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IV.

v.

course was given yesterday afternoon, and young allusion, however, is not wholly inappropriate, its contempt for courtesy. It is a poor compliment Boston, touched by the solemnity of the occasion, and a word of regret is due the memory of a to grant it the supremacy it asserts. kept up a respectable appearance of decorum gentleman once so well known and so warmly To me, Messrs. Editors, it appears that in some throughout, which, we trust, did them no harm. regarded in our musical circles.—Courier, 16th. unknown delusion, the audience consider themAnd now, the afternoon concerts being over, what

selves the actors, and the ladies and gentlemen on will become of the promising embryo musical

For Dwight's Journal of Music.

the stage, spectators. It is under this impression cognoscenti of the city, who patronized them with

PRAYER DURING BATTLE.

that they perform those astonishing farces and such appreciative enthusiasm, going into epileptics

burlesques upon politeness which have gained of ecstasy over the Anvil Chorus, with or without

From the German of KOERNER.

them the honor of being better clowns than any the anvils, and rushing into the corridors or a

1.

who tumble in the sawdust. lively conversation whenever the serener spirits

Father, I call on Thee !

But is their conscience so poor a call boy that of Mozart or Mendelssohn claimed a hearing ! Round me is roaring the smoke of the battle, they cannot better time their entrances and exits? What will become of that long line of eager eye Hissing and flashing, the lightning-bolts rattle; In conclusion, I hope I may not be accused of glasses, with weak-minded young men attached,

Ruler of battles! I cry to Thee!

stepping beyond my proper sphere, for if the who, at the close of each concert would organize

Father, O lead Thou me!

audience insist on being actors, what wonder that themselves into a phalanx in Winter Place,

the actor should become

A CRITIC.

II. making themselves ridiculous, and everybody else uncomfortable, staring at the faces and figures

Father, O lead Thou me! passing out? What shall become of that stream Lead me to victory-death-if Thy will be;

English Cathedral Music. of youthful humanity that, just before five o'clock Lord, my commander, Thou, Thou shalt still be;

| (From the Remarks read by A. W. TILAYER at the Concert of each Wednesday afternoon, oozed from the hall,

Lord, as Thou wilt, so lead Thou me.

the Boston Choristers' School, April 15.) and flowing through Winter street, flooded for

God, I acknowledge Thee! hours the popular thoroughfare, sweeping all

The object of the present Concert is three-fold : to

III. before it with its magnificent swell; engulphing

God, I acknowledge Theel

give the audience some idea of English Cathedral all intruders in its amplitudes of crinoline;

As in the woodland's autumnal moaning,

Music, and its principal composers ; to exhibit the bewildering, and almost carrying off his slender

So in the battle-thunder's groaning,

practicability and proper use of boy choirs in the legs, as he works with his sinuosities along," the

Fountain of mercy, I'ın near to Thee!

Episcopal service ; and finally, to show experimentfeeble young man adjusting his glass for a critical

Father, O bless Thou me!

ally, what such choirs can accomplish with a little examination of the beauty whose circumference

careful training. * * * * * forbids his near approach! What will become of all these? Their occupation's gone. No more

Father, O bless Thou me!

In the older English cathedral music there are for them the orchestra shall form, nor Zerrahn ply

Into Thy hand my life I surrender,

many peculiarities, some of which at first grate rather his baton in the air; Heinicke's shrill clarion nor Thou art its Author, Disposer, Defender;

harshly upon our ears. But as the ear in modern the echoing horn, no more for sweet sounds shall

0, living or dying, bless Thou me.

instrumental music soon delights in combinations of their ears prepare. The Music Hall will no more

Father, all praise to Thee!

sounds at first unpleasing; as the eye learns to forget o' Wednesday afternoon be lighted up with bright

violations of perspective and laws of color, in coneyes, pink bonnets, and many-colored ribbons.

Father, all praise to Thee!

templating the deep religious sentiment oftentimes The corriders will no longer be a trysting-place

Not for the goods of the world we're contending, for maidens and their sweethearts, and the pat of

expressed in old paintings, so we learn to love the

All that is holy our swords are defending; gentle feet will no more echo through the dark

peculiar effects of old sacred music. labyrinth of the passages, distracting the listeners

Then, falling, and conquering, praise I Thee!

The peculiarities mentioned are traceable directly

God, be Thou nigh to me! within. Rather hard for young Boston, but even

to the music of the middle ages, and thence back to young Boston must take its share of the woes of

VI.

the days of the primitive churches. this world.

God, be Thou nigh to me!

What the vocal music of the ancient Greeks and The afternoon concerts have been very well

When death shall come with his thunder-greeting, | Hebrews, from whom the primitive Christians depatronized this season, although their success has When the last pulses of life are fleeting, not been equal to that of those given by the

rived theirs, really was, has been for some centuries

Then, O God, be Thou nigh to me! Germanians a few years ago, which was so great

a subject of vast research and speculation on the Father! I call on Thee!

C. T. B. that it really induced the delusion that Bostonians

part of musical writers. But as modern discoveries must be an intensely musical people. The pop

in astronomy have thrown a flood of light upon his. ularity of these well remembered “rehearsals,”

An Actor upon Audiences.

tory and chronology, so recent discoveries in relation and the subsequent rapid decline of interest in

[In Fitzgerald's paper the behavior of Philadelphia to laws of sound relieve us at once of many of the entertainments of this character, form a striking

audiences is thus shown up by an actor. We fear difficulties which old musical writers met. We know example of the unreliability of the great public,

there are few places, in this land at least, where the that the laws of nature are uniform and unchanging. and the utter vanity of all earthly glory. “Afternoon concerts” first came into favor in the time of

portrait, even if a little caricatured, will not suit.] When the fiat went forth, “ Be light!” and light the Musical Fund Society, whose "rehearsals" did EDITORS OF THE City ITEM—Gentlemen : was! the white sunbeam then as now was a comgood work in their day. The good old Musical To abuse a public upon whose kindness my pound of the seven colors of the spectrum ; and from Fund fulfilled its mission and departed, yielding, success depends, and of whose appreciation I the vibrations of a sonorous body then as now could rather reluctantly, to the march of musical have received so many tokens, would seem be drawn the seven sounds of the scale. improvement, and making a few glorious struggles ungrateful and impolite. Yet to spare the rod is

A tone with its third and fifth, must have always before giving up the ghost. The Germanians, to spoil the child, and to abuse our best friends is

been includ d in some manner in all forms of music. handsome fellows, had won the hearts of the often to most oblige them. The public have been Boston maidens, and their triumph followed as a kind to me, and so I shall be kind to the public.

