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course was given yesterday afternoon, and young Boston, touched by the solemnity of the occasion, kept up a respectable appearance of decorum throughout, which, we trust, did them no harm. And now, the afternoon concerts being over, what will become of the promising embryo musical cognoscenti of the city, who patronized them with such appreciative enthusiasm, going into epileptics of ecstasy over the Anvil Chorus, with or without the anvils, and rushing into the corridors or a lively conversation whenever the serener spirits of Mozart or Mendelssohn claimed a hearing! What will become of that long line of eager eyeglasses, with weak-minded young men attached, who, at the close of each concert would organize themselves into a phalanx in Winter Place, making themselves ridiculous, and everybody else uncomfortable, staring at the faces and figures passing out? What shall become of that stream of youthful humanity that, just before five o'clock each Wednesday afternoon, oozed from the hall, and flowing through Winter street, flooded for hours the popular thoroughfare, sweeping all before it with its magnificent swell; engulphing all intruders in its amplitudes of crinoline; bewildering, and almost carrying off his slender legs, as he works with his sinuosities along," the feeble young man adjusting his glass for a critical examination of the beauty whose circumference forbids his near approach! What will become of all these? Their occupation's gone. No more for them the orchestra shall form, nor Zerrahn ply his baton in the air; Heinicke's shrill clarion nor the echoing horn, no more for sweet sounds shall their ears prepare. The Music Hall will no more o' Wednesday afternoon be lighted up with bright eyes, pink bonnets, and many-colored ribbons. The corriders will no longer be a trysting-place for maidens and their sweethearts, and the pat of gentle feet will no more echo through the dark labyrinth of the passages, distracting the listeners within. Rather hard for young Boston, but even young Boston must take its share of the woes of this world.

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The afternoon concerts have been very well patronized this season, although their success has not been equal to that of those given by the Germanians a few years ago, which was so great that it really induced the delusion that Bostonians must be an intensely musical people. The popularity of these well remembered "rehearsals," and the subsequent rapid decline of interest in entertainments of this character, form a striking example of the unreliability of the great public, and the utter vanity of all earthly glory. "After

noon concerts" first came into favor in the time of the Musical Fund Society, whose “rehearsals” did good work in their day. The good old Musical Fund fulfilled its mission and departed, yielding, rather reluctantly, to the march of musical improvement, and making a few glorious struggles before giving up the ghost. The Germanians, handsome fellows, had won the hearts of the Boston maidens, and their triumph followed as a matter of course. For two years, with little Jaell, they carried themselves bravely, but, as their success was not based upon any real sound Artenthusiasm, they, in their turn, were obliged to dissolve and disperse. A number of them came to Boston, their first love, and through their exertions we have had occasional returns of the merry old times. The other members of the society migrated to different portions of the United States, where, with one exception, we believe they are all prospering. The exception is Mr. Louis Hehl, of whose death we were grieved to hear a few days since. Mr. Hehl was well known as a violinist and an admirable pianist, whose opportunities of establishing himself in an honorable position in this city were very great. He, however, thought his interests would be benefitted by visiting the West. He lived for a while at Detroit, without meeting the success he had anticipated, and died a short time since in New Orleans.

Commencing with the intention merely to jestingly announce the demise of a series of concerts, we have almost involuntarily recorded the actual death of one who was in former times intimately associated with similar concerts. The

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[In Fitzgerald's paper the behavior of Philadelphia audiences is thus shown up by an actor. We fear there are few places, in this land at least, where the portrait, even if a little caricatured, will not suit.]

EDITORS OF THE CITY ITEM-Gentlemen:To abuse a public upon whose kindness my success depends, and of whose appreciation I have received so many tokens, would seem ungrateful and impolite. Yet to spare the rod is to spoil the child, and to abuse our best friends is often to most oblige them. The public have been kind to me, and so I shall be kind to the public.

An audience, sirs, whether operatic or theatrical, is a great overgrown, ignorant, peevish, whimsical baby. Having no respect for others, and none for itself, it supplies the vacuum with an overplus of self-esteem. All it seeks is its own gratification. Its very applause is not so much a tribute to the merits of an actor, as a declaration of its own discrimination.

It puts in its thumb
And pulls out a plum,
And says,
"What a good boy am I!"

It sees upon the stage the reflection of its own intelligence, and smiles benignly on the mirror. It reduces all beauty to its own distorted standard, and breaks all the statues not cast in its own model. But in reality this universal censor is the most ignorant and superficial of dilettanti.

In its ignorance of the very objects it admires, it applauds at the very moment it should listen, and rapturously demands an encore in the middle of a Brindisi. To hear Thalberg play four fantasias, it crowds a concert room, and after insisting upon his playing a dozen, finally in the very middle of the last piece encored, puts on its overcoat and goes home. It enters late to show its superiority to forms, and goes out early to show

its contempt for courtesy. It is a poor compliment to grant it the supremacy it asserts.

To me, Messrs. Editors, it appears that in some unknown delusion, the audience consider themselves the actors, and the ladies and gentlemen on the stage, spectators. It is under this impression that they perform those astonishing farces and burlesques upon politeness which have gained them the honor of being better clowns than any who tumble in the sawdust.

