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of voice, style and execution of difficult airs and cavatinas, displayed by quite a number of young ladies, was truly remarkable...: We were sorry to be out of town on the evening of Miss TWICHELL'S concert. The Traveller says: “It is very seldom that a concert is given in which the critic finds so much to commend," and this seems to be the general impression.
Read our Berlin letter, lovers of opera. Think of such a bill of fare for three months, embracing every style and school of opera: Gluck: Mozart, Cheru. bini, Weber, Donizetti, Verdi, Wagner-not one of these varieties, but all in a single season. Were our opportunities as various, our tastes would be more cosmopolitan and just; there would be less quarrel. ling about German and Italian, and each kind would take its place and pass for what it is worth.
The exhibition of Sculpture and Paintings at the Athenæum Gallery this season is one of unusual interest. Never before have we had so rich and choice a collection of paintings, or one (thanks to the zeal and taste of the Boston Art Club) so well auranged. The ALLSTON works alone, especially his “Beatrice" and those wonderful Italian landscapes, which have not been seen in public since the Allston exhibition twenty years ago, are worth a long journey to behold. Then there is the Dowse collection of Water Colors, the finest in the country, some of the best works of PAGE, capital specimens of the last efforts of our young Boston artists, such as HUNT, AMES, CHAMPNEY, GAY, WIGHT, WILDE, GERRY, Miss CLARKE, &c. &c. and all those venerable old inhabitants of the Athenæum, some of the largest of which are happily made to line the walls as you ascend the staircase.
OLE BULL'S GRAND FAREWELL CONCERTS.
convinced his auditors that he was not one of those The numbers and distribution of the orchestra are
the pedal organ, it could not be heard on that occa-
The preparations for the Festival go on bravelya like triumphant'debut of the same class of voice. three rehearsals 'weekly. The time grows short, Mademoiselle Spezia, who played the frail but lovely
hardly a fortnight, yet we hear of no rehearsal of the Leonora, is an actress of great energy, and made a considerable sensation by the details of the dying “ Choral” Symphony. To let that fall through scene in the last act. Her voice, most extensive in
again, would be worse failure than all the other proits register, is not remarkable for flexibility, and her attention has probably been directed more to dramatic
mised glories could offset. Shall so great a work expression than to the mere effects of vocalization. go without a hearing merely for want of some selfThe spirit with which she interpreted the character completely gained for her the sympathies of the
sacrificing solo tenor or soprano! Is the great end audience, and, though Signor Giuglini was the “lion" of the Festival to show forth this, that and the other of the evening, she had every reason to be satisfied solo singer in the most flattering light! Pray let us with her reception. The important character of Baldassare was played by a third débutant, Signor
have the Symphony, if the solos can be done but Vialetti, a basso profondo, endowed with extraordinary passably. May our good stars yet send us Lapower in the lower region of his voice. Signor Beneventano, the père noble of last year, was an august
GRANGE, and all will be right. Speaking of the Alfonso XI.
Festival, we are reminded of a suggestion, urged in
the Traveller and the Courier, that the miscellaneous THE HANDEL FESTIVAL.-Preparations, (says the concerts should be used to some extent for the proAdrertiser), are already making at the Crystal Palace
duction of new works by American composers. We in England, for the celebration of the centenary an
would we had room to copy the Traveller's article; niversary of Handel's death in 1759. In aid of these preparations a preliminary essay was gotten up for
as it is, we can only add our hearty commendation the celebration of the ninety-eighth anniversary, (on
of the plan. There should be room, in those three the 15th, 17th and 19th of this coming June.) In
days, without much sacrifice of classic works, for the London Times of the 13th, we have an account of introducing at least one native work per day. two rehearsals which had already been had, viz. : of Ole Bull draws his magic bow again to-night " Israel in Egypt” and the “Messiah." “Judas before a Boston audience, and will no doubt be Maccabæus" was to follow on the 15th. Several
warmly welcomed. His programme is altogether weeks had been occupied by “the Metropolitan divi
popular. He will play a fantasia on Bellini's Romeo, sion of the chorus," aided by competent professional
another on American airs, his well known "Mother's advisers, in making a selection of 1100 “picked voices.” They were selected individually, upon a
Prayer,” and “Carnival of Venice.” The singing trial of each at the piano-forte, practising the com
will be wholly English: Mr. HARRISON will do the pass and quality of voice, proficiency at sight read
serious (ballad), and Mr. Horncastle the comic exing, and other essential gifts, all of which were reg
travaganza part.... Sig. BENDELARI, the accomistered so as to guarantee the ultimate choice of the plished maestro of singing, gave a brilliant soirée at most efficient. The effect at the two recitations above Chickering's on Thursday evening, with his pupils mentioned, was pronounced “more than satisfacto- and classes, to the number of some sixty ladies and ry.” Of the arrangements for that of Wednesday, twenty gentlemen. About twenty of the best Italthe 15th, we have the following account. They are on ian airs, cavatinas, duets, quartets and choruses were a scale nearly equal to that of fitting out a first class
sung, the maestro himself playing all the piano acship of war:
companiments with great taste and skill. We have The provincial branches of the chorus are forming
only room now to say that there was some of the in the principal cities and towns of Great Britain under the guidance of professors and amateurs of ac
finest chorus-singing, by the whole eighty voices, that knowledged ability.
we ever listened to, and that the beauty and culture
Notice to the Public.