The great difference, then, between ancient and mod. matter of course. For two years, with little Jaell, An audience, sirs, whether operatic or the ern music is a difference in Mode. In modern music they carried themselves bravely, but, as their atrical, is a great overgrown, ignorant, peevish, we have two modes, which we call Major and Minor, success was not based upon any real sound Art whimsical baby. Having no respect for others,

the one cheerful and noble, the other sad and melan. enthusiasm, they, in their turn, were obliged to and none for itself, it supplies the vacuum with

choly. We all know that in our octave or scale of dissolve and disperse. A number of them came an overplus of self-esteem. All it seeks is its

eight notes we have five musical intervals known as to Boston, their first love, and through their own gratification. Its very applause is not so exertions we have had occasional returns of the much a tribute to the merits of an actor, as a

whole tones or steps, and two intervals known as merry old times. The other members of the declaration of its own discrimination.

semi.tones or half steps. The mode depends entirely society migrated to different portions of the

It puts in its thumb

upon the order of succession of these tones and semiUnited States, where, with one exception, we

And pulls out a plum,

tones. If you run an octave on the white keys of the believe they are all prospering. The exception

And says, “What a good boy am I!”

piano.forte, from C to c, the semi-tones occur between is Mr. Louis Hehl, of whose death we were It sees upon the stage the reflection of its own

3, 4, and 7, 8, and we have the Major mode. If you grieved to hear a few days since. Mr. Hehl was intelligence, and smiles benignly on the mirror. well known as a violinist and an admirable pianist, It reduces all beauty to its own distorted stand

run from A to a, the semi-tones come between 2, 3, whose opportunities of establishing himself in an ard, and breaks all the statues not cast in its

and 5, 6, which is the old imperfect form of our honorable position in this city were very great.

own model. But in reality this universal censor Minor mode. If you run from D to d, the semi. He, however, thought his interests would be is the most ignorant and superficial of dilettanti. tones come between 2, 3, and 6, 7, which gives anobenefitted by visiting the West. He lived for a In its ignorance of the very objects it admires, ther mode. And thus each note taken as the basis while at Detroit, without meeting the success he it applauds at the very moment it should listen,

of the octave, leads to some particular position of had anticipated, and died a short time since in and rapturously demands an encore in the middle

the semi-tones, which gives us a new mode. New Orleans.

of a Brindisi. To hear Thalberg play four Commencing with the intention merely to fantasias, it crowds a concert room, and after

Many of these modes are found to be imperfect as jestingly announce the demise of a series of insisting upon his playing a dozen, finally in the

ng upon his playing a dozen, finally in the soon as we attempt to put harmonies to them. But concerts, we have almost in voluntarily recorded very middle of the last piece encored, puts on its where no harmony is employed in the services of the the actual death of one who was in former times overcoat and goes home. It enters late to show church, the melodies founded upon them continue intimately associated with similar concerts. The 1 its superiority to forms, and goes out early to show | down to our own times, and the traveller can hear

Rome

to re

or

a

usic to its

now in the Greek convents of Asia Minor, such told that they were from Britain. Asking of what sic; at the same time, the change of text from a chants as St. Ambrose heard and studied more than nation, he was told they were Angles. “Right,” | dead to a living language, necessarily led to a greater 1500 years ago.

said he, "for they have an angelical face, and it be- | infusion of the sentiment of the text into the music. To our ears, which are accustomed to only two comes such to be co-heirs with the angels in heaven.” Innovations were sparingly admitted, and yet the modes, music in any other is at first repugnant; but Being told that the name of their king was Elle, great progress in secular music could not but have in some of them it soon becomes delightful.

“ Ellelujah," said he, “the praise of God must be | its effect in the new style of composition. The more The Greeks gave particular names to their various sung in those parts."

distinguished composers of that school were Marmodes: as, Lydian, Myxolydian, Æolic, &c. One With the deacons or preachers sent to England, | beck, Tye, Tallis, Bird, Morley, Gibbons, Parsons of these, the Æolic, improperly called Lydian, was were also sent teachers of singing; and in becoming and Farrant. * * * * * * adopted by Beethoven in one of his last stringed Christians the inhabitants became singers of Grego Daring the long reign of Elizabeth, the quarrel quartets, in an adagio, which he calls “ Prayer of rian music. A couple of centuries later, when the between Protestantism and Episcopacy in relation thanksgiving by a Convalescent," as being peculiarly musical service had become corrupted, famous sing to church music, was kept up. The former would appropriate for the expression of religious gratitude. ers

banish all music from the church service, save the About the middle of the fourth century, just about purity, and the introduction of the ancient organ singing of psalms, as allowed by Calvin. Hence 1500 years ago, St. Ambrose passed from Antioch. was a means of preserving it.

Shakspeare's allusion to the psalm-singing Puritans. into Italy, and settled at Milan. Here he introduced | Down to the era of the Reformation, there was But the queen, herself a musician, refused to abolish four of the modes, used in the music of the Greek one church, one ritual, one language of the clergy, the boy choirs and musical services of the cathedrals Christians, taking such as seemed to him most devout, one music. During the century or two preceding and chapels, and confirmed by special decrees, the and caused the psalms to be chanted to them.

that era, secular music was greatly developed, and statutes which provided for and sustained the EccleTwo hundred and thirty years later, about the year its influence had entered the church. With the re siastical music schools. * * * * 600, Gregory the Great reformed the musical ser vival of learning came a revival of Art. Raphael, It was the mistake and misfortune of the Puritans vices of the church, restoring the simplicity of Am Palestrina, Michael Angelo, Martin Luther, Thomas that they carried their dislike for, and opposition to, brose's chants, and introducing four new Modes or Tallis, Clement Marot, lived at the same time. the high-handed ecclesiastical tyranny, under which Tones—for the terms Mode and Tone in this con. Music, painting and architecture, during the 14th they had been imprisoned and burnt at the stake, in nection are synonymous—which he called plagal, or and 15th centuries were very much cultivated; the the days of Mary, to everything which could remind collateral tones. Every singer of psalmody has seen two latter reached their highest development; the them of Roman Catholicism. Hence such petitions tunes wbich are said to be arranged from the Grego. | former has only come to its culminating point within as the following, copied from a pamphlet dated 1586 : rian tones, and has probably been led to suppose our own era.

