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DWIGHT'S

JOURNAL OF MUSIC,

& Paper of Art and literature

JOHN S. DWIGHT, EDITOR.

VOLS. XI. AND XII.

CHICAGO
HISTORICAL
SOCIETY

BOSTON:

PRINTED BY EDWARD L. BALCH, 34 SCHOOL STREET.

1858.

Alboni: in Il Barbiere....

91 American Music Association, N. Y. Mus. World, 84, 383 American Musical Artists and Students abroad: Miss

Hensler, 87, 159, 201, 319: J. P. Groves, 87, 383; H.
Squires, 150, 196; Mrs. Estcott, 151, 196; Mme. de

Wilhorst, 202; Mine. Biscaccianti, 254.
An Actor upon Audiences,...Fizgerald's City Item, 27
An Ascent of the Rigi,

..314, 321, 329 Art Treasures, Exhibition at Manchester....

.52, 187 Atheneum Gallery of Paintings, &c.,;.

172 Auber: his Fra Diarolo, adapted to ihe Italian,...J43 Bach, J. S., Symphony by: Mass, 76; Overture, 92; Cantata: Christ, unser Herr, &c., 154; his piano com

positions, ( Ro hlitz,) 209, 217; Violin Sonatas, 251. Balfe: his “ Rose of Castille,".

.276 Balfe, Mi'e. Victoire...

..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 “ Rasou

moffsky" 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
Boarding School Music,..

. Mainzer, 18 Bosio, Mme, in Russia...

18 Boston Music Hall: annual Report,

87 Boston Music School,

102 Boston Public Library Building: its architecture...370 Brass vs. Reeds.

.175 Caradori, Mme.

.346 Cherubini: his Deux Journées,. Chimes, A. W T..

233
Church Music: by a Chorister, 28; in England, 246
Church's picture of Niagara. .London Times, 172
Clapton, the tune,

.298
Claqueurs, the, at the Grand Opera,. ..165, 372
Commencement Day at Cambridge-Class of '32...126
CONCERTS IN BOSTOx:
Thalberg. &c...

7. 14.23 Handel and Haydn Society.

7. 318. 349 .Do. Musical Festival)..

62. 64. 78 Orchestral Union. (Afternoon,l.....14, 22. 350, 365, 390. 406. H. 8. Cutler, (Boston Choristers' School.)..

22. 46 Mendelssohn Quintette Club, 38, 294, 301, 311, 359, 374, 390,

406, 413 Mrs. J. M. Mozart,.

39 Mr. Werner, (Curbolic Choir ,).

..45, 199, 326 O e Bull's Farewell.

..54 Promenade Concerts..

.149, 166 Orgun Concert at lolijs Street Church.

.221 Orpheus Glee Club, (Männerchor). ... 222, 279, 302, 309, 365 Vieuxtemps, Thalberg und Lagrange.

230 Gustav Sarter.

825, 250 Otro Dresel, (Private Club).

.326, 407 1. II Southaru, (Opera “Omado,').

334. 350 Miss Abby Fry

335. 342, 393 Orchestral. (Carl Zerrahp.).

.841, 359, 373, 389, 898 German Trio,.

.841, 382 Mr. Zerdahelyi,.

382 Mrs. J. II. Long,

.390
Concert Italo-Americain, .. Courier Franco-Italien, 201
Congregational Singing at Brooklyn, N. Y., 397, 406, 410
Cooper, H. C., the violinist..... .135, 366, 374
CORRESPONDEXCE:

Aix la Chapelle, 131, 116, 164, 162, 170.
Avignon, France, 316.
Bangor, Me. 30)
Berlin, 23 44. 76. 148, 194, 244. 347, 356.
Brooklyn, N Y. 269, 308, 389, 397, 406.
Calcutta, 156
Cincinnati, 5, 44. 70, 285, 364.
Dublin, Ireland, 252, 257.
Farmington, Conn. 269.
Florence, Italy, 363, 372, 377, 388, 395, 405.
Foligno, Italy, 411
Glasgow, Scotlaud. 245, 251.
Hingham, Mase, 30, 364.
London, 140, 173, 189, 196, 276.
Louisville, ky 379.
Manchester, England, 267; Manchester, N. II. 389.
Mesrinn. Skily, 379.
New Haven, Ct 111.
Newport, R I 77
New York, 3. 12. 30, 37. 53, 77. 117. 203, 239. 2:8. 277, 293,

Sul, 306, 316 317. 3.4, 331, 332, 340, 357, 396, 897. 404, 412
Niagara Falls, 129 137.
Nice, Sardinia, 357.
North Reading, Mass 111, 133.
Paris, 91, 281, 29. 299, 306.
Philadelphia, 4, 101.
Pitrsfield, Mass. 285, 306.
Salem, Maxs 5.
Springfield, Mass. 53. 300.