AT TREMONT TEMPLE,
Assisted by the following eminent talent :
The celebrated English Ballad Singer,
(Of the Pyne and Harrison Opera troupe) and Mr. William Dressler,
The talented Pianist and Composer. For full particulars, see programmes. Tickets, 50 cents, may be had at Russell & Richardson's, where seats may be secured without extra charge. Office open for the sale of seats on Thursday, Friday, and Saturday, between 9 and 4 o'clock.
Dr Doors open at 7-Concert to commence at 8 o'clock.
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The following Oratorios will be performed : HAYDN'S “CREATION," MENDELSSOHN'S “ ELIJAH," and
HANDEL'S “MESSIAH." Together with Miscellaneous and Orchestral Concerts on the afternoons of each day. The entertainments to be in the day time, with the exception of the “Messiah," with which the Festival will close on the evening of Saturday. Further particulars will be given in future advertisements.
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Dwight's Journal of Music, spel are the alternato changes of one figure anger and confident announcement of hope; in
this, it is hope tinged with sadness,--more of rePUBLISHED EVERY SATURDAY. And now the suffering finds a voice. There is flective yearning, and less of the child's unques
a chorus of the people—" Help, Lord ! wilt thou tioning acceptance and assurance. It would TERMS: By Mail, $2 per annum, in advance.
quite destroy us?”—still in D minor, 1-4 time, compare more closely, however, with “ He shall When left by Carrier, $2,50
Andante. First a loud cry, “ Help, Lord!" upon feed his flock :” only that is an alto song, and SINGLE COPIES. SIX CENTS.
the minor common chord of D, the accompani- this a tenor, as befits the difference of sentiment;
ments traversing downwards and upwards through for in that, the feminine element, or Love, is all J. S. DWIGHT, EDITOR AND PROPRIETOR. all its inversions for two bars; then, as the air in all ; whereas in this, the masculine element of EDWARD L. BALCH, PRINTER.
climbs one note higher, the same process is re- Justice tempers Love. In this song, as in the
peated on the crying chord of the Diminished duet before, and as throughout the oratorio, MenBT OFFICE, No. 21 School Street, Boston.
Seventh, which, through the dominant Seventh delssohn displays his rare poetic invention in ac
upon C, would fain force its way out into the companiment; in every bar at first it takes, as if SUBSCRIPTIONS RECEIVED bright major key of F, and find relief; but while unconsciously, the form of " seek and find,”—a
the bass tends boldly that way, the chord of D climbing arpeggio answered by a full chord; By RUSSELL & RICHARDSON, 291 Wash'n St. a CLAPP & CORY,...
minor returning in the upper parts smothers the when it reaches the words, “Oh! that I knew C. BREUSING, 701 Broadway, New York.
tendency, producing a discordant mixture of where I might find Him,” the whole air pulses to 1 SCHARFENBERG & LUIS, 769 Broadway,
tonics which is peculiarly expressive on the the heart-beat of the melody, as the violins divide " GEORGE DUTTON, JR...
Rochester, N.Y. G. ANDRE & co..... 306 Chestnut St. Philadelphia.
words: "Wilt thou quite destroy us?". Out of the measure into crystal and precise vibrations. " JOHN H. MELLOR,
Pittsburg, Pa. this massive and compact beginning the tenors Then breaks out the turbulent chorus in C minor, " MILLER & BEACHAM... 181 Baltimore St. Baltimore.