" That all cathedral churches may be put down, that the eight tones are eight tunes, used by Gregory Henry VIII. and Charles V. the Emperor, and where the service of God is grievously abused by in the church service. This is a mistake; for as tone Thibaut, King of Navarre, are memorable proofs of piping with organs, singing, ringing and trowling of in this case means mode, you may write as many the attention paid to music. Henry VIII. wrote psalms from one side of the choir to another, with tunes in our sense of the word to each mode as you | music for the church, and an anthem ascribed to him the singing of chanting choristers in white surplices; please.

is to be found in Boyce's Collection. When he tra some in corner caps, imitating the fashion and marIt so happens that not one of the modes adopted velled, six singing boys and six gentlemen of the ner of Antichrist, the Pope, that man of sin and by Ambrose corresponds either to our major or minor choir formed part of his retinue. To sing a part in child of perdition, with his other rabble of miscrescale. Hence every tune written in those modes in the anthem in church was a necessary accomplish ants and shavelings." their original form, would sound imperfect to our ment of a prince in those days. Henry's children, In spite of this and immense masses more of snch modern cars. To confirm what I have said about Edward VI., Mary and Elizabeth, were all accom fanatical cant, Elizabeth and James I. sustained the these tones, allow me to quote balf a dozen lines plished musicians, and all labored to have the music music of the cathedral, and the science and practice from Dr. Burney: cal service of the church as perfect as possible.

of the divine Art flourished. But the old school fell " As it is," says he, “no one scale or key of the To the student of musical history, the interval at last under the increasing power and influence of eight Ecclesiastical Modes is complete: for the first between 1520 and 1600 is as interesting as to him Puritanism, and we may say ended with Dr. Wil. and second of these modes si. e. the first of the Am who studies the history of religion during that period. liam Childe, who died at the age of 90, in 1697, brosian modes, with the corresponding Gregorian It was then that Luther, with his friend George after holding the office of organist at St. George's or plagal.] being regarded according to the modern Rhau and others, gave form and comeliness to the Chapel the extraordinary period of sixty-five years. rules of modulation, in the key of D minor, want a choral, which has been developed to perfection in the

(Conclusion next week.) flat upon B; the third and fourth, having their termic works of Bach, and of which the “St. Paul” of nation in E, want a sharp upon F; the fifth and | Mendelssohn is a legitimate fruit. Calvin and his

For Dwight's Journal of Music. sixth modes, being in F, want a flat upon B; and the disciples at the same time were the fathers of our

Church Music. seventh and eighth, generally beginning and ending psalmody. Palestrina improved and saved the music

BY A CHORISTER. in G major, want an F sharp."

of the mass, and led in the way since followed by * * * * * * * Mozart, Haydn and Beethoven, and in England

After hearing the lecture of Mr. A. W. Pope Gregory the Great was consecrated to that were laid broad and deep the foundations of that

TIIAyer at the concert of Cathedral Music, in high office in 590, when 40 years of age. He was a

Cathedral Music, which inspired Handel, and has in the Tremont Temple, on Wednesday evening, man of extraordinary energy of character, but of a

our own days given us Mendelssohn's “ Elijah.” April 15th, the question : llave we a strict style very feeble physical constitution. Maimbourg says

The only change which at first occurred in the of church music in our religious service ? natuin his history of his pontificate : « Though he had

musical service of the English church, after the rup rally suggested itself. upon his hands all the affairs of the universal church,

ture of Henry VIII. with the Pope, was the adapta It is evident, from attempts made here and and was still more burdened with distempers than

tion of an English text to the old music. In Sep. with that multitude of business which he was neces.

there to break up the present system of singing tember, 1547, the Litany was first chanted to English sarily to take care of in all parts of the world, yet he

for display, that the people are not fully satisfied. words in St. Paul's Cathedral. In 1550 the “ Boke took time to examine with what tunes the psalms,

They choose their committee on music; and a of Common Prayre," noted by John Marbeck, made hymns, oraisons, verses, responses, canticles, lessons,

leader is made responsible for the music throughits appearance, and his notation to the suffrages and epistles, the Gospel, the prefaces and the Lord's

out the year. He may be a communicant; ten responses is widely used, even to the present day. prayer, were to be sung; what were the tones, mea

to one he is not. His selections are to his own

During the short reign of Edward VI. the service sures, notes, modes, most suitable to the majesty of was improved, and the books of the Roman Ritual,

taste, not to the advancement of the service of the charch, and most proper to inspire devotion;

of all kinds, were ordered to be collec ed and de God! That he has good singing is his only care and he formed that ecclesiastical music, so grave and

stroyed. Then came the reign of Bloody Mary, --not for a moment does the thought occupy his edifying, which at present is called the Gregorian when the Latin service was again adopted, and the attention, that perhaps this solemn strain may music.” He instituted singing academies, and though

books of the English service in their turn were de- lead one to a realizing sense of his own responsiPope, taught himself. stroved.

bility to God and man. It is with a desire of It was during this pontificate that the mission to Then came the long and prosperous reign of

reaching this want that the present article is Great Britain was sent, and our Saxon ancestors Elizabeth, whose zeal for Protestantism and for converted to Christianity. Doubtless the story, as

written. It shall be our duty first, to glance at music, led to the firm establishment of the English told by Bede in his Ecclesiastical History, is familiar service, and to the rise of a new school of music.

the two opposite styles predominant in the church to you. In few words, it is this : A few years before

service throughout the country. | The works of this school being founded upon the his elevation to the papal see he visited the slave severe style of the old church, retain a certain noble.