Wortester, England, 196, 204 ; Worcester, Mass. 348. Crawford, the sculptor: death of, 254; Obituary notice, by G. S. Hillard,..

. 258, 266 Credo of the Dead, the,

from the German, 145 Czerny, Carl: luis death, 158, 162; his will,.. Debuts at the Grand Opera..

Berlioz, 91 Ditson & Co's. New Music Store,

166 "Don Giovanni” in New York, 340; legend of,....100 Donizetti: his Elisir d'Amore,

101 English Cathedral Music,.. .A. W. Thayer, 27, 34 England, State of music in..

Schoelcher, 219 Fashionable musical parties,.

Punch, 178 Faust, English music to

.237 Fidelio, a prima donna's triumph in, (from the "Brown

Papers,")... Formes, Carl: in New York, 291, 301, 315; bis life, 345; in Boston,...

349 Frére, Edward: his paintings,.

Ruskin, 188 Fresh impressions of old Themes, (Thalberg, &c.). .402 Frezzolini, Erminie,

...181, 187

FROM MY DIARY:

Italy : 21, 38, 103. 167, 249. 264. 319
Singers with Italianized names,...

.20 Loral (Roston and New England): 14, 20, 30, 69, 78, 95, 119, Ilandel; Concert at Cambridgeport ; Luther,

43

127, 222, 247, 311 319. 327. 374. The Handel and Haydu Festival,

.63 London : 14. 21. 31. 46. 78, 86. 94 103. 105. 111, 114, 124, 125, Union among Artists,

.69 134. 138, 143. 157. 210. 223 229, 293, 382, 399. First Oratorio in Boston,..

76 New Orleans : 351. 3'5 397, 387 A Scheme for Orehr-stral Concerts.

84 New York: 20. 205. 223, 291, 350. 393. Bells ; Hellstab, the Critic ; Mozart's Are rerum corpus,. .100

Paris: 15, 38, 79. 96. 103 132. 143, 157, 201, 203, 223, 227, Rellslab on Mozart; “Old Hundred.".

.116 254, 275, 293, 339 315, 380. 399. The Steam "Calliope,".

.126 Philadelphia : 16. 95 108, 119 351, 366. Recitative and Spoken Dialogue in Opera,.

.132 St Petersburg: 38, 254 ; Sapaduuh, Geo. 21.
Corey's Hill,..

.140 Washingtou, D. C. 21. 31.
Trip to Montreal, Lake Champlain, &c.,
.150 New method of teaching Singing..

206 Con-ideration for Singers,..

.199 Schoelcher's Life of Handel,.

OPERA IN Boston: German troupe 5, 12, 14: Maret

.237 Con erts and Operan in New York; Cong'l Singing,... 284. 5

zek's (Gazzaniga, Phillipps, Brignoli), 85, 93, 101. Puffs of young artists,.

291 Opera in Philadelphia, 4, 15, 87, 367; in New York, 20, Stradella's Works,

298 117, 187, 291, 331, 383, 403; in London, 164, 175, 399; Lilla Linden's "Linden Harp”; Satter's Concert in

in Havana, 394. Cambridge ; Carl Formes,

322

Opera, Thomas Carlyle on the..Dumfries Album, 137 Lilla Linden again ; L II. Southard and his "Omapo,”..333 Opera Houses; in Paris 284, 292, 299, 305; in AvigThe “ Pupil nuisabee,''

.347 German Trio Concert ; Rubinstein,

.856

non, 316; in Nice, 357; in Florence,....378, 395, 405 A Beethoven Concert for a Musical Library..

.862
Operatic Composers and their works,.

11 Duty of Singing Teachers, &c to Musical Journal», 318, 379 Optical Study of Vibrations..

243 Verdi's popularity,

.391

Organs: sizes of the largest, 11; Handel Festival OrCost of the Hugu nols,..

.895 gan 122; by Messrs. Hook, at Providence, R. I., 235 Voices ; where to learn to sing,

..4:0
Orgue Alexandre; the...

11 From the lise of an obscure inusician, Adolar, 337, 385 Orpheus Club, the...

222 Fry, W. H., on the Oratorios, 314; his Quartet No. 11, Our Music Teacher (from · Brown Papers,') 353, 361, 9. 393; his description of the “* Huguenots,". 403 Philharmonic Society in New York..