But is their conscience so poor a call boy that they cannot better time their entrances and exits? In conclusion, I hope I may not be accused of stepping beyond my proper sphere, for if the audience insist on being actors, what wonder that the actor should become A CRITIC.

English Cathedral Music.

[From the Remarks read by A. W. THAYER at the Concert of the Boston Choristers' School, April 15.]

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The object of the present Concert is three-fold: to give the audience some idea of English Cathedral Music, and its principal composers; to exhibit the practicability and proper use of boy choirs in the Episcopal service; and finally, to show experimentally, what such choirs can accomplish with a little careful training. In the older English cathedral music there are many peculiarities, some of which at first grate rather harshly upon our ears. But as the ear in modern instrumental music soon delights in combinations of sounds at first unpleasing; as the 'eye learns to forget violations of perspective and laws of color, in contemplating the deep religious sentiment oftentimes expressed in old paintings, so we learn to love the peculiar effects of old sacred music.

The peculiarities mentioned are traceable directly to the music of the middle ages, and thence back to the days of the primitive churches.

What the vocal music of the ancient Greeks and Hebrews, from whom the primitive Christians derived theirs, really was, has been for some centuries a subject of vast research and speculation on the part of musical writers. But as modern discoveries in astronomy have thrown a flood of light upon history and chronology, so recent discoveries in relation to laws of sound relieve us at once of many of the difficulties which old musical writers met. We know that the laws of nature are uniform and unchanging. When the fiat went forth, “Be light!" and light was! the white sunbeam then as now was a compound of the seven colors of the spectrum; and from the vibrations of a sonorous body then as now could be drawn the seven sounds of the scale.

A tone with its third and fifth, must have always been included in some manner in all forms of music. The great difference, then, between ancient and modern music is a difference in Mode. In modern music we have two modes, which we call Major and Minor, the one cheerful and noble, the other sad and melancholy. We all know that in our octave or scale of eight notes we have five musical intervals known as whole tones or steps, and two intervals known as semi tones or half steps. The mode depends entirely upon the order of succession of these tones and semitones. If you run an octave on the white keys of the piano-forte, from C to c, the semi-tones occur between 3, 4, and 7, 8, and we have the Major mode. If you run from A to a, the semi-tones come between 2, 3, and 5, 6, which is the old imperfect form of our Minor mode. If you run from D to d, the semitones come between 2, 3, and 6, 7, which gives another mode. And thus each note taken as the basis of the octave, leads to some particular position of the semi-tones, which gives us a new mode.

Many of these modes are found to be imperfect as soon as we attempt to put harmonies to them. But where no harmony is employed in the services of the church, the melodies founded upon them continue down to our own times, and the traveller can hear

now in the Greek convents of Asia Minor, such chants as St. Ambrose heard and studied more than

1500 years ago.

To our ears, which are accustomed to only two modes, music in any other is at first repugnant; but in some of them it soon becomes delightful.

The Greeks gave particular names to their various modes as, Lydian, Myxolydian, Eolic, &c. One of these, the Æolic, improperly called Lydian, was adopted by Beethoven in one of his last stringed quartets, in an adagio, which he calls "Prayer of thanksgiving by a Convalescent," as being peculiarly appropriate for the expression of religious gratitude.

About the middle of the fourth century, just about 1500 years ago, St. Ambrose passed from Antioch into Italy, and settled at Milan. Here he introduced four of the modes, used in the music of the Greek Christians, taking such as seemed to him most devout, and caused the psalms to be chanted to them.

Two hundred and thirty years later, about the year 600, Gregory the Great reformed the musical services of the church, restoring the simplicity of Ambrose's chants, and introducing four new Modes or Tones-for the terms Mode and Tone in this connection are synonymous-which he called plagal, or collateral tones. Every singer of psalmody has seen tunes which are said to be arranged from the Gregorian tones, and has probably been led to suppose that the eight tones are eight tunes, used by Gregory in the church service. This is a mistake; for as tone in this case means mode, you may write as many tunes in our sense of the word to each mode as you please.

It so happens that not one of the modes adopted by Ambrose corresponds either to our major or minor scale. Hence every tune written in those modes in their original form, would sound imperfect to our modern ears. To confirm what I have said about these tones, allow me to quote balf a dozen lines from Dr. Burney:

"As it is," says he, "no one scale or key of the eight Ecclesiastical Modes is complete: for the first and second of these modes [i. e. the first of the Ambrosian modes, with the corresponding Gregorian or plagal.] being regarded according to the modern rules of modulation, in the key of D minor, want a flat upon B; the third and fourth, having their termination in E, want a sharp upon F; the fifth and sixth modes, being in F, want a flat upon B; and the seventh and eighth, generally beginning and ending in G major, want an F sharp."

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Pope Gregory the Great was consecrated to that high office in 590, when 40 years of age. He was a man of extraordinary energy of character, but of a very feeble physical constitution. Maimbourg says in his history of his pontificate: "Though he had upon his hands all the affairs of the universal church, and was still more burdened with distempers than with that multitude of business which he was neces sarily to take care of in all parts of the world, yet he took time to examine with what tunes the psalms, hymns, oraisons, verses, responses, canticles, lessons, epistles, the Gospel, the prefaces and the Lord's prayer, were to be sung; what were the tones, measures, notes, modes, most suitable to the majesty of the church, and most proper to inspire devotion; and he formed that ecclesiastical music, so grave and edifying, which at present is called the Gregorian music." He instituted singing academies, and though Pope, taught himself.