First. Simple music, as used in the country market in Rome, and was struck by the beauty of ness and grandeur, which the experience and invent: churches. A choir of volunteers readily seize three boys of fair hair and fair complexion. He was l ion of ten centuries had introduced into sacred mu. I on this style, from its being easy of execution,

4. in

B

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requiring little practice, and quickly comprehend- says: “ The principal object of a religious com- Naturally, too, the confession and complaint of ed. “Tunes” having but the harmonies of the position is to express, in notes, the true “sense of this has gone on growing, until we have got to tonic, dominant, sub-dominant with added sixth, the words, which ought to be deeply felt, studied see the case much worse than it really is. is all they require, and Sunday after Sunday a with pious faith and rendered with serious digni Throughout the winter past, it has been quite the listening congregation are satiated with select- ty.” Such a style is between the simple and the fashion to lament the falling off of musical appreions in which the trebles run in thirds or sixths superficial; choral forms, fugue imitations in well ciation and appetite, the paucity of good contenors harping on fifths or octaves; basses conceived anthems, enter largely into its compo- | certs, the poor remuneration of concert-goers, changing now and then to perfect a cadence. sition. The same author says: “Every church &c., &c. Repeatedly have we been asked, even Such music is stupid and insipid; it neither sug- composer should give his principal attention to near the end of the season: “ Well, pray gests worship, nor fills the heart with an intense the sense of the words to be set-should work the when are we going to have some music in Boslonging to be "pure as God is pure." Is it four-voice parts in flowing harmony and ingeni ton? How little we do get!” The answer strange that a congregation should tire of such ous interweavings, and consider all else as embel should be to present a list of some hundred or two monotony and aspire to higher forms of sacred | lishing additions!"

concerts and operas that have actually been persong, as given in the tone poems of Beethoven, | The music sung at the concert in question, was formed here this same barren winter. The opeHandel, Haydn and Mozart?

eminently in the church style. It was not a dis ras, however, have been few, fewer than usual, Second. The elaborate, or “opera style,” as play of individuals, but a conscientious rendering and the question in most cases comes from indisome have designated it, is mostly sung by a well of tone forms set to solemn words. Suspensions, viduals who ignore all music but Italian Opera. drilled and well-paid quartet, with an obligato imitations, prolonged cadences invite the attent As a matter of curiosity, and as one fixed note of accompaniment by an organist, prolific with har ive mind to examine more closely the sentiment progress, we propose to show, (as nearly as we monies! The moral of the anecdote related by thus made more emphatic by the said suspensions, can without much time and without all the mateMr. Thayer of Dr. Boyce, in regard to organ etc. The music was truly devotional; no trifling rials at hand), what quantities of valuable music, playing, would apply here. As the fault of the melodic phrase drew one's attention from the in the various departments, orchestral, chamber former style is extreme simplicity, this errs as far sacred solemnity of the words; the mind felt music, oratorio, opera, &c., have been publicly the other way. A melody, however simple, is so lifted up-ennobled. He, who after hearing performed in Boston since October to this time. elaborated by embellishments, startling harmonies, such, could go into busy life without one better | We shall begin with music for grand Orchestra. interrupted cadences, that it fatigues the ear, and thought to study upon, must be past redemption. | 1. SYMPHONIES.—We have not to be sure, often the final cadence is so unsatisfactory, that a A careful study of the masses, oratorios, &c., had all the nine of Beethoven, as we did nervous disquiet is kept up through a whole con- of Beethoven, Haydn, Mozart, and hosts of oth four years since; but we have had a goodly share gregation. The music is mostly taken frym secu- ers, will furnish models worthy of imitation by of them. In the five Philharmonic Concerts of lar operas, or composed by writers with scarcely our young church composers. The flooding of Carl Zerrahn and the fourteen Afternoon Conideas enough to warrant a half-phrase being our choirs with sentimental, wish-wash, do, mi, certs we have had : original. The style is superficial, it speaks only sol, do” music, is extremely hurtful to the service Beethoven, No. 2, in D.......

times. to the sense, tickles the ear with delicate orna of the church; enfeebles the comprehension of

" 5, in C minor.. ments, and though a crowded audience is the re- | good music; and only nourishes a morbid appe

"6 8, in F........ sult, as soon as the model quartet and the splen tite.

Mozart, in C, ("* Jupiter"),

in G minor............." did music leavesh ow cubeuly are well filled

It is to be hoped that these attempts to intro * in E flat.............. seats made vacant !

duce a more solid system of caurch music may Haydn, “Surprise".....................1 It is evldent that neither of the above styles is be successful. It is a great and noble work. God

Schubert, in C.......

..2 " in itself adapted to a strict church service; the speed it!

Schumann, No. 4, (D minor)............ " former lacks in conception, the latter is superfi

To which add, single movements from all these, cial, sensual! A quotation from Dr. Marx is to

the Scherzo of Mendelssohn's No. 3, the Allegretto

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

from his Symphony-Cantata, (Song of Praise,) Church be perpetually deprived of her own ap

repeatedly, &c. We have not yet had the “Chopropriate music, which centuries ago was created

BOSTON, APRIL 25, 1857.

ral Symphony," which we only half had last year, for her ? Shall the Catholic Church, in whose

but it is promised for the May Festival. We sacred service music assumes so important a func- ! Music in Boston-Review of the Season. have had no whole Symphony of Mendelssohn, tion, suffer in our country so deep, a degradation The concerts are over. With the exception of and nothing new of Mozart or of Ilaydn. The as it has endured in Itaiy, where movements from a few straggling performances, we shall have no substantial gain upon last year has been the SymRossini's and Bellini's operas, and Auber's over- | more music in public before the great Festival, phonies of Schubert and of Schumann-though tures disgrace the most holy moments of the ser- | about the end of May. It is a good time there only the latter was quite new to us. vice ? Or in Spain, where, in recent times, | fore to look back and see what we have had, 2. Overtures.—Our list is probably not quite church music is dumb even to the psalmody of count up our garnered sheaves, and see how well complete, and of course does not include the the priesthood? We fear it not, and those who the harvest compares with past years, and whether regular business of the theatres. It is rather sinwith us have a higher trust, will labor incessantly we have made any progress. Four years ago,

gular that it does not contain one of the wellwith all their strength, and on all occasions, to | about this time, we made a famous count, and known and ever favorite ones of Mozart; nor the attain the highest object.”

showed a list of compositions of the best masters Leonora, No. 3, though we have had the opera ; Having thus briefly considered two opposite that Boston had enjoyed that winter, which nor one of Cherubini's, nor more than two of styles of music in our churches, a few inquiries excited some astonishment abroad. That big Mendelssohn's. The list is meagre in the best of as to the purpose of music in the church, should wave onward and upward did not prove to be a the old masterpieces, but on the other hand the occupy our attention. It is a powerful auxiliary faithful measure of our continuous, habitual mu. | Faust of Wagner, the Carnival of Berlioz, the to the service of God. The united voice of a sical life. The sea subsided somewhat in the fol Manfred of Schumann, and the one by Rietz, whole congregation, joining in the strains of a lowing winters. Either there was too much of have helped to extend our knowledge into the solemn choral, cannot but strike the heart of a accident, or fashion, or chance epidemic in the compositions of to-day. We have had the overcareless observer with awe, that theoretical ser- musical excitement of that season, or the distract

tures tomons have failed to create. The littleness of his ing, dazzling influence of the Jullien concerts Freyschütz (Weber).....................4 times. own perverse will is in striking contrast with the came in just then at the wrong time, or what in

Oberon

Egmont (Beethoven) .......... majestic strains of a hymn inviting to repentance. crease of taste and culture there has been among Fidelio, in E, " The object being a high and holy one, the char- us has naturally sought more genuine or private

Midsummer Night's Dream (Mendelssohn)3 acter of the music is of the greatest importance. channels of enjoyment and grown indifferent to Arrangements of frivolous melodies but call atten public exhibitions ;-whatever be the causes, no

Semiramide (Rossini)........