lead the way in a freer movement, chanting the “ Yet doth the Lord see it not. His wrath will " W. D. ZOGBAUM & CO.,
. Savannah, Ga. W. F. COLBURN,
two plaintive phrases: “ The harrest now is over, pursue us,” &c.; full of diminished sevenths and " HOLBROOK & LONG,
Cleveland, O. the summer days are gone,” and “ And yet no of discords from bold overlapping of one chord
power cometh to help us," which are duly taken upon another. Its vehement and angry motion is THE ORATORIOS FOR THE FESTIVAL.-Naturally up by the other voices and passed round as the suddenly arrested on a discord of this sort, (domall the musical interest for the coming week will con- themes of a very beautiful and graceful Fugue, inant 7th upon the tonic,) in the words : “ till he centrate upon the Festival of Thursday, Friday and
which works itself up by degrees into the right destroys us,” and after the pause, follows the Saturday. As many persons then will listen perhaps when the Fugue is quelled for a while into a
chord for a transition to the key of E major, grave, massive, psalm-like. solid piece of counterfor the first time to Oratorios by Handel, Haydn and
point, all in long half-notes: "For HE, THE uniform movement: "Will then the Lord be no LORD OUR GOD, HE IS A JEALOUS GOD,” &c., Mendelssohn, it seems fit that our Journal should
more God in Zion?” with a fitful, tremulous ac- thrown up like a mountain range of the primeval contain some aids to the understanding of these noble companiment; but it soon breaks loose again, and, granite in the midst of this great musical creation; works; and therefore we take the liberty to reprint
amid renewals of the cry, “ Help, Lord!" from yet its solemnity is not all barren, for erelong its portions of the synopses which we wrote of them some
single voices, terminates the chorus. A remark- sides wave with the forests sprung from the acyears ago; not that we flatter ourselves that they are
able choral recitative succeeds, in which the com- cumulated soil of ages, and the solemn procession of any great intrinsic value, but because any such de- plaints of famine come up in distinct, successive of the clouds in heaven passes in shadows over scription in detail of a great musical work helps to fragments of melody from one mass of voices their surface; the key shifts to the major; the fasten the attention of the hearer upon its real beau- after another:-“ The deep affords no water,”- accompaniments acquire a freer movement; rich, ties. This week we give “Elijah" and the “Crea- “ The infant children ask for bread,” &c., -ex- refreshing modulations succeed each other smoothtion; ” next week we shall add the “ Messiah.” ceedingly expressive, if the voices start the theme ly, and the vocal parts diverge in separate streams I. Mendelssohn's "Elijah."
with perfect concert. Next we have a plaintive of perfect harmony, at the thought; “ His MER
duet for sopranos, “ Zion spreadeth her hands for CIES ON THOUSANDS FALL," &c. Fit prelude The figure of the prophet is stationed, at once, aid,"-one of those wild and tender melodies to the voice of angels! An alto voice, in recitaboldly in the foreground. Even the overture is (each part a melody, however,) in which we get tive, bids Elijah“ hence to Cherith's brook," prefaced by a brief recitative, in which, with the genuine aroma of Mendelssohn's peculiar telling of the ravens” who will feed him. Then firm, deep voice, he declares that "there shall not genius, as in his “ Lieder.” There are several a remarkable double quartet (four male and four be dew nor rain these years.” Had Mendelssohn such in “ Elijah.” In the pauses of the duet, which female voices) follows with the words: “ For He composed expressly for an American audience, is in A minor, and forming a sort of background shall give his angels charge,”. &c. The very simwho never begin to settle down into the listening to it, is constantly heard the burden (an old plicity, together with the animated movement of state until they hear the human voice,—we might Jewish Chant,) alternately of the entire female this
, requiring perfect precision and blending of have suspected him of an innocent maneuvre and of the entire male chorus, in unison, on the the eight distinct parts, makes it difficult to conhere, to procure silence and a hearing for the words “ Lord, bow thine ear to our prayer.” The vey its beauty in a performance. Again the overture. In this overture, there is a sort of sul- effect is as poetic as it is original. At first it was angel warns him to “ Zarephath,” to the " widow len, smothered, choking energy, fretting against the popular complaint of the short harvest; then, woman"; and the homely images of the “barrel chains self-forged; an obdurate wilfulness seems in the recitative, it was the children hungering of meal" and the "cruise of oil” do not “ fail,” depicted,-a desperate impulse continually trying at home; now it is youthful loveliness and beau- or fall in any wise short of dignity and beauty in itself over again, only to find the same fatal lim- ty interceding as by special affinity with heaven; Mendelssohn's pure recitative, which quite tranitations; it is the mood of an unrepenting crimi- -remark this fine touch of the delicate and fem- scends the usual common-place. nal in his cell. The music is all of very short inine side of the composer's genius!—had this We have now reached the first in the series of fibre, woven into the toughest, knottiest sort of duet been left out, it would hardly have been dramatic sketches, of which the body of the oratexture; full of movement, but no progress. Mendelssohn.