It was during this pontificate that the mission to Great Britain was sent, and our Saxon ancestors converted to Christianity. Doubtless the story, as told by Bede in his Ecclesiastical History, is familiar to you. In few words, it is this: A few years before his elevation to the papal see he visited the slave market in Rome, and was struck by the beauty of three boys of fair hair and fair complexion. He was

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With the deacons or preachers sent to England, were also sent teachers of singing; and in becoming Christians the inhabitants became singers of Gregorian music. A couple of centuries later, when the musical service had become corrupted, famous singers were sent from Rome to restore the music to its purity, and the introduction of the ancient organ was a means of preserving it.

Down to the era of the Reformation, there was one church, one ritual, one language of the clergy, one music. During the century or two preceding that era, secular music was greatly developed, and its influence had entered the church. With the revival of learning came a revival of Art. Raphael, Palestrina, Michael Angelo, Martin Luther, Thomas Tallis, Clement Marot, lived at the same time.

Music, painting and architecture, during the 14th and 15th centuries were very much cultivated; the two latter reached their highest development; the former has only come to its culminating point within

our own era.

Henry VIII. and Charles V. the Emperor, and Thibaut, King of Navarre, are memorable proofs of the attention paid to music. Henry VIII. wrote music for the church, and an anthem ascribed to him is to be found in Boyce's Collection. When he travelled, six singing boys and six gentlemen of the choir formed part of his retinue. To sing a part in the anthem in church was a necessary accomplishment of a prince in those days. Henry's children, Edward VI., Mary and Elizabeth, were all accomplished musicians, and all labored to have the musical service of the church as perfect as possible.

To the student of musical history, the interval between 1520 and 1600 is as interesting as to him who studies the history of religion during that period. It was then that Luther, with his friend George Rhau and others, gave form and comeliness to the choral, which has been developed to perfection in the works of Bach, and of which the "St. Paul" of Mendelssohn is a legitimate fruit. Calvin and his disciples at the same time were the fathers of our psalmody. Palestrina improved and saved the music of the mass, and led in the way since followed by Mozart, Haydn and Beethoven, and in England were laid broad and deep the foundations of that Cathedral Music, which inspired Handel, and has in our own days given us Mendelssohn's "Elijah."

The only change which at first occurred in the musical service of the English church, after the rupture of Henry VIII. with the Pope, was the adaptation of an English text to the old music. In September, 1547, the Litany was first chanted to English words in St. Paul's Cathedral. In 1550 the "Boke of Common Prayre," noted by John Marbeck, made its appearance, and his notation to the suffrages and responses is widely used, even to the present day.

During the short reign of Edward VI. the service was improved, and the books of the Roman Ritual, of all kinds, were ordered to be collec ́ed and destroyed. Then came the reign of Bloody Mary, when the Latin service was again adopted, and the books of the English service in the turn were destroved.

Then came the long and prosperous reign of Elizabeth, whose zeal for Protestantism and for music, led to the firm establishment of the English service, and to the rise of a new school of music.

The works of this school being founded upon the severe style of the old church, retain a certain nobleness and grandeur, which the experience and invention of ten centuries had introduced into sacred mu

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During the long reign of Elizabeth, the quarrel between Protestantism and Episcopacy in relation to church music, was kept up. The former would banish all music from the church service, save the singing of psalms, as allowed by Calvin. Hence Shakspeare's allusion to the psalm-singing Puritans. But the queen, herself a musician, refused to abolish the boy choirs and musical services of the cathedrals and chapels, and confirmed by special decrees, the statutes which provided for and sustained the Ecclesiastical music schools.

* * It was the mistake and misfortune of the Puritans that they carried their dislike for, and opposition to, the high-handed ecclesiastical tyranny, under which they had been imprisoned and burnt at the stake, in the days of Mary, to everything which could remind them of Roman Catholicism. Hence such petitions as the following, copied from a pamphlet dated 1586: "That all cathedral churches may be put down, where the service of God is grievously abused by piping with organs, singing, ringing and trowling of psalms from one side of the choir to another, with the singing of chanting choristers in white surplices; some in corner caps, imitating the fashion and manner of Antichrist, the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings."

In spite of this and immense masses more of such fanatical cant, Elizabeth and James I. sustained the music of the cathedral, and the science and practice of the divine Art flourished. But the old school fell at last under the increasing power and influence of Puritanism, and we may say ended with Dr. William Childe, who died at the age of 90, in 1697, after holding the office of organist at St. George's Chapel the extraordinary period of sixty-five years. (Conclusion next week.)

For Dwight's Journal of Music. Church Music.

BY A CHORISTER.

After hearing the lecture of Mr. A. W. THAYER at the concert of Cathedral Music, in the Tremont Temple, on Wednesday evening, April 15th, the question: Have we a strict style of church music in our religious service? naturally suggested itself.

