMOTTE,
RESIDENCE, 55 HANCOCK STREET.

G. ANDRÉ & CO.,
Dépôt of Foreign and American Music,

306 CHESTNUT STREET, PHILADELPHIA, Agents of J. André, Offenbach, Publisher of the complete Editions of Beethoven's, Clementi's, Haydn's and Mozart's works.

WILLIAM A. JOHNSON, ORGAN BUILDER, WESTFIELD, MASS.

G

WILLIAM SCHULTZE,

1IVES Instruction on the VIOLIN, the PIANO FORTE, and in the THEORY OF MUSIC. Address at his residence, No. 1 Winter Place, or at the Music Stores.

HEW S'

PATENT AMERICAN ACTION
PIANO-FORTE,

Manufactory, 379 Washington Street,
BOSTON, MASS.

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