torio is mainly composed : the miracle of raising One or two little short starts of melody, constant- So much in description of the drought. Now the widow's son. The sentiment of the marvelly repeated, are its themes; and, though these comes the appeal of Obadiah to the consciences lous is first raised by the accompaniments, which, are woven into a consistent and artistic whole, of the people,-a tenor recitative: “ Rend your confined chiefly to the violins and treble wood you hear nothing else from first to last. This is hearts," &c., followed by the exquisitely_tender instruments, keep up a light tremolo, to a melody, in the appropriate key of D minor, and sheds the and consoling tenor song (Andante in E flat:). full of sad, sweet humility, (E minor, 6-8,) which right murky coloring over all that is to follow, “ If with all your hearts ye truly seek me.” If introduces the lamentation of the woman over helping imagination to realize the state of Israel you compare it with Handel's Comfort ye, my her son. The answer of the prophet, and his under Ahab. Drought and famine; life denied people," you have the whole difference of com- prayer, “ Turn unto her,” are in the major of the its outward sustenance; starved impulses, which, plexion between these two deeply religious na- key, in grave, four-fold measure. The return of getting no expansion, only murmur of them- tures. In that, it is the perfect sanguine buoy- | the tremolo, in the still more mystical key of F sharp major-swelling and di rinishing, raises this was in the confident key of E flat, major. form of the accompaniment, and the continual expectation to the height, and makes natural the In his invocation : " 0 Thou, who makest thine cadence of the voice through a third give it an woman's question of surprise, “ (Vilt thou show angels Spirits ; Thou, whose ministers are flaming expression of singularly childlike innocence and wonders to the dead?” Ihre prais renewed, fires ; let them now descend!” the prophet's voice, seriousness. Then follows, in the major of the and so too the woman's exclamation, striking a unaccompanied, rises a minor third in uttering key, in statelier 3-4 measure, and with trumpet higher note in her growing earnestness. Yet a the first clause, followed by the full minor chord obligato, a cheering air, which differs from the third time the prophet prays, amid crashing, pianissimo from the instruments; in the second last as a bracing October morning from a soft measured peals of harmony, announcing that the clause it ascends (through the minor third again) summer Sabbath evening: “ Thus saith the Lord, miraculous
agency is at work restoring life. The to the fifth, again more loudly answered by the I am he that comforteth,” &c., leading into the joy and devout thankfulness of the mother, instruments; and in the third clause it reaches very spirited chorus in G major: “ Be not afraid, prompting the question : " What shall I render tó the octave, when bursts forth the wild descriptive
saith God the Lord.” This has a full, broad, genthe Lord?” are followed by the brief, but beau- chorus: “ The fire descends from heaven !” This erous, Handelian flow, like a great river" rolling tiful duet between her and the prophet: “ Thou change to the minor in the invocation makes a rapidly ;” and as your ear detects the mingling shalt love the Lord with all thy heari,” which is in presentiment of miracle, as surely as a preternat- separate currents when you heed the river's genbroad four-fold measure, and glides directly into ural change of daylight, or the noon-day darken- eral roar more closely, so, hurrying, pursuing, the chorus : " Blessed are the men whn feur him," ing of eclipse. The Fire-chorus, with its imita- mingling, go the voices of the fugue: * Though which is distinguished by the soft, rippling flow tive accompaniments, we will not attempt to de- thousands languish,” which gives the chorus a of the accompaniments, the violoncellos keeping scribe; it is fearfully grand and terminates in a more thoughtful character for a moment, before up one uniformly varied and continuous figure in massive Chora "THE ORD IS GOD," &c.; they are all merged again in the grand whole of sixteenths through the whole of it, while the the earth quakes as it rolls away, with the pro- that first strain, “ Be not afraid !” vocal parts steal in one after another with the longed tremolo of the double basses, during which One cannot conceive how the scene which folsame whispered melody, which, with that multi- Elijah dooms the prophets of Baal.
lows could have been wrought into music with a tude of voices, is like the soft rustle of the bend- This scene closes with two remarkable songs. more dramatic effect. The prophet denounces ing grass before successive breathings of the west First, a bass solo by Elijah: Is not his word Ahab ; then the queen in the low tones of deepwind,-until the words: “ Through darkness like a fire, and like a hammer that breaketh the est excitement, in angry and emphatic sentences riseth light to the upright,” where the sopranos rock into pieces ?” Here the composer evidently of recitative, demands : " Ilath he not prophecied shout forth a clarion call
, climbing through the had in mind a similar great solo in Handel's against all Israel?” “ Hath he not destroyed Baharmonic intervals of the fifth of the key as far “ Messiah.” Both song and accompaniment are al's prophets ?” “ Hath he not closed the heavens ?" as its tenth, and closing with a cadence upon B, cast in the same iron mould, requiring a gigantic &c.; and to each question comes an ominous, which note the basses take for a starting-point, voice to execute it. Indeed, it is almost too great brief choral response : “ We heard it with our and thence repeat nearly the same figure, ending to be sung, as some parts are too great to be ears," &c.; and finally the furious chorus: “ Woe in A, where it is taken up by the altos, and again acted. Next, the exquisite alto solo: “ Woe unto to him, he shall perish,” in which the quick, short, echoed ere it is half out of their mouths by the them who forsake him!” which is again of the petulant notes of the orchestra seem to crackle tenors, until all come unitedly upon the words: “ Liesler ohne W’orte” order, having that charac- and boil with rage. " He is gracious, compassionale, righteous." These teristic wild-flower beauty, so indescribable in the Yielding to Obadiah's friendly warning, the words are treated somewhat after the manner of, melodies of Mendelssohn.
