ار DWIGHT'S JOURNAL OF MUSIC, A Paper of Art and Biterature. JOHN S. DWIGHT, EDITOR. VOLS. XI. AND XII. CHICAGO SOCIETY BOSTON: PRINTED BY EDWARD L. BALCH, 34 SCHOOL STREET. 1858. An Actor upon Audiences,...Fizgerald's City Item, 27 An Ascent of the Rigi,. .314, 321, 329 .52, 187 172 Art Treasures, Exhibition at Manchester.. .276 .90, 110 Beethoven: his Fidelio, 1, 5, 12, 14; his last Sonatas, 35; B. compared with Rossini and Verdi, by M. D' Ortigue, 41; his 7th and 8th Symphonies, 68; his Masses, 149; his Piano Forte Sonatas (by Elterlein), 289, 297; his Piano Concerto in G, 341; his "Rasoumoffsky" Quartets, 382. Bells, 100, 139, 225, 233; a Christening of on the Rhine, A. W. T., 218; at Lowell, 239. Berlioz; his dro leries, 132; his L'Enfance du Christ, 154 Schoelcher's Life of Handel,. Concerts and Operas in New York; Cong'l Singing,... 284. 5 A Beethoven Concert for a Musical Library.. Paris: 15. 38, 79. 95. 103 132. 143, 157, 201, 203, 223, 227, 254. 275, 293. 339 375, 380. 399. Philadelphia: 15. 95 108. 119 351, 366. St Petersburg: 38, 254; Savannah, Geo. 21. New method of teaching Singing.. .206 OPERA IN BOSTON: German troupe 5, 12, 14: Maretzek's (Gazzaniga, Phillipps, Brignoli), 85, 93, 101. Opera in Philadelphia, 4, 15, 87, 367; in New York, 20, 117, 187, 291, 331, 383, 403; in London, 164, 175, 399; in Havana, 394. Opera, Thomas Carlyle on the..Dumfries Album, 137 Opera Houses; in Paris 284, 292, 299, 305; in Avig non, 316; in Nice, 357; in Florence,.. .878, 395, 405 Operatic Composers and their works,. Optical Study of Vibrations.. .298 German Trio Concert; Rubinstein,. Linden Harp"; Satter's Concert in Cambridge; Carl Formes,. Lilla Linden again; L II. Southard and his "Omano,". .333 The " Pupil nuisance," 347 .356 322 562 Cost of the Huguenots,. Duty of Singing Teachers, &c to Musical Journals, 318. 879 Verdi's popularity, .11 .243 .391 .895 Orpheus Club, the.... .222 Our Music Teacher (from Brown Papers,') 353, 361, 9. Philharmonic Society in New York.. Phillipps, Adelaide.. .234 93 132 Pianists classified. N. Y. Criminal Zeitung, 54 Brass vs. Reeds. .175 Gazzaniga, Mme..... .20, 85, 93 Piccolomini, Marietta. German Table-Song, Decline of, Lond. Mus. World, 116 Giuglini, Antonio: the tenore. Playing vs. Hearing. 258 Ad. 307 .37 POETRY: Chimes, A. W T.. 233 Church Music: by a Chorister, 28; in England,. ..246 Goddard, Arabella: the pianist,. .35 Church's picture of Niagara.. London Times, 172 Goldbeck, Mr.. Clapton, the tune,.. .298 Gounod: his new Opera, Claqueurs, the, at the Grand Opera,.: ......165, 372 Graever-Johnson, Mme. Halevy: his Jaguarita,.. Commencement Day at Cambridge-Class of '32...126 Handel and Haydn Society: its history,. Handel: his " Messiah analyzed, (J. S. D.), 57; his life, by Dr. Burney, 73, 81, 89, 97; new life of, 77, *207, 250, 282, 289, 298, 307; Festival in Crystal Palace, 103, 105, 114, 138; his Chandos anthems, 156; disputed points about his music, 210; perversions (adaptations) of his songs (Schoelcher ), 211; Matheson's account of him, 241; his acquaintance with Steffani, &c. (A.W.T.) 260, 267; his Israel in Egypt' analyzed (J.S.D.), 262, 269, 278, 285; his instrumentation, love of noise, 275; notes on the "* Messiah" (Macfarren), 308. Harvard Musical Association, annual meeting.. Haydn, and his "Creation" (J. S. D.),.. Herold: his operas,. Opening Address for the Philadelphia Academy of Music, 2 A Tribute to Booth,.. Home Journal, (1852.) 19 Prayer during Battle: from Körner,... Pergolesi.. Fiftieth Birth-day of Agassiz.. The Sycamores,. The Fair Singer.. Ode for the Class of 1832.. The Lover of Music to his Piano,. Lines to Brignoli.... The Witch's Daughter,. Chaotic Rhymes (Haydn's Chaos),. The Ballet,. ...C. T. B. 27 W W. Caldwell, 26 Long fellow and Lowell, 73 C. T. B. 81 ....do .. 