SERIES.

1. Local Examinations in Musical Knowledge.-The next examination

MAKERS AND REPAIRERS.

GEORGE WITHERS & CO. (Late of Coventry Street), WHOLESALE IMPORTERS OF

MUSICAL STRINGS,

From Rome, Padua, and Naples.

A FINE COLLECTION OF ITALIAN INSTRUMENTS. Bows, Cases, Music Stands, &c. See Price Lists. 51, ST. MARTIN'S LANE, LONDON RYSTAL PALACE. SATURDAY POPULAR INSTRUMENTAL SUMMER CONCERTS. FIRST CONCERT, May 9th, at Three.-Vocalists: Soprano, Madame Biro de Marion; Contralto, Miss Alice Heale; Tenor, Mr. Dalgety HenderSolo Violin, M. Theodor Werner. Programme son; Bass, Signor Foli. will contain, in addition to Popular Songs by the Vocalists, Overture, "William Tell" (Rossini); Siegfried Idyll (Wagner); Concerto for Violin and Orchestra, No. 1 (First Movement), (Paganini); Fantasia for Violin and Orchestra, on Airs from "Faust" (Wieniawski); L'Invitation a la Valse (Weber). Conductor, Mr. AUGUST MANNS. Reserved seats, 2s. 6d. No charge for admission to Concert Room.

and Is.

RYSTAL PALACE. HANDEL BI-CENTEN

Incorporated by Royal Charter 1830.

Under the immediate patronage of

Her Most Gracious Majesty the QUEEN and the Royal Family.
President-The Right Hon. the Earl of DUDLEY.
Principal-Professor Sir G. A. Macfarren.

The NEXT STUDENTS' CONCERT will take place at ST. JAMES'S
HALL, on FRIDAY MORNING, May 22nd, at 2.30.
Conductor, Mr. William Shakespeare.
Stalls, 5s.; balcony, 2s. 6d. ; admission is.

By order,

JOHN GILL, Secretary. Royal Academy of Music, Tenterden Street, Hanover Square.

THE SOCIETY OF ARTS'

PRACTICAL EXAMINATION IN VOCAL & INSTRUMENTAL

MUSIC

Will be held in London, at the Society's House, in the week commencin
8th June. Full particulars on application to the Secretary,
H. TRUEMAN WOOD.
Society's House, Adelphi, London, W.C.

BWPULAR ORGAN RECITALS, interspersed with Vocal Music.
OW and BROMLEY INSTITUTE. SATURDAY

Every Saturday at 8 p.m. TO-NIGHT, May 9th, an Extra Recital will be given by Mr. E. H. TURPIN (Organist, St. George's, Bloomsbury), and the Choir of the Institute, under the direction of Mr. W. G. MCNAUGHT, A.R.A.M. Vocalist, Miss MARIANNE FENNA. Pianoforte, Mr. G. A. OSBORNE and Mrs. W. G. MCNAUGHT. Admission 6d. and 3d. Over North London Railway Station, Bow, E.

(Selection), and 26th (Israel Egypt). Solo Vocalists already engaged: Madame Albani, Miss Annie Marriott, Madame Clara Suter, and Madame Valleria, Madame Patey, and Madame Trebelli; Mr. Edward Lloyd and Mr. Joseph Maas, Mr. Santley, Mr. Barrington Foote, and Mr. F. King, Mr. Bridson, and Signor Foli. Organists: Mr. W. T. Best and Mr. A. J. Eyre. Band and Chorus of the usual gigantic proportions, numbering Four Thousand Executants. Conductor, Mr. AUGUST MANNS. Tickets in Sets of Numbered Seats for the Three Days of the Festival, and also for Single Days, on Sale, at Crystal Palace, and at 48, Pall Mall, S.W. Prices of Sets, Three Guineas, Two-and-a-Half Guineas, and Two Guineas. Prices of Single Seats, Twenty-five Shillings, One Guinea, and Fifteen Shillings. Rehearsal Tickets also on Sale. Handel Festival Pamphlet, with Plans and full particulars of Seats, Prices, &c., to be had on application to the Manager of Crystal Palace, at either of above-named offices.

PROF. LOISETTE

PHYSIOLOGICAL MEMORY.
Art of never forgetting. Wholly unlike mnemonics.