Seige of Corinth (Rossini).... tion to a sweet voice--a studied rendering-a winter since the one alluded to has given us any. Tannhäuser (R. Wagner).......... thorough knowledge of vocalization. Simplicity thing like the same addition to our stock of musi

Faust

Carnival Romain (Berlioz).... begets indifference. Albrechtsberger truthfully I cal treasures laid up in the memory of hearing.'

:. in the memory of hearing | Manfred (Schumann).............:

No. 9...........................

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St. Paul
Tell (Rossini).........................

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30

DWIGIT'S JOURNAL OF MUSIC.

Musiqal Correspondence.

Chorus: Donc nobis pacem.......................... Mozart

Concert Overtures (Kalliwoda)...........2 times.

Geo. M. Lincoln, violinist, and Mr. T. P. RYDER, Festival (Rietz).......

pianist. The vocal part of the entertainment, with Merry Wives (Nicolai).................... Yelva (Reissiger)........

slight exception, was received with much favor by Zanetta, Zampa, Stradella, Martha, &c., &c.

New YORK, APRIL 21.- I have not written you

the large audience present, and frequent applause in a long time, partly because there has been little to 3. Concertos.- Thalberg has played us the

cheered the performers in their attempts to please a | write about, and partly because I have been preventfirst movement only of Beethoven's two in C

miscellaneous assembly. Master Lincoln, the youth| ed by illness from hearing even that little. OLE minor, and in E flat, each twice. This, with a

ful violinist, also distinguished himself on this occa. BULL has given two or three more concerts on his

sion by his modest deportment and facile execution, few De Beriot violin concertos, is all that we reown account, and with his “troupe," assisted at one

besides adding much to the interest of the entertain. call under this head. Decidedly meagre. for the benefit of the Masonic Board of Relief.

ment.

SQUANTO. We have had all of Mendelssohn's “ Midsum Last week Miss BRAINERD gave a concert, with the mer Night's Dream ” music, (at Mrs. Kemble's help of Mr. Goldbeck, Sig. Morelli and some

Bangor, ME., April 21.-Our Choral Society, reading), and frequent extracts from it.

which has been practising Mozart's Twelfth Mass Of others. It is said to have been satisfactory and course, too, we have had indefinite and not to be quite successful; I regretted that I was unable to be

during the past winter, under the direction of Mr present. The lady is to sing at our last Philharremembered quantities of lighter orchestral con

J. W. Tufts and Mr. S. WILDER, gave us a Con

cert last Thursday (Fast) Evening, assisted by Mr. fectionary: arrangements from

monic, next Saturday, which promises to be the best operas, potpour

of the season. The “Eroica,” Mendelssohn's ris, dances, solos and variations, and what not.

ARTIIURSON, with the following selections :

Chorus: Kyrie Eleison,..... "Midsummer Night's Dream” music, and a new

..... Mozart 4. INSTRUMENTAL CHAMBER MUSIC. Here

Recitative and Aria : “'Total Eclipse,"'...........

.....llandel Overture by Litroll, are the orchestral pieces, and Chorus: Quoniam, ......

...... Mozart our fortune has been richer. It is perhaps a nat

Trio: Piano, Violin and 'Cello. Larghetto from SymMr. Timm undertakes the instrumental solo. Our ural result of the increase of real taste for music

phony in D, .

Beethoven concert season holds on longer than yours. Besides Aria from “ David" : " Mighty Jehovah,".........Neukomm in a community, that those who share it should

Chorus: Gloria, .....

...... Mozart the above, we have still Eisfeld's last Soirée to

Solo, Quartet and Chorus: E: incarnalus est,......... Mozart become partial to the smaller and more select expect, and for next week a novelty is promised us Trio: Andante, ...

......llaydn

Recit. and Aria : “ Ye people, rend your hearts,' Mendelssohn kinds of concerts, where with “fit audience in the shape of the “Walpurgis Night" of Mendels. Chorus: Sanctus,...

...... Mozart though few,” they may commune more intimately

Recit. and Aria : " And they all persecuted Paul," Mendelssohn sohn, to be sung at a concert of the German Liederwith the best thoughts of the nobler masters. kranz. This entertainment is in aid of the German

The Choruses, by the Society, were sung very Our Mendelssohn Quintette Club-German Trio, Ladies' Benevolent Society, whose attractive and

creditably, giving evidence of the able direction of and Mr. Gustave Satter, have each given us very successful concert of last year was mentioned

Messrs. Tufts and Wilder, and the industry and perseries of Chamber Concerts, to which we may in your columns. Mr. Goldbeck has also kindly

severance of its members. add the Matinées, &c., of Thalberg, and numervolunteered to play, and other miscellaneous attract

The arias, by Mr. Arthurson, who also sáng the ions are held out. ous incidental benefits, soirées, &c. Among the

solo in the Incarnatus, fully sustained his reputation

The Harmonic Society have made two unsuccess. works in classical form, which have been perform

as an oratorio singer, and some of our singers may ful attempts to perform Loewe's beautiful cantata of ed in this way, we may count the following:

well admire and pattern after his style of rendering the “Seven Sleepers.” Both were spoilt by very Haydn. Quartet, in G. No. 63, (new)......twice.

such music.
" in G. No. 66, "
unfavorable weather, which kept away not only the

The Aria : " Mighty Jehovah," was well sung by
Adagio, variations and minuetto, from listeners, but also many singers. Nothing daunted,
Quartet, in B flat. No. 77.