prophet journeys to the wilderness; and here we “ And his name shall be called IVonderful, Coun- Finally, we have the coming of rain, prepared have the tenderest and deepest portions of all sellor," &c., in Handel's sublime chorus, though in a dialogue between the people, the prophet this music; here we approach Elijah in his solino such stupendous effects are here attempted. and the youth whom he sends forth to “ look tary communings and his sufferings; here we feel The original whispered melody flows in again toward the sea." There is a gradual mellowing a more human interest and sympathy for the with mingled fragments of the second theme, and of the instruments, so that you seem almost to mighty man of miracle; we forget the terrible the chorus ends with echoing, retreating calls of snuff rain in the parched air. The responses of denouncer of God's enemies, and love his human “ Blessed !” while that rippling acrompaniment the youth, clear, trumpet-toned, in the major heart, all melting to the loveliness of justice, and floats sky-ward and is lost.
chord of C, as he declares: “ there is nothing,” | mourning over Israel's insane separation of herNow comes the appearance of Elijah before each time with the enhanced effect of the mellow, self from God, more than over his own trials. Ahab, and the second dramatic scene, the chal- continuous high monotone from the orchestra, Follow him there! good guides stand ready to lenge of the priests of Baal. The several pro- and finally announcing, amid the mysterious your imagination's bidding: first, the grand old posals of Elijah (in bold recitative) are echoed thrilling of the air with violin thirds, “a little words of the brief and simple Hebrew narrative; in choral bursts from the people, " Then we shall cloud no bigger than a man's hand ;” then the then the befitting and congenial music of this mod. see whose God is the Lord," &c. The invocation " blackening the heavens with clouds and with ern descendant of the Hebrews, this artist son of of the priests of Baal is very effective musically, wind ;” and then the loud rushing of the storm, Mendel. Listen to that grand, deep song which however fruitless for their purpose, and the music are wrought up to an admirable climax, and the he has put here into the mouth of Elijah: “ It is of it is in striking contrast with the severe and chorus breaks forth, like a perfect flood of joy, enough, O Lord ; now take away my life, for. I spiritual tone of the rest of the Oratorio. Noisy, refreshing and reviving all things : " Thanks be am no better than my fathers," &c. What resigimpetuous, full of accent and of animal life, it to God! He lareth the thirsty land. The waters nation! His great soul, bowed to that unselfish befits the worshippers of natural things; and it gather : they rush along; they are lifting their sadness, gives you a nobler, more colossal image commences in the key of nature, or F major. voices! The stormy billows are high ; their fury than the fallen Saturn in the “ Hyperion" of First, it is in 4-4 time, a double chorus, with a is mighty ; but the Lord is above them and Keats. The grave and measured movement of sort of bacchanalian energy : Baal, we cry to Almighty !”. This Rain-chorus, (which is in E
the orchestra marks well his weary, thoughtful, thee ;” then sets in an Allegro 3-4 movement, flat major), is in perfect contrast with that Fire- heavy steps. But his soul summons a new enerwith arpeggio accompaniment in thirds, in single chorus. The music itself is as welcome as show- gy, the smouldering music blazes up, as he rechorus, basses and altos in unison crying: “ Hear ers after long drought; as tears of joy and recon- members: “ I have been very jealous for the us, Baal! hear, mighty God," and sopranos and ciliation after years of barren, obstinate self-will Lord.” tenors in unison more earnestly following: “Baal, and coldness; as the revisiting of inspired Follow him! Fatigue brings sleep, and sleep O answer us ; let thy flames fall and extirpate the thoughts to the dry, dull, jaded, unsuggestive brings angel voices. Let that sweet tenor recitafoe,” &c. In vain ; no help for them! In long brain ;—and that not the less because all the tive interpret his wanderings and his whereabouts, loud cadences, (the minor third so loved by Men- music which precedes is rich and various. The and the angelic voices interpret the heaven in delssohn), with hopeless pauses between, their voices seem to launch themselves along rejoicing, his heart. “ Under a juniper tree in the wilder“ Hear us !” floats away upon the empty air. like the copious billows of a torrent, while the
Mark the, quaint simplicity of the The prophet taunts them :-" Call him louder." instruments, by a well-chosen figure, imitate the words, and how heartily the musical vein in Again they raise their cry, this time in F sharp sound of dripping streams. You feel the chang- Mendelssohn adapts itself to such child's narraminor, in hurried 4-4 time, the full force of the ing temperature of the air in some of those mod- tive. And now hear, as the composer heard, the orchestra reiterating quick, short, angry notes, ulations. What a gusto, what a sense of coolness heavenly voices floating down. It is a scene alas if they were all instruments of percussion, and in some of those flat sevenths in the bass ! there most as beautiful as that portrayed in Handel's trying restless and discordant modulations, as the are certain chords there which we would call music for the nativity of the Messiah. First a voices with agonized impatience repeat: “ Now barometrical or atmospheric, if the extravagance
Trio, (female voices*), without accompaniments: arise ; wherefore slumber?” Again the prophet of faney might be allowed to keep pace with the “ Lift thine eyes to the mountains," pure and taunts, and again they call on Baal, still in the fullness of delight in listening to this translation chaste as starlight; then the lovely chorus (for same wild key, but with the most furious presto into tones of one of the inexhaustible phenomena all four parts): “ He watching over Israel, slummovement, in 6-8, ending as before in fruitless of nature.