234 Fugue, Thoughts on the,. .....( Rochlitz) 113, 121, 129 Phillipps, Adelaire..

.93 Garcia's New Treatise on Singing,

132 Pianists classified... .N. Y. Criminal Zeitung, 54 Gazzaniga, Mme... .20, 85, 93 Piccolomini, Marietta.

.258 German Tabie-Song, Decline of, Lond. Mus. World, 116 Playing vs. Hearing..

Ad. 307 Giuglini, Antonio: the tenore.

.37 POETRY: Gluck's Operas..

.45, 348

Opening Address for the Philadelphia Academy of Music, 2 Goddard, Arabella: the pianist,

.35 A Tribute to Booth,..

Home Journal, (1852.) 19
Goldbeck, Mr....

.340, 358
Prayer during Battle : from Körn.t,.

.C.T. B. 27
Gounod: his new Opera,

.380 Pergolesi,

W W. Caldwill, 86 Graever-Johnson, Mme.

Fiftieth Birth-day of Agassiz, .332, 341

Long fellow and Lowell, 73 A Legend : from Grun,.

C. T. B. 81
Halevy: his Jaguarita,

.355
From the Inn,.....do,

....do .. 89 Handel and Havdn Society: its history,.

21 Der Fr i-chütz (travestied),

Phila. Bulletin, 91 Harilel: his “ Nessiah analyzed, (J. S. D.), 57; his The Sycamores,....

..J. G Whitlier, 97 life, by Dr. Burney, 73, 81, 89, 97; new life of, 77,

The Fair Sinier..

Andrew Marrill, 105 297, 250, 282, 289, 298, 307; Festival in Crystal Palace,

Ode for the Class of 1832,

..0. T. B. 126 103, 105, 114, 138; his Chandos anthems, 156; disputed

The Liver of Music to his Piano,

Leigh Hans, 172 Lines to Brigioii.....

Phila Ciry llom, 183 points about his music, 210; perversions (adaptations)

The Witch's Daughter,

Whittier, 185 of his songs ( Schoelcher), 211; Matheson's account of

Chaoric Rhymes illaydu's Chaos), Haydn Wilson, 228 him, 241; his acquaintance with Steffani, &c. (A.W.T.) The Ballet,..

Courier, 290 260, 267; his Israel in ligypt' analyzed (J.S.D.), 262, Variations on an Aria, &c. at the Meeting of the larvard 269, 278, 285; his instrumentation, love of noise, 275; Musical Aspiation,..

0 W. Holm. s. 342 notes on the Messiah" (Macfarren), 308.

The Bells of Speier: From the German,.. ....0. T. B 377 Harvard Musical Association, annual meeting. .342 Popular Songs..

Tribune, 99 Haydn, and his “ Creation" (J. S. D.), 51 Private Rehearsal at the N. Y. Academy.

325 Herold: his operas,.

.148 Promenade Concerts,

. 141, 149, 166, 191 Hiller, Ferd.: his oratorio “Saul," 354; Symphony, 397 Prizes at the Paris Conservatoire.

203 Hints to Musical Misses,..Englishuomin's Recicio, 179 Rachel, Mlle. her death 345; her life and genius, ...346 Hiring a Piano in Florence, (* Trovator").. 363 Roger at the Grand Opera..

. Scudo, 233 “ Home, sweet Home." and its author, A. W. T.,... 3 Rossini: his Stabat Mater, 13; Rossini compared with Hosmer, Miss: her statue of Beatrice Cenci

236 Verdi, &c., by M. D'Ortigue 41; his “ Tell," 148; Humble confession of a Tenor;. . Household Words, 212 his Curiosó Accidente, 271; his L'Italiana in AlImagination: (Democrat of the Tea-Table). 402 gieri, 331; his II Buschino,...

375 Italinns, the (musically speaking) 13; in Russia,.

..18

Rubinstein: in Paris, 79; in London, 86; his works, 356 Italian vs. German Music..

118 “Sacred” Concerts (in Beer Saloons), Paul Potter, 36 Jaell, Alfred: in Paris,..

...95 Salaman; his Lecture on Music, Lond. Mus. World, 315 Jullien, M., in trouble; his Surry Gardens Speech, 229

Satter, G.:- Note to an “ Up-country Doctor", 11; on Lablache, L. 158: death of 381, 391; his life,' 393, 401; his own compositions, 155; new works by. 325 his burial 407.

Schilling, Dr. Gustav..