Mrs. FULLER," evincing in no sinall degree her taste however, this persevering society have announced a NOZART. Quintet, C minor, No. 1.

and ability, as a solo singer. Qyintet, with Clarinet, in A. Op. 106. third performance for next Monday evening, for

The Trios, by Messrs. J. W. Tufts, C. E. HOOKE Quartet, B flat, No. 3.

which, with gre a si-y, tiekes were diriluted " in A, No. 5..............twice.

and 3. D. CON

n anes" with ar artisSonata, piano and violin, No. 4. to those who had braved the storm the last time.

tic finish which is so indispensable in compositions 16 piano and 'cello.

They certainly deserve success in their third trial. BEETHOVEN. Quintet, in C. Op 29.

of this kind. The accompaniments throughout were Septet, (as Quintet), op. 20.

played by Mr. Tufts, whose excellent performance Quartet, in G. Op. 18. No. 2. HINGHAM, MASS., APRIL 21.-Among the many

| is too well known here to need any compliment. " in A flat. Op. 18. No.5.

communications that have appeared in the columns Trio, C minor. Op. 1.

As an effort to cstablish a love of good music " E flat. Op. 1...............twice. of your Journal of Music, (which by the way are

among us, it was sucessful, and much credit is due " Eflat. Op. 70. No. 2.....three times quite an interesting feature to those of your readers * B flat. Op. 97.............. twice.

to those who have labored so long and so faithfully 66 B flat,(for piano, clarinet and cello.) interested in musical matters “about home”), I do

for the advancement of this object. Sonata, (piano solo), in A. Op. 2. not recollect of erer seeing any from this quarter

IMPROMPTU. "

" in C sharp minor. Op. 27. of the old Bay State, familiarly known as “bucket

66 in A. Op. 101.
HUMMEL. Septuor, (piano, violin, oboe, horn, &c.)

town."
Quintet, (piano and strings), E flat, op. 87. In'the way of concerts, I regret to say that we
Trio, E flat. Op. 93.............. twice.

have had but thrce during the past winter; two of
Rondo brillian

WORCESTER, MASS-On Fast evening, the Mozart MENDELSSOHN. Quintet, in A. Op. 18..... twice. them in the early part of December, by the vocal Society brought out the oratorio of the “Creation," at " in F minor. Op. 80.

the Mechanics' Hall, which, to the credit of our “

quartet, consisting of Mrs. Mozart, Miss TwitchB flat. Op. 87.three times.

citizens be it spoken, was filled with an audience of Quartet, in E. flat. Op. 12. ELL, Messrs. ADAMS and MOZART, who the year

nearly three thousand people. That our Music Hall, in D. Op. 44.

previous were received with much favor by our musi within six weeks of its completion should be the scene in E minor. Op. 44. trice.

of the performance of an entire oratorio and in so 16

cal public, but for some unaccountable cause met in E. Op. 81.

creditable a manner, speaks well for art in Worcester. " (with piano), in F. Op. 7. with but poor encouragement the present season. The audience, large as it was, evinced an evident Sonata, (piano and cello), B flat. Op. 45..twice. For the last five or six years, it has also been cus interest in each portion of the work, and showed, by " for organ.

their frequent bursts of applause, their appreciation Rondo cappriccioso. tomary for the Me: delssohn Quintette Club to give

of this wonderfully beautiful work of Haydn's. A Songs without Words, &c., &c.

one or more of their series of concerts, which were second performance would not be lost upon them. Onslow. 34th Quintet. CHERUBINI. Quartet, No. 1, in E.

The society, numbering over a hundred voices, gave not only popular, but in a pecuniary point success.

the choruses for the most part with fine effect, evincing SPOHR. Quintet, No. 3, in G. Op. 69. ful. The past winter, however, we have failed

the careful drill which they have received. The Quartet, No,

entirely in obtaining that substantial aid in the way symphonies and accompaniments were played by the Adagio, from 2d clarinet concerto.

Mendelssohn Quintet Club, Mr. B. D. Allen, and Mr. of subscription, which is a guaranty to the artist for To these add a Quartet (with piano) by Will

S. R. Leland. The club, with the addition of a bass services rendered, and a security to the concert-goer viol, did excellent service, each instrument telling mers, a Trio by Thalberg, Mr. C. C. Perkins's of respectable andiences. This apparent lack of

finely, in the symphonics, upon all who were near Quintet in D Mr. Satter's “ Sardanapalus” Trio

enough to hear them; but, as an orchestra they could musical interest among us may be accounted for in

not meet the requirements of so large a chorus. The and " Kosciusko” Quartet, and a great variety of part, from the fact that quite a number of our peo

Chickering "Grand" and the organ harmonium in the minor pianoforte compositions of Chopin, Men

hands of the above-named members of the society, ple, who are gencrally interested in having good mu. delssohn, Moscheles, &c., to say nothing of the

sical entertainmcuts in our own town, have found it oratorio were sustained by Mrs. Allen, whose air Fantasias &c, of Thalberg, Liszt and others of the convenient to make Boston a temporary abode dur

“ With Verdure Clad" was beautifully sung; Miss

Whiting, who only lacked somewhat the confidence to virtuoso school. With all this wealth, what

ing the winter rosaths—and then the usual story of give full effect to the clarion-like air, The Marvellous genuine lover of the poetry of music has not “hard times," &c., &c.

Work ;" and Miss Fiske, who fairly surpassed her

former efforts, as Eve, and in the splendid Mighty

Our third, and only paying concert of the season, missed the concerts, to which past years had

Pens" aria, which is a trying piece for any singer after accustomed us, of Otto Dresel!

was given at Loring Hall on Fast Day evening, Jenny Lind's inspired interpretation of it. The tenor Here we must make pause, reserving the with the following talent: Mrs. ELLEN FOWLE,

and bass solos were given to Messrs. Draper and

Baker of Boston, the former of whom gave unqualified account of vocal concerts, oratorios, operas, &c,

Miss Sarah HUMPHREY, Mr. John Low, Mr. Geo. atisfaction. Mr. Baker sang with much finish of till next week.

| Wright, JR., Mr. H. C. BARNABEE ; also Master | style, but his voice provei hardly equal to the part of

Musical Intelligende.

were most acceptably played.

The solos in the

Advertisements.