bers not, nor sleeps.". If the Trio was like heaven cadences : “ Hear and answer," succeeded by The Second Part has for its subject-matter the descending, this is like the peacefulness of earth unbroken pauses,
reaction of the popular sentiment against Elijah, encompassed with heaven; it has a gentle, soothIt is now Elijah's turn. In a solemn Adagio at the instigation of the queen, his sojourn in the ing, pastoral character, like “ There were shepair, expressive of sublimest faith and feeling of wilderness, and his translation to heaven. This herds watching their flocks by night.” The the Right, and even with a tenderness which you is prefaced by a song of warning to Israel: universal bosom seems to heave with the serene cannot help contrasting afterwards with his ruth- “ Hear ye, Israel,” for a soprano voice, in B mi- feeling of protection, and the heart to throb most less slaughter of his defeated rivals, he offers up nor, 3-8 time:one of those quaint little wild joyously, most gently, with the equal and continhis prayer to the “ God of Abraham, Isaac and flowers of melody again, which seem to have uous rise and fall of those softly modulated tripIsrael." This is followed by a short and simple dropped so often from another planet at the feet
* In Friday's performance this Trio will be sung, quartet: “ Cast thy burden upon the Lord.” All of Mendelssohn. The short-breathed, syncopated and with peculiar effect, by boys.
lets in the accompaniments. Voice after voice fection itself to those who want nothing deeper ; and the firmament, from the waters which were above the breathes out the melody, and what unspeakable it can never be otherwise than agreeable to those who firmament," all the phenomena of the air, the blast, tenderness in the new theme which the tenors do. Its charm is infallible as far as it goes.
the thunder, the soft rain, the bearing hail, the flaky introduce: “ Shouldst thou, walking in grief, lan
What we next remark is its sunny, healthful, snow, are described in so many little passages of guish, He will quicken thee.”
cheerful character. It is the happy warbling of the symphony, and after each the voice supplies the
bird building its nest. Again follow him! Forty days and forty
It is not the decpest of music.; interpretation. Then bursts forth the choral hymn:
but it is welcome to every one as the morning carol nights : so sings the angel (alto recitative); and
" Again the eternal vaults resound the praise of God, of the lark It has not the tragic pathos of Mozart and of the second day." In like manner another song again the noble recitative of the prophet, " wrest- and Bellini; nor the yearnings and unconiainable describes the separation of land and water, the rolling ling with the Lord in prayer;” “Oh, Lord, I have rhapsodies of Beethoven. But it is good for the and heaving of ocean, the emerging of mountain labored in vain; ....O thut I now might die !" decp-minded sometimes to leave brooding anni: pp tops, the rivers winding through wide plains, the This is relieved by the profoundly beautiful alto ulating, and for the sentimental to flee the close air purling brooks. And another, the flight or song song, in the natural key, four-fold
6 0 of their sad sympathies, and rising with the lark (whichever is most characteristic) of the birds, the rest in the Lord;" and he resumes: Night some bright, cool morning, go forth and become all mounting eagle, the lark, the cooing of the doves, falleth round me, O Lord! Be thou not for
sensation, and enjoy the world like a child. Such a the song of the nightingale; another, the roar of the from me; my soul is thirsting for Thee, as a
morning walk is an emblein of Haydn. The world lion, the leap of the tiger, the contented browsing of thirsty lanıl;" which last suggestion the instru
is fresh and glittering with dew, and there is no time the cattle, the sporting of the great leviathan. All
but morning, no season bat spring to the feelings this is so exquisitely executed, and presents such a ments accompany with a reminiscence from that
which answer to his music. He delivers us from variety of beautiful novelties, even without regard to first chorus, descriptive of the drought: “ The ourselves into the hands of Nature, and restores us the meaning intended to be conveyed, that we almost harvest now is over,” &c.