It is evident, from attempts made here and there to break up the present system of singing for display, that the people are not fully satisfied. They choose their committee on music; and a leader is made responsible for the music throughout the year. He may be a communicant; ten to one he is not. His selections are to his own taste, not to the advancement of the service of God! That he has good singing is his only care -not for a moment does the thought occupy his attention, that perhaps this solemn strain may lead one to a realizing sense of his own responsibility to God and man. It is with a desire of reaching this want that the present article is written. It shall be our duty first, to glance at the two opposite styles predominant in the church service throughout the country.

First. Simple music, as used in the country churches. A choir of volunteers readily seize on this style, from its being easy of execution,

requiring little practice, and quickly comprehended. "Tunes" having but the harmonies of the tonic, dominant, sub-dominant with added sixth, is all they require, and Sunday after Sunday a listening congregation are satiated with selections in which the trebles run in thirds or sixthstenors harping on fifths or octaves; basses changing now and then to perfect a cadence. Such music is stupid and insipid; it neither suggests worship, nor fills the heart with an intense longing to be " 'pure as God is pure." Is it strange that a congregation should tire of such monotony and aspire to higher forms of sacred song, as given in the tone poems of Beethoven, Handel, Haydn and Mozart?

Second. The elaborate, or 66 opera style," as some have designated it, is mostly sung by a welldrilled and well-paid quartet, with an obligato accompaniment by an organist, prolific with harmonies! The moral of the anecdote related by Mr. Thayer of Dr. Boyce, in regard to organplaying, would apply here. As the fault of the former style is extreme simplicity, this errs as far the other way. A melody, however simple, is so elaborated by embellishments, startling harmonies, interrupted cadences, that it fatigues the ear, and often the final cadence is so unsatisfactory, that a nervous disquiet is kept up through a whole congregation. The music is mostly taken from secular operas, or composed by writers with scarcely ideas enough to warrant a half-phrase being original. The style is superficial, it speaks only to the sense, tickles the ear with delicate ornaments, and though a crowded audience is the result, as soon as the model quartet and the splendid music leaves how suddenly are well filled seats made vacant!

It is evident that neither of the above styles is in itself adapted to a strict church service; the former lacks in conception, the latter is superficial, sensual! A quotation from Dr. Marx is to

says: "The principal object of a religious composition is to express, in notes, the true sense of the words, which ought to be deeply felt, studied with pious faith and rendered with serious dignity." Such a style is between the simple and the superficial; choral forms, fugue imitations in well conceived anthems, enter largely into its composition. The same author says: "Every church composer should give his principal attention to the sense of the words to be set-should work the four-voice parts in flowing harmony and ingenious interweavings, and consider all else as embellishing additions!"

The music sung at the concert in question, was eminently in the church style. It was not a display of individuals, but a conscientious rendering of tone forms set to solemn words. Suspensions, imitations, prolonged cadences invite the attentive mind to examine more closely the sentiment thus made more emphatic by the said suspensions, etc. The music was truly devotional; no trifling melodic phrase drew one's attention from the sacred solemnity of the words; the mind felt lifted up-ennobled. He, who after hearing such, could go into busy life without one better thought to study upon, must be past redemption.

A careful study of the masses, oratorios, &c., of Beethoven, Haydn, Mozart, and hosts of others, will furnish models worthy of imitation by our young church composers. The flooding of our choirs with sentimental, wish-wash, “do, mi, sol, do" music, is extremely hurtful to the service of the church; enfeebles the comprehension of good music; and only nourishes a morbid appetite.

It is to be hoped that these attempts to introduce a more solid system of caurch music may be successful. It is a great and noble work. God speed it!

the point. He writes: « Shall the Evangelical Dwight's Journal of Music.

Church be perpetually deprived of her own appropriate music, which centuries ago was created for her? Shall the Catholic Church, in whose sacred service music assumes so important a function, suffer in our country so deep a degradation as it has endured in Itaiy, where movements from® Rossini's and Bellini's operas, and Auber's overtures disgrace the most holy moments of the service? Or in Spain, where, in recent times, ́church music is dumb even to the psalmody of the priesthood? We fear it not, and those who with us have a higher trust, will labor incessantly with all their strength, and on all occasions, to attain the highest object."

Having thus briefly considered two opposite styles of music in our churches, a few inquiries as to the purpose of music in the church, should occupy our attention. It is a powerful auxiliary to the service of God. The united voice of a whole congregation, joining in the strains of a solemn choral, cannot but strike the heart of a careless observer with awe, that theoretical sermons have failed to create. The littleness of his own perverse will is in striking contrast with the majestic strains of a hymn inviting to repentance. The object being a high and holy one, the character of the music is of the greatest importance. Arrangements of frivolous melodies but call attention to a sweet voice-a studied rendering-a thorough knowledge of vocalization. Simplicity begets indifference. Albrechtsberger truthfully

BOSTON, APRIL 25, 1857.