...34 Ladies' Fair for the Poor..

398 Schoelcher, Victor: his life of Handel, 77, 207, 237, 250, Lagrange, Mme....

179 282, 289, 298, 307.
Leaves from my Note-Book, (“Unterwald”).

....174
Schubert, Franz..,

.33 Liszt: at Aix la Chapelle, 131, 147; his Symphonische Schumann, Robert: his Sängers Fluch, 154; his FestiDichtungen 161; Li and his followers, 194; his Hun- val Overture, 378; Clara,.

135 nenschlacht; Schiller Symphony, 231; in Weimar, 286 Shaw, Oliver.

255 Marschner, Dr., in London; his Ilans Heiling, 157, 211

Shelley:. .."Democrat of the Tea Table" 355
May, Miss Juliana...
Tribune 205 Signals by musical sounds.

186 Meinoranda of Western Travel..

Sivori and Vieuxtemps compared,.

230 Mendelssolin: bis “ Elijah" analyzed J. S. D. 49; his Sonata, The: (from Elterlein.).

265, 274, 282 Hebrides overture, 68; his characteristics (by Dr. Southard, L. H.: his Opera Omano:

.333, 334 Zopft) 153, 161, 177, 364, 387; M. and his Critics, Spezia, Maria..

...36 (Lond. Mús. World,) 228; his Songs without words, Spiritual Worth of Music.

.189, 197, 205 273, 281; liis Edipus and Antigone music, 302, 309, Suspensions..

Mus. Worid, 243 365; his “ Elijah" in Paris, 339; Violin Concerto, 374 Thalberg, S.: Concerts in New York, 3, 203, 324, 331; Meverbeer: his Africaine, &c, 227; his Huguenots at

in Cincinnati 70; studying the banjo,...

142 the N. Y. Academy ..403 Theatres in Europe: Statistics of..

..235 Moskowa; the Prince de la. .220, 226 The Hard Times".

.246 Mozart: his Are Verum Corpus, 101; Schauspiel-Din | The true musical amateur; by H. F. Chorley. 178

rector, 103; his genius estimatell, by Rellstab, 116; Thomas, Ambrose: his Opera, “ The Cadi"...245, 355 his Quintet in D), 294, 301; his Son...

..339 Thoughts on the lofty value of Music (E. F. W. HeftMusical Libraries,. 119, 399 man,).

..169 Music “ for the Million," &c.,...134, 141, 149, 166, 191

Ullman: his managerial message

.387 Music in Universities, N. Y. Mus. World, 139, 170, 194 Verdi; by M.D'Ortigue, 42; in Exeter Hall, 43, his TroMusic in North Italy, Lond. Atheneum, 249; in Semi- vatore, 45; La Traviata 83; Nabuco 94; his genius

naries, 270; in Paris, 275; in New Orleans, 351, 387 117-18; his Aroldo at Rimini, 220; his popularity in MUSICAL CHIT-CHAT: 14, 23, 31, 39, 47, 78, 87, 102, Italy, 372; his Attila,..

.377 119, 134, 141, 150, 159, 167, 175, 182, 191, 199, 207,

Vieuxtemps, H., in New York, 203; in 1843, (D.), 227; 214, 231, 239, 264, 263, 271, 286, 295, 303, 335, 350, Vieuxtemps and the art of the Violin, 229, 230; coin366, 374, 383, 391, 398, 407, 418.

pared with Sivori..

.230 Musical Criticism, 180; in England,...

253 Villa Catalani in Florence; a visit to... .Mery, 25 Musical Doctor's Degree in Pennsylvania. .287- Visible reproduction of the human voice..

372 Musical Festivals: German, in Philadelphia, 19, 108, 110 Vocalization..

.X, 146 118: in England 62, 103, 110, 114, 122, 138; at Aix Vocal Organs, Physiology of the. la Chapelle, 131, 146, 154, 162, 170; of the Handel Wagner, Joanna, .

.245 and Haydn Society in May, 43, 53, 58, 62, 65, 78;

Want of concert among Musicians.

.213 at Worcester. Eng...

196

Weber, C. M. von: Characteristics of, 9, 17, 193; his Musical Festivities. .75 Oberon in Paris, 10; Euryanthe do...

.223 Musical Lions in Paris,.... Lond. Musical World, 410

Who is the Greatest Composer?... .AD. K. 409 Music in Boston; Season of 1856–7...

Winthrop, R. C.: his address at the Musical Festival My visit in the Country, by a Chorister.. .186 in Boston..

