SUBSCRIPTION.-The Musical Standard is posted to subCompass. Seven Octaves. Warranted.-The London Musicscribers at 15s. a year; half a year, 7s. 6d., payable in advance. Publishing and General Agency Company (Limited), Originators of the £10 10s. Pianafortes, 54, Great Marlborough Street, W.

City Advertisement Agent (for inside of paper only), HARRY LAVENDER, 185, Fleet Street, E.C.

SATURDAY, MAY 16, 1885.

PHILHARMONIC SOCIETY.-SEVENTY VOCAL and INSTRUMENTAL SUMMER CONCERTS.

MOSZKOWSKI will make his First Appearance in ARY FESTIVAL.

England, and Conduct his " Johanna d'Arc" at the NEXT PHILHARMONIC SOCIETY.

PHILHARMONIC SOCIETY.—20th May.

MEMORY & SUCCESS. MESSRS. PUTTICK & SIMPSON will hold their

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TRINITY COLLEGE, LONDON.

The distribution of prizes for the London centre took place at the Mansion House on May 12th. In the unavoidable absence of the Lord Mayor the meeting was ably presided over by the warden (the Rev. H. G. Bonavia Hunt). The other speakers were Messrs. H. J. Stark (registrar), E. H. Turpin (dean), the Rev. R. Gwynne (hon. sec.), Messrs. G. A. Osborne, C. E. Stephens, and J. E. Turner. A large assembly of ladies and gentlemen witnessed the proceedings.

ROYAL SOCIETY OF MUSICIANS OF GREAT
BRITAIN.

ceremony and duty over, the maiden reproached herself in that she had become tainted by earthly love, and in her special case: the fault was intensified in consequence of the cherished object fore hurriedly leaves the cathedral, in order to seek solitude, being an English knight, an enemy of her country. She thereand meets with her father, who unnaturally denounces her as a witch. Silent under this terrible accusation, and horrified by the seeming omen of a fearful storm, all desert her save Bertrand, her old village lover, and she leaves the city. In the course of her wanderings in the Ardennes she is captured by the renegade Queen Isabel, and sent in chains to the English camp. So far then the dramatist. What particular portions of the chain of events, besides the coronation procession, the musician had in his thoughts while writing, one cannot say. Still, it is well to have before our recollection the complete scene, and then, for each listener to conjure up just what changeful phase the music suggests.

Violini e Celli 8va.
Clar. Fag. e Arpa.

Timp.

Corni.

No. 22.

&c.

The anniversary festival was held on May 7th at St. James's Hall, Mr. Santley, president, in the chair, sup- The movement is in the key of E, Common Time, and is ported by a large number of the leading members of the marked, "Molto Moderato." To the previous score is now added a musical profession, and others, including Mr. C. S. third bassoon, a third trumpet, three trombones, side drum and Wortley, M.P., Rev. Canon Duckworth, Mr. W. H. Cum- cymbals. It commences with a single bar of exordium consisting mings, Mr. J. E. Street, Mr. M. A. Santley, the Rev. J. of the tonic and dominant given alternately by the bassoons and E. Cox, Sir G. Macfarren, Mr. G. Rose, Mr. Walter Mac-kettle-drums. Then ensues the following subject, largamente, farren, Mr. S. A. Chappell, Mr. E. Lloyd, Mr. F. Rose, played by the first violins and 'cellos in octaves:— Mr. Oscar Beringer, Herr Dvorak, Mr. G. H. Betjeman, Mr. E. Prout, Mr. Fountain Meen, Mr. Charles Coote, Mr. W. Shakespeare, Mr. Walter Bache, Mr. W. R. Ralston, Professor Wylde, Mr. W. Ganz, Mr. J. Blumenthal, Mr. Franklin Taylor, Mr. C. Villiers Stanford, Mr. J. Hollingshead, Dr. Stainer, and Mr. W. Kuhe. The chairman proposed the toast of the evening, Prosperity to the Royal Society of Musicians of Great Britain." He said he had to appeal on behalf of those members of his profession who had not basked in the sunshine of fortune's smile. It was generally supposed that musicians were improvident, but this he could from his own knowledge assert to be an unjust estimate, and nothing could be more sad than to see so many of them compelled to retire from their profession before they had had the opportunity of making a sufficient provision for their old age. On the other hand, they were always ready to assist in the cause of charity, and it was always invariably the musician who provided the entertainment when movements of this kind were in progress. It was a mistake to suppose that the life of the musician employed in orchestras was one of pleasure. Describing It will be observed that the accompaniment to this is singular the daily work of an orchestral player in the season, he asked where was the working man who went through such severe labour for such scanty pay? He regretted there was not some arrangement to help those who were still able and willing to work a little, instead of coming altogether on the funds, and he hoped the directors would earnestly consider the possibility of doing something in this direction. In acknowledging the toast of his health, the chairman expressed the belief that music was not progressive in England. There was an enormous increase in the number of musical students, but there was a decrease in the opportunities of making use of their talents. During the evening a selection of music was rendered, among the artists being Mr. E. Lloyd, Miss Mary Davies, Mr. Lazarus, and Mr. S. B. Webbe, and at the close subscriptions to the amount of nearly £800 were announced.

MOSZKOWSKI'S "JOAN OF ARC."