PROF. LOISETTE

LOST MEMORIES RESTORED.
The worst made good, and the best better.

PROF. LOISETTE

CURE OF MIND WANDERING.
Any book learned in one reading.

MOST MPORTANT TO MUSICIANS.

PROF. LOISETTE

PROSPECTUS POST FREE. Lectures in families.

Day and Evening Classes, Private Lessons, AND BY POST. 37, New Oxford Street, London, W.C.

Symphonies, Overtures, Concertos, &c. Best Folio Editions, covered, equal to new. Jos. Bradley, Clifton House, Heaton Norris, Stockport.

WITH 25 PERCENT DISCOUNT FOR CASH, OR 15 PER MONTH SECONDHAND100 Per Month ON THE 3 YEARS

BORD'S PIANOS

MOSZKOWSKI'S "JOAN OF ARC." JOHANNA D'ARC.-Symphonische Dichtung, in vier Abtheilungen, nach Schiller's "Jungfrau von Orleans," für grosses Orchester. Componirt von Moritz Moszkowski, Op. 19. Full score. (Breslau, Julius Hainauer.)-JOAN OF ARC. Arranged as a Pianoforte Duet, by the Composer. (Augcner & Co.)

This remarkable Symphony has been performed with considerable success in some German cities, and as it is to be brought to a hearing in London at the last concert of the Philharmonic Society, May 20, an examination and analysis of the work may prove of use. Moszkowski was born in Berlin in 1854, and is of Polish extraction. Though he is still a young man, this work shows no signs of immaturity. He is favourably known in England by some melodious, cleverly constructed pianoforte pieces, conceived in a remarkably fresh spirit. From pianoforte sketches to an orchestral symphony is a wide leap, but a study of the work under notice leads one to think that success is also open to him in this other branch of the art. It will be observed that he styles his work "a Symphonic Poem," thus taking it out of the range of symphonies proper, and placing it on a somewhat different basis. So far as it is an illustration of a distinct tale, it must be classed under the head of " programme music"; and this view is emphasised by the fact that to each of the movements its author has attached a superscription. But this is all that he has vouchsafed as to his intentions, and the currents of thought which have guided him over the composition. Each listener is free to adapt, connect, and work out the scenes of Schiller's famous play with the music, just as he thinks proper. This is as it should be; for music which seeks to particularize, and so descends to mere imitation, must rank below the standard of abstract music. All true art is the expression of sincere feelings through the medium of natural and familiar language. The effect which the author of this work has endeavoured to attain, is, to reproduce in the subtle and picturesque atmosphere of music, the emotional essence of the dramatic scenes embodied in Schiller's pages. The work, consequently, must be viewed as a whole. It should be looked at as one continuous tale, and we must not examine each separate movement to see how far it conforms to our set ideas of what form such a movement ought to take. It is necessary, in fairness to the author, to say this much, because the title and plan pursued, to a great extent absolve him from adhering to rigid symphonic form, with its orthodox key relationship of themes, and general constructive tone of its several movements. If the title of "Symphonic Poem" was not invented by Liszt, it has been constantly used by him, and later by Smetana and Dvorak, with what success, so far as the purpose of illustration is concerned, needs not now be discussed. This much is settled, that it offers to the intellectual and poetic composer a type less rigid in its proportion, and freer as regards treatment, than that of the symphony proper, the highest of all musical forms. After all that can be said on the subject, theorising is valueless, the result obtained is everything. Music must be judged by its beauty alone-using the term in its evident sense-and not by either a definite or indefinite title.

The grand story of the dauntless French maiden, and the success with which she rescued France from the powerful grip of the English, is too widely known to require comment. Schiller's fine drama on the theme, though it is not founded on historical truths, is yet the best poetic exposition of the stir ing tale that has appeared. The legend has inspired many composers with a desire to illustrate it in music. Abroad, it has often formed the subject of an opera; at home, we have Balfe's setting of it, produced at Drury Lane, in 1837. In the realms of pure music, we have Sir Steindale Bennett's classical pianoforte Sonata, inspired by the work; and also the late A. Holmes's Dramatic Symphony, “Jeanne d'Arc,” produced by Mr. Manns at the Crystal Palace concerts in 1875. Liszt has als chosen one of the by-legends, for orchestral treatment, that is, the ghastly scene of the hapless Maid's reputed execution,-"Jeanne d'Arc au bûcher." Moszkowski has not attempted to tell the complete story. He has wisely confined himself to the illustration of certain notable events in Joan's life. It would have been manifestly impossible to have detailed the whole poem scene by scene. Bearing in mind these considerations as to the nature of such a work, we may proceed to an examination of the Symphony itself.