Music in Boston-Review of the Season. The concerts are over. With the exception of a few straggling performances, we shall have no more music in public before the great Festival, about the end of May. It is a good time therefore to look back and see what we have had, count up our garnered sheaves, and see how well the harvest compares with past years, and whether we have made any progress. Four years ago, about this time, we made a famous count, and showed a list of compositions of the best masters that Boston had enjoyed that winter, which excited some astonishment abroad. That big wave onward and upward did not prove to be a faithful measure of our continuous, habitual musical life. The sea subsided somewhat in the following winters. Either there was too much of accident, or fashion, or chance epidemic in the musical excitement of that season, or the distracting, dazzling influence of the Jullien concerts came in just then at the wrong time, or what increase of taste and culture there has been among us has naturally sought more genuine or private channels of enjoyment and grown indifferent to public exhibitions;-whatever be the causes, no winter since the one alluded to has given us anything like the same addition to our stock of musical treasures laid up in the memory of hearing.

Naturally, too, the confession and complaint of this has gone on growing, until we have got to see the case much worse than it really is. Throughout the winter past, it has been quite the fashion to lament the falling off of musical appreciation and appetite, the paucity of good concerts, the poor remuneration of concert-goers, &c., &c. Repeatedly have we been asked, even near the end of the season: "Well, pray when are we going to have some music in Boston? How little we do get!" The answer should be to present a list of some hundred or two concerts and operas that have actually been performed here this same barren winter. The operas, however, have been few, fewer than usual, and the question in most cases comes from individuals who ignore all music but Italian Opera. As a matter of curiosity, and as one fixed note of progress, we propose to show, (as nearly as we can without much time and without all the materials at hand), what quantities of valuable music, in the various departments, orchestral, chamber music, oratorio, opera, &c., have been publicly performed in Boston since October to this time.

We shall begin with music for grand Orchestra. 1. SYMPHONIES.-We have not, to be sure, had all the nine of Beethoven, as we did four years since; but we have had a goodly share of them. In the five Philharmonic Concerts of Carl Zerrahn and the fourteen Afternoon Concerts we have had:

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To which add, single movements from all these, the Scherzo of Mendelssohn's No. 3, the Allegretto from his Symphony-Cantata, (Song of Praise,) repeatedly, &c. We have not yet had the "Choral Symphony," which we only half had last year, but it is promised for the May Festival. We have had no whole Symphony of Mendelssohn, and nothing new of Mozart or of Haydn. The substantial gain upon last year has been the Symphonies of Schubert and of Schumann-though only the latter was quite new to us.

2. OVERTURES.-Our list is probably not quite complete, and of course does not include the regular business of the theatres. It is rather singular that it does not contain one of the wellknown and ever favorite ones of Mozart; nor the Leonora, No. 3, though we have had the opera; nor one of Cherubini's, nor more than two of Mendelssohn's. The list is meagre in the best of the old masterpieces, but on the other hand the Faust of Wagner, the Carnival of Berlioz, the Manfred of Schumann, and the one by Rietz, have helped to extend our knowledge into the compositions of to-day. We have had the over

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We have had all of Mendelssohn's "Midsummer Night's Dream" music, (at Mrs. Kemble's reading), and frequent extracts from it. course, too, we have had indefinite and not to be remembered quantities of lighter orchestral confectionary: arrangements from operas, potpourris, dances, solos and variations, and what not.

4. INSTRUMENTAL CHAMBER MUSIC. Here our fortune has been richer. It is perhaps a natural result of the increase of real taste for music in a community, that those who share it should become partial to the smaller and more select kinds of concerts, where with "fit audience though few," they may commune more intimately with the best thoughts of the nobler masters. Our Mendelssohn Quintette Club-German Trio, and Mr. Gustave Satter, have each given us series of Chamber Concerts, to which we may add the Matinées, &c., of Thalberg, and numerous incidental benefits, soirées, &c. Among the works in classical form, which have been performed in this way, we may count the following: HAYDN. Quartet, in G. No. 63, (new)......twice. in G. No. 66, Adagio, variations and minuetto, from Quartet, in B flat. No. 77. MOZART. Quintet, C minor, No. 1.

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Adagio, from 2d clarinet concerto.

To these add a Quartet (with piano) by Willmers, a Trio by Thalberg, Mr. C. C. Perkins's Quintet in D Mr. Satter's "Sardanapalus" Trio and "Kosciusko” Quartet, and a great variety of minor pianoforte compositions of Chopin, Mendelssohn, Moscheles, &c., to say nothing of the Fantasias &c, of Thalberg, Liszt and others of the virtuoso school. With all this wealth, what genuine lover of the poetry of music has not missed the concerts, to which past years had accustomed us, of Otto Dresel!

Here we must make pause, reserving the account of vocal concerts, oratorios, operas, &c, till next week.

Musical Correspondence.

NEW YORK, APRIL 21.-I have not written you in a long time, partly because there has been little to write about, and partly because I have been prevented by illness from hearing even that little. OLE BULL has given two or three more concerts on his own account, and with his "troupe," assisted at one for the benefit of the Masonic Board of Relief. Last week Miss BRAINERD gave a concert, with the help of Mr. GOLDBECK, Sig. MORELLI and some others. It is said to have been satisfactory and quite successful; I regretted that I was unable to be present. The lady is to sing at our last Philharmonic, next Saturday, which promises to be the best of the season. The "Eroica," Mendelssohn's

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Midsummer Night's Dream" music, and a new Overture by Littolf, are the orchestral pieces, and Mr. TIMM undertakes the instrumental solo. Our concert season holds on longer than yours. Besides the above, we have still EISFELD's last Soirée to expect, and for next week a novelty is promised us in the shape of the "Walpurgis Night" of Mendels sohn, to be sung at a concert of the German Liederkranz.