Raphael. ' With an organ and a larger orchestra, the oratorios to be given during the great festival in honor tical Programmes” to his classical soirées are the concert would have been a complete success. May we of Handel at the Crystal Palace, it has no doubt

theme of much animadversion and amusement with yet hear the “Creation" with those advantages! Mr. enjoyed the advantage of more than usually careful Hamilton's excellence as a conductor was never more preparation. Nevertheless, whatever the cause, there

the London critics. It seems he not only puffs, but apparent than on Thursday evening, several circum can be no doubt that an execution so generally effective criticizes, his own wares, his artists and performances, stances combining to make the occasion somewhat of Israel in Egypt was never accomplished before in trying to his skill, which, however, overcame all

and fights the critics of the newspapers in said Exeter Ilall, or probably anywhere else. So satisfacdifficulties.

tory, indeed, was the result, that even the impracti “ Analyticals.” Other funny things he furnishes

cable chorus, “The people shall hear," went well, and there; for instance: WASHINGTON, D. C.-We have received the pro was sung in almost irreproachable tune throughout. gramme of the musical service performed by St. MatThe whole of the first part-which includes the suffer

Jullien, the favored child of the muses Euterpe and ings of the hardly-burdened Israelites under the Terpsichore, honored the first soirée with his presence, thew's Choir, on Easter Sunday, under the direction

dominion of that Pharoah “ which knew not Joseph," and was seen in earnest conversation with Professor of F. NICHOLS Crouch, who is said to have establishthe plagues brought upon the Egyptians by Divine

Owen! Ominous event! Orpheus moved stones by ed here one of the finest choirs existing in America. power through the interposition of Moses, and the

the charm of his lyre, and who knows but Jullien has

learned the secret from Here it is, signed and

miraculous passage through the depths of the Red approved :"

Professor Owen, to charm Sea—was marvellously rendered. Every chorus told,

away those monsters of the muddy deep at the Crystal MORNING SERVICE. and the encore elicited by“He gave them hail-stones,"

Palace, to assist at the inauguration of a mammoth 1. Corale....................

....Hummel.
;
thoroughly well deserved as it was, must, nevertheless,

pot-pourri at the Surrey Zoological Gardens? Seri-
" Hoc quod in Orbe."
be regarded rather as a tribute to the immediately

ously, we own to feeling gratified with M. Jullien's Orchestra. 2. Mass, No. 3...... .......... Haydn. recognized beauties of a familiar masterpiece than as

visit to our classical temple of art, where, to use his ****Full Orchestra. an acknowledgement of the execution having been

own words, on respire l'atmosphère pure de l'art.' 3. Before the Sermon........................... ........Duet. superior to that of any other chorus in this portion of

His attempts to instil into the minds of the people a Soprano and Basso.-Weiss. the oratorio. The second part-from the overpowering

taste for classical orchestral music, are most praiseMrs. Young and Mr. Crouch. “ Horse and his rider" to the conclusion, where that

worthy &c. 4. For the Offertory.......

.." Jubilate." Chorus and Full Orchestra.

sublime hymn of exultation and worship is repeatedMrs. Young

was almost equally gratifying. Some exceptions might

be made, it is true; but in so admirable a performance VESPERS.

it would be mere hypercriticism to insist upon a few 1. Psalms.

minor defects which alone prevented the whole from 2. Hymn before the Magnificat.....

.... Handel. "Thou didst not leave."

being apostrophized as blameless. The audience were THE MENDELSSOHN QUINTETTE CLUB'S Mrs. Young.

evidently impressed in the highest degree, and many. 3. Magnificat. ..........

.....Webb. previously incredulous, were heard to avow that Israel Annual Complimentary Benefit Concert 4. Anthem for Season ..... ...................."Regina Cæli

in Egypt, if not greater than The Messiah, was at 5. "Tantum Ergo"......

Will be given at Messrs. CHICKERING'S ROOMS, ............. Bach.

least quite as great-a proposition which, with those The following are the names of the principals : competent to form an opinion, is incontrovertible.

ON THURSDAY EVENING, APRIL 30th, Conductor........... ......F. N. Crouch.

Assisted by
The solo singers—Madame Weiss, Miss Dolby, Mr.
Organist.........

..........Jobo B Caulfield.
First Soprano....
...Mrs. C. Young of Baltimore.

Montem Smith, Signor Belletti, and Mr. Thomas-all Mrs. J. H. LONG, Vocalist, HOGO LEONTIARD, and the Basso....

..F. N. Crouch. exerted themselves in such a manner as to win ORPHEUS CLUB, under the direction of Mr. KREISSMANN. Leader Orchestra, (24 instrumente).... ....W. Wagner. unanimous approval. The purest Handelian singing Vocal Corps..... .......46 Voices.

Mr. Fries will play the Violin Concerto by Mendelssoho ;of the evening was demonstrated in the two contralto Total Strength.................... ....70 Persons.

a new Beethoven Quartette:- Mr. LEONHARD will play the airs, “Their land brought forth frogs,” and “Thou

Sonata Appassionate, by Beethoven, and one of Chopin's BalFOREIGN. shalt bring them in,” both of which were given to

lads. Mrs Loxo sings twire, and the ORPHEUS CLUB twice. perfection by Miss Dolby. The duet for basses, “The

Single tickets &l each; package of four tickets, $2,50. LONDON.-Mr. Gye has issued his prospectus for a Lord is a man of war," declaimed with great animation Concert to commence at 7% o'clock precisely. new season of the Royal Italian Opera, commencing

by Mr. Thomas and Signor Belletti, was honored by

the stereotyped encore—by no means 'avorable, by April 14th, (the same night with Lumley's), at the

ATHENAUM EXHIBITION. the way, to the general effect of the performance, Lyceum, Covent Garden being not yet rebuilt. The since the duet itself is very long, and. one or two JOINT EXTIBITION of Paintings and statuary

Aby the BOSTON ATIENÆUM and the BOSTON ART passages excepted, not one of Handel's most remarkDarly News says:

CLUB, is now open at the Athenæum, in Bencon Street. able compositions. At the termination of the oratorio

Among many other valuable Paintings are a large number Like Mr. Lumley, Mr. Gye makes no promise of Mr. Costa was loudly applauded, and the compliment

of WASHINGTON ALLSTON's best Works, and the Dowse Collecabsolute novelty in the production of operas. The was well deserved.- Times.

tion of Water Colors. nearest approach to it is an Italian version of Auber's

Seuson tickets 50 cents-Single admissions 25 cents. Fra Diavolo, “with entirely new recitatives, and ad MUSICAL UNION.-The third and last of the soirées ditional poetry and music," written expressly for the intended to precede the regular series took place on Royal Italian Opera by Scribe and Auber themselves. Tuesday, in presence of a fashionable assembly. The Several revivals are promised: Herold's Zampa, Cim great point of interest was the first appearance of arosa's Matrimonio Segreto, Mozart's Nozze di Figaro Ernst, who was perhaps never in finer play, and this will be performed (for the first time in public by a Catholic

Choir,) at the BOSTON MUSIC IIALL, and Mercadante's Giuramento. The promise of the was exhibited, among other things, in his chevaux Matrimonio Segreto is especially welcome. Of course

de bataille"—the quartet, No. 4, of Mendelssohn. We On Sunday Evening, May 3d, 1857, we are to have the Traviata, with Madame Bosio as

BY THE subjoin the programme:the frail heroine, a part in which she has had immense

Choir of the Cathedral of the Holy Cross, Franklin St. success during the last season at St. Petersburg.