The first movement of the symphony is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, kettle drums, the military side drum, triangle, cymbals, the harp, and the usual complement of five stringed instruments. The streperous trombones are not employed here Its key signature is that of E major, and the time is marked "6 Allegro commodo." The author has attached to it the following superscription :-Johanna's Hirtenleben. Eine Vision bringt sie zum Bewusstsein ihrer hohen Sendung. (Joan's pastoral life. Her exalted mission is revealed to her in a vision). then we have brought before; us first, a picture of the simple maiden tending her father's sheep in the sequestered vale where she was born, and bearing her part in those duties and innocent pleasures which go to make up the tranquil bucolic life; secondly, the gradual consciousness which comes over her, that she must deliver her country from its ever victorious advancing English foes, and that God has graciously selected her for this patriotic task. Schiller lays the scene of the revelation of this

Here

Special note should be taken of this germinal opening; from this the whole movement springs, and if the listener will bear it well in remembrance, it will greatly aid him in appreciating the continuity with which the movement is constructed, its gradual thematic development, and the working out. It will be observed that the subject divides itself into two sections, distinguished in the quotation by an asterisk. Both of these portions are separately employed throughout the movement, surrounded from time to time by various fresh devices. There is a charming pastoral simplicity about the naïve opening in thirds, contrasting well with the after phrase of artless sentiment commencing on the C double sharp, with its uncommon and hurried rise to C sharp, contradicting the accent of the bar. It is notable that the opening seems rather to be built on the dominant, than on the tonic of the key signature of the movement. The wood wind is now introduced, and the subject is repeated with slight modifications, and varying of orchestral colour. To this succeeds the following episodal passage, over which lingers a slight tone of sadness:

This subject, in alternation with No. 2, is worked for some time, until the main theme is once more heard, set this time a tone higher in the scale, and delivered forte by the full orchestra. By this device the subject becomes more strongly emphasised, and the stress is still further increased by doubling the number of the notes of the accompanimental figure played by the strings on the introduction of a tributary to No. 2. A fine effect is produced in the new harmony by the descent of the 'cello in contrary motion to the melodic figure. With a receding echolike passage-somewhat similar to illustration No. 13-the section dies away, and we come to important new matter. takes the form of the following tripping theme, and might almost be designated the second subject:

No. 4.

This

Surely, this represents the beautiful, earnest soliloquy that Schiller makes the Maid utter when she bids farewell to her birthplace, and the smiling fields she loved so well! The passage is a fine piece of transitional harmony; at the end its tonic is again enharmonically changed to D sharp, and some episodal matter in character with the last theme is introduced. The rapidly changing sentiments and varying moods that the inspired maiden must have passed through, may well stand as the thoughts that are illustrated here. The polyphonic writing in this portion of the movement, and rich mosaic effect of the scoring is very interesting, displaying great ingenuity in building up the fabric. Considerable use is made of the figure shewn below, the first violins delivering it in many transmutations with much expressive passion; its melodic drop from the (harmonic) A, to the 9th below is noticeable. No. 7.

Viol.

Ob. Corde.

Fag.

A descending chromatic modification of the phrase comes out effectively on the bassoons in octaves and the 'cello. A pause is then made, and the main subject of the movement is re-stated, not in thirds, but enriched with some new and fine harmonies. A solemn descending passage in recitative form for the 'cello and double bass, followed by a pianissimo tremulando of the violins and violas, muted, on the sharp seventh of the key, accompanied also by the flutes and clarinets in octaves, leads novel and beautiful effect is produced here by the ingenuity of to a change of signature to four flats, and common time. A the scoring. While the tremulando is still being kept up by the violins, the 'cellos, divided into four parts, and, joined by the clarionets, bassoons, and occasionally the horns, sustain soft, full chords, through which is heard, for the first time, the harp delicious; it serves to introduce the following lovely theme, playing an arpeggio figure. The effect is mysterious and played by a solo violin, the accompaniment being still pianissimo tremolo chords on the strings.