This entertainment is in aid of the German Ladies' Benevolent Society, whose attractive and very successful concert of last year was mentioned in your columns. Mr. Goldbeck has also kindly volunteered to play, and other miscellaneous attractions are held out.

The Harmonic Society have made two unsuccessful attempts to perform Loewe's beautiful cantata of the "Seven Sleepers." Both were spoilt by very unfavorable weather, which kept away not only the listeners, but also many singers. Nothing daunted, however, this persevering society have announced a third performance for next Monday evening, for which, with gr ality, tickets were distributed to those who had braved the storm the last time. They certainly deserve success in their third trial.

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HINGHAM, MASS., APRIL 21.-Among the many communications that have appeared in the columns of your Journal of Music, (which by the way are quite an interesting feature to those of your readers interested in musical matters "about home"), I do not recollect of ever seeing any from this quarter of the old Bay State, familiarly known as "bucket town."

In the way of concerts, I regret to say that we have had but three during the past winter; two of them in the early part of December, by the vocal quartet, consisting of Mrs. MoZART, Miss TWITCHELL, Messrs. ADAMS and MOZART, who the year previous were received with much favor by our musical public, but fa some unaccountable cause met with but poor encouragement the present season. For the last five or six years, it has also been customary for the Mendelssohn Quintette Club to give one or more of their series of concerts, which were not only popular, but in a pecuniary point successful. The past inter, however, we have failed entirely in obtaining that substantial aid in the way of subscription, which is a guaranty to the artist for services rendered. and a security to the concert-goer of respectable audiences. This apparent lack of musical interest among us may be accounted for in part, from the fact that quite a number of our people, who are generally interested in having good musical entertainments in our own town, have found it convenient to make Boston a temporary abode during the winter months-and then the usual story of "hard times," &c., &c.

Our third, and only paying concert of the season, was given at Loring Hall on Fast Day evening, with the following talent: Mrs. ELLEN FOWLE, Miss SARAH HUMPHREY, Mr. Jonn Low, Mr. GEO. WRIGHT, JR., Mr. H. C. BARNABEE; also Master

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..Mozart

Recit. and Aria: "Ye people, rend your hearts," Mendelssohn Chorus: Sanctus,..

Recit. and Aria: "And they all persecuted Paul," Mendelssohn Chorus: Dona nobis pacem,... ..Mozart

The Choruses, by the Society, were sung very creditably, giving evidence of the able direction of Messrs. Tufts and Wilder, and the industry and perseverance of its members.

The arias, by Mr. Arthurson, who also sang the solo in the Incarnatus, fully sustained his reputation as an oratorio singer, and some of our singers may well admire and pattern after his style of rendering such music.

The Aria: "Mighty Jehovah," was well sung by Mrs. FULLER," evincing in no small degree her taste and ability as a solo singer.

The Trios, by Messrs. J. W. TEFTS, C. E. HOOKE and J. D. CONCET thegleder with sat artistie finish which is so indispensable in compositions of this kind. The accompaniments throughout were played by Mr. Tufts, whose excellent performance is too well known here to need any compliment.

As an effort to establish a love of good music among us, it was successful, and much credit is due to those who have labored so long and so faithfully for the advancement of this object.

IMPROMPTU.

Musical Intelligence.

WORCESTER, MASS.-On Fast evening, the Mozart Society brought out the oratorio of the "Creation," at the Mechanics' Hall, which, to the credit of our citizens be it spoken, was filled with an audience of nearly three thousand people. That our Music Hall, within six weeks of its completion should be the scene of the performance of an entire oratorio and in so creditable a manner, speaks well for art in Worcester. The audience, large as it was, evinced an evident interest in each portion of the work, and showed, by their frequent bursts of applause, their appreciation of this wonderfully beautiful work of Haydn's. A second performance would not be lost upon them. The society, numbering over a hundred voices, gave the choruses for the most part with fine effect, evincing the careful drill which they have received. The symphonies and accompaniments were played by the Mendelssohn Quintet Club, Mr. B. D. Allen, and Mr. S. R. Leland. The club, with the addition of a bass viol, did excellent service, each instrument telling finely, in the symphonice, upon all who were near enough to hear them; but, as an orchestra they could not meet the requirements of so large a chorus. The Chickering "Grand" and the organ harmonium in the hands of the above-named members of the society, were most acceptably played. The solos in the oratorio were sustained by Mrs. Allen, whose air "With Verdure Clad" was beautifully sung; Miss Whiting, who only lacked somewhat the confidence to give full effect to the clarion-like air, The Marvellous Work;" and Miss Fiske, who fairly surpassed her former efforts, as Eve, and in the splendid "Mighty Pens" aria, which is a trying piece for any singer after Jenny Lind's inspired interpretation of it. The tenor and bass solos were given to Messrs. Draper and Baker of Boston, the former of whom gave unqualified satisfaction. Mr. Baker sang with much finish of style, but his voice proved hardly equal to the part of

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Raphael. With an organ and a larger orchestra, the concert would have been a complete success. May we yet hear the "Creation" with those advantages! Mr. Hamilton's excellence as a conductor was never more apparent than on Thursday evening, several circumstances combining to make the occasion somewhat trying to his skill, which, however, overcame all difficulties.