II.

By T. L. SOUTHGATE.

(Continued from page 290).

In the third movement of the work is found a notable difference in respect to the customary form of a symphony proper. Instead of the Minuet and Trio, or a Scherzo, we have a sonorous, and, in places, impassioned movement, cast some. what after the march form. The title the author has attached to it is "Einzug der Sieger zur Krönung in Rhiems."(Entrance of the victors into Rheims for the coronation.) This brilliant scene, a manifest result of the Maid's success over the enemies of her country, represents the poetic basis on which the movement is built. As becomes the event illustrated, it is a pompous piece of music conceived in an elevated tone, and is replete with power, picturesqueness, and imagery. It may be remembered that Schiller in his drama skilfully treats in this scene of Joan's dual condition of mind. The duty she conceived she owed to her country, impelled her to be present at this most important ceremony. In the vast cathedral, surrounded by a flood of rich light, which streamed in through the stained windows, the victorious Maid was the cynosure of the glittering throng. The mysterious powers she had exhibited both awed and endeared her to the King, nobles, priests, and people. She was there in obedience to her high mission, But this august

and uncommon. The chords on the harp, clarinets, and bassoons do not fall in with the regular ictus of the bars. They are tied over the beat, and the effect is to anticipate and be remembered that Beethoven in his Sonata in G (Op. 31) uses intensify the accent wherever the device is employed. It may a somewhat similar feature, only that in that case it is the treble that anticipates the beat, and not the accompaniment. The theme has a pendant, which begins as follows:

Violini.

Viol. Cl. e Fag.
p

No. 23.

Corn.

Viola.

&c.

The whole subject, and its mode of laying out, is very original. In its complicated largeness, it reminds one a little of the mode of Meyerbeer in some of his pompous military-religious marches. Between the statement of the subject and its answer, a flourish of trumpets in octaves tells us that we are about to assist at a grand ceremony. Shortly afterwards, following a shake for the wood wind, comes a short, bold section in contrary motion for the full orchestra; this leads to a florid string passage, and, interspersed with trumpet calls, we again get the main subject delivered with all the power of the orchestra. It is subsequently decorated with some fanciful embroidery, in which the harp, flutes, and piccolo play the chief part, and it dies away with a faint echo of the opening bar on kettle-drums and double bass biano. Without a note of modulation, the key is changed to A flat, and the following stately march is delivered; the complete

One feels that the pageant music introducing the ceremony is over, and we stretch forward to catch a glimpse of the brilliant cortege proceeding up the cathedral. Soft at first, but as the procession nears the altar, with increasing volume, the march rings out impressively. On its last repetition, delivered by the This idea is briefly developed. It is a little remarkable for its complete orchestra-the harp and piccolo tacet--it is over-sharply divided contrasts of wind and string tone, and its sfor. poweringly grand. Before, however, this point is reached, it is twice embellished with a florid passage in two parts for the flutes, following a brilliant shake on the upper E flat. It is also interrupted by two fresh ideas. The first of these commences as under, and is immediately repeated.

zando group of semiquaver notes at the end of the third and fourth beats of the bar. The subject is of a broken, agitated character, seeming to tell of a question asked, and forcible commer.ts thereon. It may represent the anxious inquiries addressed to Joan by the perplexed king and archbishop after she had been accused of heresy, and was silent, as one dazed by overwhelming grief. Fragments of the themes already given are then repeated, the syncopated accompaniment figure already commented on being constantly employed. A short passage in contrary motion of a chromatic character leads to the initial key, and to the opening melody. This is now skilfully varied, and gathers additional impulse by stronger marked accompanimental figures. The following highly wrought passage, which carries massive force with it, introduces for the last time a portion of the theme con tutta forza.

The passage beginning on the second beat of the bar is original. Its combination of flutes, horns, trumpets, side drum and Sva.. triangle, gives it a quasi-military tone, breaking in upon that of the march proper. Students may remember with advantage the instrumentation here. The second interruption occurs with the following short theme, marked appassionato. Here, again, the scoring deserves examination. The melody is sung out in octaves by the flutes, and the two sets of violins; the harp (only partially shown in the illustration) contributing throughout its course a demisemiquaver arpeggio figure.

Bass.

Sva.

It will be seen that the melody is asserted by the two violins, and the piccolo, flutes, and oboes in octaves; the other wind instuments play crotchets with the beats, while the third trombone, 'cellos, and double bass enforce a syncopated figure. A short coda of fourteen bars, Un poco più mosso, is of an exceedingly hurried character. Fragments of the chief theme are twice interrupted by an agitated sextuple group, gradually carried up by the violins and viola into their topmost registers, and ending with a tremendous crash of the tonic common chord, the drum being directed to be struck with the bare stick. The whole movement is strikingly dramatic and impressive, its impulsive culmination evidently represents some startling occurrence.

We now come to the last movement. This bears the superscription," Johanna in der Gefangenschaft; ihre Kettensprengung, Sieg, Tod und Verklärung."-(Joan in prison; the breaking of her fetters, Victory, Death, and Glorification). This sounds ambitious as a programme to lay down for illustration, and the movement will probably evoke from the critical more discussion as to its form an 1 results, than any of the preceding ones. Briefly to summarize Schiller's account of the closing scenes of the