Quartet, in D. (No 10)....

... Mozart

Assisted by members of the All the principal members of last year's company

Trin, in A (Op 27).....

......... Silas

Choirs of ss. Peter and Paul, South Boston, St. Glee" By Celia's arbor"...

...... relev will re-appear: Grisi, Bosio, Marai, Didiée, Mario,

Patrick's, Northampton Street, and of the Quartet-E minor...........

...........Mendelssohn Tamberlik. Ronconi. Graziani, Tagliafico, Polonini, Glee Discord, dire sister'.....

......... Wehhe

Holy Trinity, Suffolk Street, Zelger and Formes. There will also be Lablache, Duet-pianoforte and violoncello-in F Inp. 5). .... Beethoven Accompanied by a Full Orchestra, selecteil froin the first pro(after two years' absence) and Gardoni. Mme. Vic Madrigal -" Come, let us join the roun

...... Beale

fessional talent in Boston. torine Balfe, (the daughter of our popular composer),

Under the direction of Mr. A. WERNER. is to make her first appearance on the stage. Great

Masters Thomas Ilodges and Eugene HexrY, (pupils of Mr. expectations are entertained of the debut of this

Werner,) will preside on the Organ. young lady, whose gifts of nature have been cultiva.

The proceed to go toward the erec ion of the contemplated ted by a thorough musical education under her father's

new building for the Ilouse of the Angel Guardian. care. Another novelty is Mme. Eufrosyne Parepa, a We are now ready to furnish bound volumes of the

Part I. young singer who has lately gained a high continental past year of our JOURNAL..... We heartily share in

MOZART'S GRAND REQUIEM MASS. reputation. She is related to a well-known English the general wish, which we have heard expressed,

Part II. musical family; is a charming comedian and an ac.

SELECTIONS from some of the most distinguished Catholic complished singer. that Mr. CUTLER should repeat that interesting con

Com posets : i.e. Palestrina, Ilaydn, Hummel, Cherubiui and Costa, of course, is the musical director. Mr. cert of English Cathedral Music; and we learn that Beethoven. Smythson is the chorus master, and Signor Maggioni he will be happy soon to do so, unless the illness of

Tickets 50 cents. Family tickets, admitting three perthe poet. Mr. A. Harris is stage manager, Mr. W.

sons, $1. To be had at the Music Stores, Catholic Bookstores, Beverley scene painter, and Mr. Alfred Mellon leader one of the most important members of the boy choir

of the Ticket committee, and at the door. - l'rogrammes with of the ballet. The subscription will be for forty should continue to prevent.... We are glad to see

Latin and English words to be had at the hall. nights, commencing on the 14th of April.

announced a benefit concert to Mr. HENRI JUNGXICK Doors open at 6% ; Concert to commence at 7% o'clock. This is the substance of Mr. Gye's arrangements

EL, the excellent violoncellist, to take place at Merfor the opera. But another very important circum

cantile Hall tomorrow evening. The German Orpheus, stance is to be added: the reëngagement at the

MENDELSSOHN MUSICAL INSTITUTE. Lyceum of Madame Ristori, with her Italian dramatic led by Mr. Kreissmann, German Trio, Mr. Satter,

MHE Summer Terın commencer April 30th. Pupils may company. She is to give fifteen performances, com

I receive, as amateurs or teachers, a thorough education in Mrs. Mozart and Miss Twichell will assist.

every department of Musie. Also in the Modern Language, mencing in the first week in June.

Drawing, Painting, &c., and higher English branches as The Annual Complimentary Benefit Concert of the

accessaries. Situations Recured to pupils who become qualified The New PHILHARMONIC SOCIETY commenced its Mendelssohn Quintette Club is announced for Thurs to teach. A few vacancies for young ladies in the family of concerts for the season April 1st, with Dr. Wylde as

the Principal. For circulars, &c., address day evening next, with an excellent programme.

EDWARD B. OLIVER, PITTSPIELD, MASS. sole conductor and a fine performance of the following

Liszt appears to have had a great time in Leipsic, pieces:

where, besides his own new works before mentioned, L. WATKINS & Co. Overture (Ruy Blas)....

.....Mendelssohn
he conducted a brilliant performance of the Tannhärs-

(Successors to REED & WATKINS) Air: “ Batti, batti, c.

....... Mozart Serenade for 13 instruments.... ........... Mozart ser. On the next day, (March 5th), at the nineteenth

Wholesale & Retail Dealers in Sinfonia Eroica, No 3.............

....... Beethoven

of the Gewandhans concerts, were performed HanConcerto in G minor (piano-forte) Mr. Barnett,... Mendelssohn Carnival de Venise (with variations) Mme Gassier,.... Benedict del's “ Alexander's l'east” and Beethoren's C minor

PIANO-FORTES Overture (The Ruler of the Spirits)....................Weber Symphony. Another Leipzig Society, the Euterpe,

AND MELODEONS, SACRED HARMONIC SOCIETY.—The first performgave Cherubini's Requiem, (for mixed chorus), and

From the most celebrated ance of Israel in Egypt this season has conferred the Beethoven's fourth Symphony.

Eastern Manufactories. highest possible credit upon the members of the Sacred Harmonic Society and their accomplished

Mons. Jullien contemplates a month's tour with WAREHOUSE and SHOWROOMS, conductor. As this is to constitute one of the three l his orchestra in Holland..... Mr. Ella's "Analy. | No. 51 Randolph Street, ........Chicago, Ill.

Mozart's Grand Requiem Mass

delay

Musical Chit-Chat.

[graphic]
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