Violin Solo.

༡

Clar. Pp

No. 8.

&c.

The passage, though simple, is bold and original; it may have been suggested by Schiller's introduction of Bertrand, Joan's rustic lover, who makes his appearance with a helmet that has been given to him, which is eagerly taken possession of by the warlike maiden. The next idea is one of a very different character. An enharmonic change turns the tonic of the chord of D sharp major, into E flat, and the musician's skill has instantly transported us from joy to sadness. This is the theme

This passage must certainly stand for the celestial being's announcement to Joan of her high mission. It is twice interspersed by a rapid remarkable glissando passage on the harp, a passage which looks impossible to play, and indeed is so on any other instrument than this. This is laid out on the chord of the diminished 7th on G, as under: No. 9.

Arpa. Glissato.

PP

It constitutes what is known as "iteration," or, as Berlioz terms it, a synonime, the second double notes, B flat, D flat, and E natural, being respectively obtained by the pedals raising the A and C strings a semitone, and lowering the F the same degree. The hand then simply sweeps up the strings. The effect produced here is charming. The new theme, No. 8, is treated with great breadth, the flutes in octaves joining the violins in playing it, and developing its ideas more extensively. The accompaniments gradually work up into more passionate forms, the harp joining in with a triplet and afterwards a sextuple figure and florid arpeggio. Another melodious cantabile theme is introduced, the agitated accompaniment of which, by the harp and flute, the other strings, wood and brass wind, holding chords, is too elaborate to be indicated.

No. 10.

Sva. P

Viol.

20

It has the tone of religious fervour about it, and one may perceive, through the delicately wrought instrumentation, the figure of the Maid entranced with religious rapture. The section ends pianissimo, the harp bearing the chief and most apparent portion of the work. A brief pause ensues, and the réprise and condensed working out of the subjects noted above is proceeded with, the main theme, in B flat, treated with some novel melodic variations, occupying the most important place. A fresh feature is employed here:

&c.

The movement closes pianissimo; the Vision is at an end.

The slow movement is entitled "Innere ZerwürfnisseRückerinnerungen" (Inner Strife-Former Memories). It is labelled, "Andante malinconino;" the time is a complicated one, 12-16, and the key A minor. It would seem that the author does not follow the heroine into the court of the craven-hearted French king; neither does he treat of her prowess on the field of war, nor her famous relief of beleaguered Orleans. Some of the musical phases may possibly illustrate the dreamy fervid Maid when she uttered the remarkable string of prophecies which reads so eloquently in Schiller's version of her exploits. But as the author of the work has not chosen to lay down any detailed programme to be illustrated, it is safer to fall back on the bare titles he has supplied, and view the movement in the general light of the maiden's consciousness of the great mission confided to her, her strife between duty to her country, and earthly love (according to Schiller's treatment of the tale), and her occasional recollections of the old tranquil life. This view would assume that the first portion of her warring was over, and that her next step was to have the king pompously crowned at Rheims. The movement opens with this pathetic phrase; the clarinets play the melody. No. 15.

Both before and after this point, the movement has an animated and martial tone; theme and counter-theme are mixed with much impetuosity and passion. It seems as it were the martial clang, foreshadowing the hard fighting on the battle field, in which Joan was to play so commanding a part, and the notable victory of Vermanton. In this part of the work the author shows scholasticism, great skill in the use of his materials, and abundance of resources in dealing with them. The strife is ever and anon interrupted by a softer mode, and we get from various instruments tender remembrances of past times and the old pastoral life. The harp is frequently employed in ejaculating full decisive chords, thereby aiding considerably in accentuating the rhythm. The development is carried out at very considerable length, this hunting-like passage towards the end coming out powerfully :

Fl. Ob.

No. 13.

It is immediately followed by this, a still more touching thought, the string timbre presenting a marked contrast to the opening melody. No. 16.

Violini.

Fag.

Pic.

Clar. Trom.