89 Phila. Bulletin, 91 ..J. G Whittier, 97 Andrew Marvell, 105 .......C. T. B. 126 Leigh Hunt, 172 Phila City It.m, 183 Whittier, 185 Haydn Wilson, 228 Courier, 290 Hiller, Ferd.: his oratorio " Saul," 354; Symphony, 397 Jaell, Alfred: in Paris,... .118 ..95 Jullien, M., in trouble; his Surry Gardens Speech, 229 Lablache, L. 158: death of 381, 391; his life, 393, 401; his burial 407. Ladies' Fair for the Poor. Lagrange, Mme........... Prizes at the Paris Conservatoire. Rachel, Mlle. her death 345; her life and genius, ...346 Roger at the Grand Opera.. .Scudo, 233 Rossini: his Stabat Mater, 13; Rossini compared with Verdi, &c., by M. D'Ortigue 41; his Tell," 148; his Curioso Accidente, 271; his L'Italiana in Algieri, 331; his Il Buschino,. .375 Rubinstein: in Paris, 79; in London, 86; his works, 356 "Sacred" Concerts (in Beer Saloons), Paul Potter, 36 Salaman; his Lecture on Music, Lond. Mus. World, 315 Satter, G. Note to an "Up-country Doctor", 11; on his own compositions, 155; new works by.. .325 Schilling, Dr. Gustav. ...34 Schoelcher, Victor: his life of Handel, 77, 207, 237, 250, 262, 289, 298, 307. Brooklyn, NY. 269, 38, 359, 397, 406. Cincinnati, 5, 44. 70, 285, 364. Dublin, Ireland, 252, 257. Farmington, Conn. 268. Florence, Italy, 363, 372, 377, 388, 395, 405. Leaves from my Note-Book, (“ Unterwald"). Meinoranda of Western Travel. .339 119, 399 Music "for the Million." &c., .134, 141, 149, 166, 191 Music in Universities, N. Y. Mus. World, 139, 170, 194 Music in North Italy, Lond. Athenæum, 249; in Seminaries, 270; in Paris, 275; in New Orleans, 351, 387 MUSICAL CHIT-CHAT: 14, 23, 31, 39, 47, 78, 87, 102, 119, 134, 141, 150, 159, 167, 175, 182, 191, 199, 207, 214, 231, 239, 254, 263, 271, 286, 295, 303, 335, 350, 366, 374, 383. 391, 398, 407. 418. Musical Criticism, 180; in England,. Musical Doctor's Degree in Pennsylvania. Musical Festivals: German, in Philadelphia, 19, 108, 110 118: in England 62, 103, 110, 114, 122, 138; at Aix la Chapelle, 131, 146, 154, 162, 170; of the Handel and Haydn Society in May, 43, 53, 58, 62, 65, 78; at Worcester, Eng... Shelley:... "Democrat of the Tea Table" 355 Southard, L. H.: his Opera Omano: Spiritual Worth of Music. 186 230 .265, 274, 282 .333, 334 .36 .189, 197, 205 Mus. Worid, 243 Thalberg, S.: Concerts in New York, 3, 203, 324, 331; in Cincinnati 70; studying the banjo,.. Theatres in Europe: Statistics of.. 142 .235 246 178 Thomas, Ambrose: his Opera, "The Cadi"...245, 355 Thoughts on the lofty value of Music (E. F. W. Hoffman,).. Uliman: his managerial "message 169 387 Verdi; by M.D'Ortigue, 42; in Exeter Hall, 43, his Tovatore, 45; La Traviata 83: Nabuco 94; his genius 117-18; his Aroldo at Rimini, 220; his popularity in Italy, 372; his Attila,.. 377 Vieuxtemps, H., in New York, 203; in 1843, (D.), 227; Vieuxtemps and the art of the Violin, 229, 230; coinpared with Sivori.......... .230 "Don Giovanni" in New York, 340; legend of,. 100 Donizetti: his Elisir d'Amore,... Mery, 25 372 .X, 146 English Cathedral Music,.. England, State of music in.. Fashionable musical parties,. Faust, English music to A. W. Thayer, 27, 34 Schoelcher, 219 .Punch, 178 237 Vocal Organs, Physiology of the. Wagner, Joanna, 115 .245 Want of concert among Musicians. ..213 196 Papers,")... Formes, Carl: in New York, 291, 301, 315; his life, 345; Musical Lions in Paris.....Lond. Musical World, 410 Music in Boston; Season of 1856-7. Who is the Greatest Composer?.. AD. K. 409 .29, 37 in Boston,.... .349 Frére, Edward: his paintings,. Winthrop, R. C.: his address at the Musical Festival 58 in Boston. Ruskin, 188 Fresh impressions of old Themes, (Thalberg, &c.)