to that fresh sense of things we had before we bad forget that it is treason against the true spirit of the And now he stands upon the mount, and “ Be- thought too long. He sings always one tune, let art, and a playing of tricks with music. hold! God, the Lord passed by.” We are too him vary it as he will, namely, the worth and beauty We cannot enter into all the beautiful details of weary with fruitless attempts to convey a notion of the moment, the charm of reality, the admirable this great work; nor shall we speak particularly of of the different portions of this oratorio by words,
fitness and harmony of things. Not what the soul the surpassing sweetness and melody of its songs; to undertake the same thing with this most de
aspires after, but what it finds, he celebrates; not nor its joyous choruses, which are wonderful in their scriptive and effective chorus. One cannot but
our insatiable capacities, but our present wealth. way, but without the grandeur, or the simplicity, or remark the multitude of subjects which the story
Surprise and gratitude and lively appreciation for the progress of those of Handel; the chorus which
ever new beauties and blessings-a mild and health. closes the first part—" The heavens are telling," being of Elijah offers for every variety of musical
ful exhilaration-just the state of his own Adam decidedly greater than any which follow. But the effects. The orchestra preludes the coming of and Eve in Paradise !
truth is, the chorus does not bring out the genius of the “ mighty wind.” Voices, accompanied in Is not his great work, then, the true exponent of Haydn. The orchestra and the symphony are his loud high unison, proclaim: • The Lord passed his genius? Was he not the very man to compose sphere; and it is as an orchestral, descriptive work, by!" the storm swells up amid the voices, wave the music of the “ Creation;" to carry us back to and not as an oratorio in the high religious sense, on wave, with brief fury and subsides, and again the morning of the world, and recount the wonders that we are most interested in the Creation." the voices in whispered harmony pronounce:
which surround us, with a childlike spirit ? Is it not How far music may imitate or describe outward " yet the Lord was not in the tempest." The same
his art to brighten up the faded miracle of common nature, is a question which must always be left open. order of treatment is repeated with regard to the
things; to bathe our wearied senses, and restore the That sounds do suggest scenes is unquestionable.
fevered nerve of sight for us, so that we may see It is natural when hearing an orchestra, to think of " earthquake," and with regard to the "fire.”
things fresh and wonderful, and a new.created the harmony of colors. Some sounds in nature are All this is in E minor; the key opens into the world” may rise amid the “despairiny and cursing actually musical, like the notes of birds, and the fall major, into the moist, mild, spring-like atmos- of the falling evil spirits that confuse and blind us, of water. All sounds in nature make music, when phere of E major, and the voices in a very low, (to borrow a thought from one of the first choruses)? heard at a sufficient distance to allow them to besweet chorus, in long notes, whisper the coming The ** Creation" consists of three parts, taking for come well blended. Thus motion is one of the essenof the “still, small voice,” while the liquid, strok- its text the Mosaic account. In the first part is de- tial elements of music; we speak of a rushing, gliding divisions of the accompaniment seem "smooth- scribed the emerging of order from chaos; the crea- ing, falling, rolling passage of music. Add to this ing the raven down of darkness till it smiles.” tion of light; the separation of the firmament, of all the associations with feelings and states of mind The Seraphim are heard in double chorus, chant
sea and land; the springing up of vegetation, and which the qualities of different instruments possess,
the setting of the sun and moon and stars; and ends and it is evident what an orchestra can do in this way. ing: “ Holy, holy," &c., marked by sublime sim
with the magnificent chorus : "The heavens are tel. If it is not allowable to describe outward objects by plicity. One more recitative from the prophet; ling."
music, it is often necessary to bring up outward "I go on my way in the strength of the Lord,”
The second part contains the creation of animated objects in order to describe music. with the air: “For the mountain shall depart,"
nature; the animals, and lastly Man; and ends with A piece of music never suggests the same precise during which the instruments tread on with state- the more elaborate chorus: " Achieved is the glorious train of thought to any two hearers. It only awakens ly, solid steps, in notes of uniform length, in 4-4 work."
the same feelings, wins them to its mood. If then, measure; and we have the marvellously de- The third part represents Adam and Eve in Par. incidentally, all these little descriptive means concur scriptive, awe-inspiring chorus which describes adise, admiring each other, and the beautiful world to confirm the associations which naturally arise with his ascent to heaven in the fiery chariot. There around, and praising the Creator; and ending with every feeling, it is well. But to aim first to paint a is no mistaking the sound of the swift revolving
the still more elaborate and rapturous fugue : “ The picture, or to tell a story, is to leave the true and
Lord is greut." fiery wheels, suggested by the accompaniment.