WASHINGTON, D. C.-We have received the programme of the musical service performed by St. Matthew's Choir, on Easter Sunday, under the direction of F. NICHOLS CROUCH, who is said to have established here one of the finest choirs existing in America. Here it is, signed and "approved: "

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LONDON.-Mr. Gye has issued his prospectus for a new season of the Royal Italian Opera, commencing April 14th, (the same night with Lumley's), at the Lyceum, Covent Garden being not yet rebuilt. The Daily News says:

Like Mr. Lumley, Mr. Gye makes no promise of absolute novelty in the production of operas. The nearest approach to it is an Italian version of Auber's Fra Diavolo, "with entirely new recitatives, and additional poetry and music," written expressly for the Royal Italian Opera by Scribe and Auber themselves. Several revivals are promised: Herold's Zampa, Cimarosa's Matrimonio Segreto, Mozart's Nozze di Figaro and Mercadante's Giuramento. The promise of the Matrimonio Segreto is especially welcome. Of course we are to have the Traviata, with Madame Bosio as the frail heroine, a part in which she has had immense success during the last season at St. Petersburg.

All the principal members of last year's company will re-appear: Grisi, Bosio, Marai, Didiée, Mario, Tamberlik, Ronconi, Graziani, Tagliafico, Polonini, Zelger and Formes. There will also be Lablache, (after two years' absence) and Gardoni. Mme. Victorine Balfe, (the daughter of our popular composer), is to make her first appearance on the stage. Great expectations are entertained of the debut of this young lady, whose gifts of nature have been cultivated by a thorough musical education under her father's care. Another novelty is Mme. Eufrosyne Parepa, a young singer who has lately gained a high continental reputation. She is related to a well-known English musical family; is a charming comedian and an accomplished singer.

Mr.

Costa, of course, is the musical director. Smythson is the chorus master, and Signor Maggioni the poet. Mr. A. Harris is stage manager, Mr. W. Beverley scene painter, and Mr. Alfred Mellon leader of the ballet. The subscription will be for forty nights, commencing on the 14th of April.

This is the substance of Mr. Gye's arrangements for the opera. But another very important circumstance is to be added: the reëngagement at the Lyceum of Madame Ristori, with her Italian dramatic company. She is to give fifteen performances, commencing in the first week in June.

The NEW PHILHARMONIC SOCIETY commenced its concerts for the season April 1st, with Dr. Wylde as sole conductor and a fine performance of the following pieces:

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oratorios to be given during the great festival in honor of Handel at the Crystal Palace, it has no doubt enjoyed the advantage of more than usually careful preparation. Nevertheless, whatever the cause, there can be no doubt that an execution so generally effective of Israel in Egypt was never accomplished before in Exeter Hall, or probably anywhere else. So satisfactory, indeed, was the result, that even the impracticable chorus, "The people shall hear," went well, and was sung in almost irreproachable tune throughout. The whole of the first part-which includes the sufferings of the hardly-burdened Israelites under the dominion of that Pharoah "which knew not Joseph," the plagues brought upon the Egyptians by Divine power through the interposition of Moses, and the miraculous passage through the depths of the Red Sea-was marvellously rendered. Every chorus told, and the encore elicited by "He gave them hail-stones," thoroughly well deserved as it was, must, nevertheless, be regarded rather as a tribute to the immediately recognized beauties of a familiar masterpiece than as an acknowledgement of the execution having been superior to that of any other chorus in this portion of the oratorio. The second part-from the overpowering "Horse and his rider" to the conclusion, where that sublime hymn of exultation and worship is repeatedwas almost equally gratifying. Some exceptions might be made, it is true; but in so admirable a performance it would be mere hypercriticism to insist upon a few minor defects which alone prevented the whole from being apostrophized as blameless. The audience were evidently impressed in the highest degree, and many. previously incredulous, were heard to avow that Israel in Egypt, if not greater than The Messiah, was at least quite as great-a proposition which, with those competent to form an opinion. is incontrovertible.

The solo singers-Madame Weiss, Miss Dolby, Mr. Montem Smith, Signor Belletti, and Mr. Thomas-all exerted themselves in such a manner as to win unanimous approval. The purest Handelian singing of the evening was demonstrated in the two contralto airs, "Their land brought forth frogs," and "Thou shalt bring them in," both of which were given to perfection by Miss Dolby. The duet for basses, "The Lord is a man of war," declaimed with great animation by Mr. Thomas and Signor Belletti, was honored by the stereotyped encore-by no means favorable, by the way, to the general effect of the performance. since the duet itself is very long. and, one or two passages excepted, not one of Handel's most remarkable compositions. At the termination of the oratorio Mr. Costa was loudly applauded, and the compliment was well deserved.-Times.