..402 Frezzolini, Erminie,.. MUSICAL INTELLIGENCE: Worcester: Splendid Hull in. Constantinople: 157. .181, 187 Germany: 21, 38, 95, 131, 135, 146, 154, 157, 231, 253, 294, 375 Words to young amateurs, by "Daisy," Zeuner, Charles: his death;.. .Palladium, 2 .330, 345, 372 .263 101 13.107 Dwight's Journal of Music, deeply sensitive nature, which has passed through other actors, and they, borne away by their come moments of extravagant mirth. Every plete identification with her part was felt by the PUBLISHED EVERY SATURDAY. TERMS: By Mail, $2 per annum, in advance. When left by Carrier, $2,50 66 A Prima Donna's Triumph in "Fidelio." (From an unpublished story in the "Brown Papers.") Descriptions of the ovations paid to the prim donne of the Opera, are too familiar to the readers of Operatic annals, to require me to fill up my pages with any particular account of Julia's success in Vienna. Whatever had clouded her mind, it was now completely banished. The story of Sontag, of Malibran, or Jenny Lind, would but be repeated. She lived during this period for Art, and gave herself up to the delights of success. The critics at length could find no new superlatives, by which to describe the grandeur of her tragedy, the depth of her pathos, the archness of her comedy, her marvellous execution, the purity, compass, power and delicacy of her voice, and the beauty of her person. When she sang Donna Anna, they reprinted Hoffmann's fantasy-piece, as the best description of her in the part, congratulating the public that its tragical close was not true of the new songstress. Never was there such a "Daughter of the Regiment;" Rossini's sensuous, golden-hued music had never before had an interpreter, and this they held to be her native language, until the severe simplicity of Gluck showed her to belong to a higher sphere. The critics knew not the unspeakable woe, which had opened all her fountains of feeling, until not a chord in the human heart could vibrate without finding an echo in her own. Hence her power of identifying herself with every character she sustained. They knew not that the intense brightness of her comedy arose from the shadows, so dark and deep, which so long had laid upon her soul. The reckless gaiety of the scherzo, which so often succeeds the darkest and gloomiest of Beethoven's adagios, gives a true picture of that phase of our mental constitution, by which in our heaviest afflictions the fire, will understand what I would say, will see how much Julia's greatness as an artist was due to her trials as a woman. One man may have lived, who can read the heart, and whose power was not based upon his own experience; but if so, we may well call William Shakspeare superhuman. Hence it was that while in Rossini's "Barber of Seville," or Cimarosa's "Secret Marriage," Julia convulsed her audience with laughter, she held the strings of every heart in her terrible pictures of the outraged womanhood and lacerated heart of Donna Anna, or of the awful grief of Clytemnestra. The six weeks of her engagement were at an end. She was to appear once more for her own benefit, and for this evening she chose the part of Fidelio. She had hitherto refrained from singing in this opera, that it might be her crowning effort. In few operas is the heroine so from first to last the prominent character. The music may be less adapted to vocal display, but how is each and every note the language of the heart! The music, from the first note of the overture to the last note of the final chorus, is an integral whole the singer and the auditor are alike borne along by it as upon a resistless current. The plot, though simple, is one of intense interest, and the passions represented are admirably contrasted -the hate and revenge of a bad man, with the patient