glorious function of the art, to make it do what it
The characters in the two first parts are three Another beautiful tenor song: “ Then shall the
was never meant to do, and excite the same kind of angels, Raphael, Uriel and Gabriel, (bass, tenor and admiration which a mountebank would by walking righteous shine," and a fit conclusion to the whole
soprano). “After the symphony or overture, which on his head. Literal description of objects is not the is made by two grand choruses, foreshadowing represents chaos and the elements struggling to province of music. Music has all the vagueness of the consummation of all prophecy in the God- disengage themselves, one part after another rising the feelings of which it is the natural language; but Man, just leaving off where Handel's " Messiah," little way and falling back into confusion, till finally through an appeal to the feelings may suggest more the oratorio of oratorios, began. The first : " Be- the ethereal flutes and the more soaring instruments than words can tell. hold, my servant, and mine elect,” has much of the escape into air, and the dark sounds are precipitated, Thus, when we are told that Haydn, in composing grandeur, but not the simplicity of Handel. It and everything sounds like preparation, the discord a symphony, always had some little history or picture is separated from the last by an exquisite quar
almost resolved an angel recites the words: “In in his mind, we must not suppose that we are to look tet: “ Come, every one that thirsteth,” which is
the beginning God created,” &c., but “darkness was for such a story or picture in it, when we hear it; but wholly in the vein of Mendelssohn. And the
upon the face of the deep.” To represent the "Spirit only that he wrote it under the influence of such whole closes with a solid, massive fugue, in the
of God," now, " moving upon the face of the waters," a emotions as the imagining the story would inspire.
soft, spray-like chorus of voices steals in ; and after It is only, however, in some few details that the grand old style: “Lord, our Creator, how excel- the command, “ Lel there be light," the instruments “Creation” is liable to the objection of too literal lent thy name ! ”
are unmuted and all the discords are resolved into imitation. We can pardon some few freaks and
the full chord of the natural key, and “the audience injurious conceits, when they are so exquisitely done. II. Haydn and his “Creation." is lost in the effulgence of the harmony;" To re- But in its whole style and spirit the “Creation” is an
light by loudness, some may think a poorde- expression of feelings, an expression of childlike Haydn is remarkable for the perfection of style ; vice. But music does not seek to represent the light, wonder and joy and gratitude and love. It expresses for neatness and elegance in all the details, happy but the surprise produced by its sudden appearance. the exhilaration of calm, creative activity. It arrangement, and perfect ease and clearness in the What greater shock could be given to all our senses, refreshes the mind to that degree that all sounds exposition of his ideas. He is the Addison of music, than the sudden admission of light into total dark- become music to it. In inspires us with all the only a great deal more. He is the most genial, ness? Then Uriel, (angel of light), in a descriptive grateful sensations of morning and spring. And we popular, least strange of all composers. All those song, developes the idea, shows us the flight of the go away from it feeling the same gratitude for it that who enjoy clear writing, who love to see everything spirits of darkness, and in a subterranean chorus we we do for nature. accomplished within the limits of graceful certainty, hear their mingling, falling voices, wildly modulated feel as safe with Haydn as the scholar with his by the depth they traverse, on the words: “DespairCicero and Virgil. We say of him, " that is music," ing, cursing rage attends their fall ;” and in a fresher, HANDEL wore an enormous white wig, and when in the sense in which we say "that's English." brighter key the first day is celebrated, and “a new things went well at the Oratorio, it had a certain nod Whatever thought he had, (and he had many), it created world appears ut God's command." The same or vibration, which manifested his pleasure or satiscame out whole and clear, it suffered nothing in the order is pursued with each of the other days. First,
faction. Without it, nice observers were certain that statement. He understood the natures of instru- the angel recites the words from Scripture; then in
he was out of humor.-Dr. Burney. ments so well, that they blended as unobtrusively in a song describes the phenomena; and then a chorus his symphonies as individuals in the best-bred com. celebrates the new day.
HANDEL's general look was somewhat heavy and
sour; but when he did smile, it was his sire the sun, pany. Haydn's music is easily understood. It Throughout the whole the instrumental parts are
bursting out of a black cloud. There was a sudden keeps the mind awake, like lively, easy conversation ; principal --the voice but gives the interpretation. flash of intelligence, wit, and good humor, beaming but does not task the brain, does not excite any Thus after the angel has recited : “ And God made in his countenance, which I hardly ever saw in any longing which it cannot satisfy. Hence it is per- the firmament, and divided the waters which were under other.-Ibid.