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We are now ready to furnish bound volumes of the past year of our JOURNAL.....We heartily share in the general wish, which we have heard expressed, that Mr. CUTLER should repeat that interesting concert of English Cathedral Music; and we learn that he will be happy soon to do so, unless the illness of one of the most important members of the boy choir should continue to prevent....We are glad to see announced a benefit concert to Mr. HENRI JUNGNICKEL, the excellent violoncellist, to take place at Mercantile Hall tomorrow evening. The German Orpheus, led by Mr. Kreissmann, German Trio, Mr. Satter, Mrs. Mozart and Miss Twichell will assist.

The Annual Complimentary Benefit Concert of the Mendelssohn Quintette Club is announced for Thursday evening next, with an excellent programme.

LISZT appears to have had a great time in Leipsic, where, besides his own new works before mentioned, he conducted a brilliant performance of the Tannhäuser. On the next day, (March 5th), at the nineteenth of the Gewandhans concerts, were performed Handel's "Alexander's Feast" and Beethoven's C minor Symphony. Another Leipzig Society, the Euterpe, gave Cherubini's Requiem, (for mixed chorus), and Beethoven's fourth Symphony.

Mons. JULLIEN contemplates a month's tour with his orchestra in Holland..... Mr. ELLA'S "Analy

tical Programmes" to his classical soirées are the theme of much animadversion and amusement with the London critics. It seems he not only puffs, but criticizes, his own wares, his artists and performances, and fights the critics of the newspapers in said "Analyticals." Other funny things he furnishes there; for instance:

Jullien, the favored child of the muses Euterpe and Terpsichore, honored the first soirée with his presence, and was seen in earnest conversation with Professor Owen! Ominous event! Orpheus moved stones by the charm of his lyre, and who knows but Jullien has learned the secret from Professor Owen, to charm away those monsters of the muddy deep at the Crystal Palace, to assist at the inauguration of a mammoth pot-pourri at the Surrey Zoological Gardens? Seriously, we own to feeling gratified with M. Jullien's visit to our classical temple of art, where, to use his own words, 'on respire l'atmosphère pure de l'art.' His attempts to instil into the minds of the people a taste for classical orchestral music, are most praiseworthy &c.

Advertisements.

THE MENDELSSOHN QUINTETTE CLUB'S Annual Complimentary Benefit Concert Will be given at Messrs. CHICKERING'S ROOMS, ON THURSDAY EVENING, APRIL 30th, Assisted by

Mrs. J. H. LONG, Vocalist, HUGO LEONHARD, and the ORPHEUS CLUB, under the direction of Mr. KREISSMANN.

Mr. FRIES will play the Violin Concerto by Mendelssohn ;a new Beethoven Quartette:-Mr. LEONHARD will play the Sonata Appassionate, by Beethoven, and one of Chopin's Ballads. Mrs LONG sings twice, and the ORPHEUS CLUB twice. Single tickets $1 each; package of four tickets, $2,50. Concert to commence at 7% o'clock precisely.

A

ATHENEUM EXHIBITION.

JOINT EXHIBITION of Paintings and Statuary by the BOSTON ATHIENÆUM and the BOSTON ART CLUB, is now open at the Athenæum, in Beacon Street. Among many other valuable Paintings are a large number of WASHINGTON ALLSTON's best Works, and the Dowse Collection of Water Colors.

Season tickets 50 cents-Single admissions 25 cents.

Mozart's Grand Requiem Mass

Will be performed (for the first time in public by a Catholic
Choir,) at the BOSTON MUSIC HALL,
On Sunday Evening, May 3d, 1857,
Choir of the Cathedral of the Holy Cross, Franklin St.
Assisted by members of the

BY THE

Choirs of SS. Peter and Paul, South Boston, St. Patrick's, Northampton Street, and of the Holy Trinity, Suffolk Street,

Accompanied by a Full Orchestra, selected from the first professional talent in Boston.

Under the direction of Mr. A. WERNER. Masters THOMAS HODGES and EUGENE HENRY, (pupils of Mr. Werner,) will preside on the Organ. The proceeds to go toward the erec ion of the contemplated new building for the House of the Angel Guardian.

Part I.

MOZART'S GRAND REQUIEM MASS.
Part II.

SELECTIONS from some of the most distinguished Catholic
Composers: i. e. Palestrina, Ilaydn, Hummel, Cherubini and
Beethoven.

Tickets 50 cents. Family tickets, admitting three person, $1. To be had at the Music Stores, Catholic Bookstores, of the Ticket committee, and at the door. Programmes with Latin and English words to be had at the hall.

Doors open at 6%; Concert to commence at 71⁄2 o'clock.

TH

MENDELSSOHN MUSICAL INSTITUTE. HE 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 ladies in the family of the Principal. For circulars, &c., address

EDWARD B. OLIVER, PITTSFIELD, MASS.

C. L. WATKINS & Co. (Successors to REED & WATKINS,) Wholesale & Retail Dealers in PIANO-FORTES

AND MELODEONS,
From the most celebrated

Eastern Manufactories.

WAREHOUSE and SHOWROOMS,

No. 51 Randolph Street,....................Chicago, Ill.

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