endurance, heroic courage, the hopes and fears and the boundless love of a perfect wife. Whether with good reason or not, the part of Fidelio held in the mind of Julia the highest rank; and when she saw it announced for her benefit, she almost trembled at the task she had The overture and the scene between Marcellina and Jacquino were over, and the latter at length opened the gate of the prison, and Fidelio came forward in a suit of black velvet, her face somewhat pale, and her dark eyes lighted up with an emotion visible even beyond the footlights, and exciting at the outset the sympathies of the audience. As she stood at the front of the stage with her post-bag and the chains she had purchased, the vast audience, which occupied every spot where the actors could be seen, rose as one man. The presence of royalty was forgotten, and the theatre rang with cheers. At length silence was restored. In the spoken dialogue with old Rocco, Julia at first could hardly sustain her part, but gaining her self-command as she proceeded, she joined in the exquisite canon: Mir ist's so wunderbar, her glorious mezzo soprano notes lending it a beauty and sweetness until then unknown. Her com sympathy with her, gave a unity of effect to the performance, which carried the force of illusion to its farthest limits. The orchestra and the audience caught the spirit. Old play-goers renewed the delights of childhood in their complete abandonment to the feeling of the reality of the history acting before them. As she, during the chorus of prisoners, sought in their faces, one by one, the features of her husband, and at length in despair threw herself at the foot of a column, a thrill of compassion ran through the house. Had the audience known her real feelings, they might well have had pity for her. She was but acting the part of a devoted wife. Yet in the feelings, which the part inspired, she saw mirrored the boundless capacity for domestic love and happiness, which existed within her heart. During her engagement, she had banished all thought of the future from her mind, and enjoyed with the keenest zest her successes and triumphs. She had lived for the present, and no artist ever drank with sweeter relish of the intoxicating cup of applause. This night, for its triumph and its complete realization of her artistic hopes and aims, was to have had the loftiest place in future years, among the pleasant recollections of the past. She did remember it only for its agony. For as she assumed, and identified herself with, a character, which could never, never be hers in reality, and, in the parquette, her eye caught a face, which in spite of herself would haunt her dreams sleeping and waking, and the thought of what must be, in contrast to what might have been, dame over her, it was too much. As she sat in her dressing-room between the acts, all the sad thoughts and feelings, which she had for weeks so successfully kept at bay, came crowding unimpeded into her mind, and gained complete control. The past was there. The future was there. The present was there. Each brought its current into the overwhelming flood of her wo. But the overture to Leonore, which was played as an introduction to the second act, now was heard veiled and indistinct, before the curtain, and soothed and calmed her. The notes of the trumpet, which speak hope and joy and safety to Florestan and Leonora, are introduced into this overture, and are given behind the scenes; when they came they spoke to her heart of a higher joy and a nobler salvation than even those depicted in Beethoven's Opera. But still though she regained her self-command, the agony was there. In the scene where she assists in digging the grave for the prisoner, whose face she cannot |