.58 MUSICAL INTELLIGENCE:

Worcester: Splendid Hall in.

.Palladium, 2 Constantinople: 157.

Words to young amareurs, by “Daisy," .330, 345, 372 Geimniny:21, 38, 45, 131, 135, 146, 154, 157, 231, 253, 294, 375 Zeuner, Charles: his death;:

.263

...,171

....163

..115

.29, 37

13,101

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Dwight's Journal of Music,

66

At the OFFICE OF PUBLICATION,..

21 School St. Boston.

Providence, R. I.

" C. BREUSING,

JR..

" MILLER & BEACUAM...181 Baltimore St Baltimore.

4 W. F. COLBURN..

come moments of extravagant mirth. Every plete identification with her part was felt by the

deeply sensitive nature, which has passed through other actors, and they, borne away by their PUBLISHED EVERY SATURDAY. the fire, will understand what I would say, will sympathy with her, gave a unity of effect to the TERMS: By Mail, $2 per annum, in advance.

see how much Julia's greatness as an artist was performance, which carried the force of illusion When left by Carrier, $2,50

due to her trials as a woman.

One man may

to its farthest limits. The orchestra and the have lived, who can read the heart, and whose audience caught the spirit. Old play-goers reJ. S. DWIGHT, EDITOR AND PROPRIETOR.

power was not based upon his own experience; newed the delights of childhood in their comEDWARD L. BALCH, PRINTER.

but if so, we may well call William Shakspeare plete abandonment to the feeling of the reality S OFFICE, No. 21 School Street, Boston.

superhuman. Hence it was that while in Ros- of the history acting before them. As she, dur

sini's “ Barber of Seville,” or Cimarosa's “ Secret ing the chorus of prisoners, sought in their faces, SUBSCRIPTIONS RECEIVED

Marriage,” Julia convulsed her audience with one by one, the features of her husband, and at By RUSSELL & RICHARDSON, 291 Wash'n St. laughter, she held the strings of every heart in length in despair threw herself at the foot of a ri CLAPP & CORY,..

701 Broadway, New York. her terrible pictures of the outraged womanhood column, a thrill of compassion ran through the « SCHARFENBERG & LUIS, 769 Broadway, U GEORGE DUTTON,

and lacerated heart of Donna Anna, or of the house. Had the audience known her real feel

... Rochester, NY. 4 G ANDRE & CO..... 306 Chestnut St. Philadelphia. awful grief of Clytemnestra.

ings, they might well have had pity for her. She " JOHN H. MELLOR,

Pittsburg, Pa.

The six weeks of her engagement were at an was but acting the part of a devoted wife. Yet 1 W. D. ZOGBAUM & CO., .

.. Savannah, Ga.

Cincinnati, o. end. She was to appear once more for her own in the feelings, which the part inspired, she saw " HOLBROOK & LONG,

Cleveland, o.

benefit, and for this evening she chose the part of mirrored the boundless capacity for domestic

Fidelio. She had hitherto refrained from singing love and happiness, which existed within her A Prima Donna's Triumph in "Fidelio." in this opera, that it might be her crowning effort. heart. During her engagement, she had ban(From an unpublished story in the " Brown Papers.”)

In few operas is the heroine so from first to last ished all thought of the future from her mind, Descriptions of the ovations paid to the prim the prominent character. The music may be and enjoyed with the keenest zest her successes donne of the Opera, are too farniliar to the read- less adapted to vocal display, but how is each and and triumphs. She had lived for the present, ers of Operatic annals, to require me to fill up every note the language of the heart ! The and no artist ever drank with sweeter relish of my pages with any particular account of Julia's music, from the first note of the overture to the the intoxicating cup of applause. This night, success in Vienna. Whatever had clouded her last note of the final chorus, is an integral whole for its triumph and its complete realization of her mind, it was now completely banished. The -the singer and the auditor are alike borne artistic hopes and aims, was to have had the loftistory of Sontag, of Malibran, or Jenny Lind, along by it as upon a resistless current. The est place in future years, among the pleasant would but be repeated. She lived during this plot, though simple, is one of intense interest, and recollections of the past. She did remember it period for Art, and gave herself up to the delights the passions represented are admirably contrasted only for its agony. of success. The critics at length could find no --the hate and revenge of a bad man, with the For as she assumed, and identified herself new superlatives, by which to describe the gran- patient endurance, heroic courage, the hopes and with, a character, which could never, never be deur of her tragedy, the depth of her pathos, the fears and the boundless love of a perfect wise. hers in reality, and, in the parquette, her eye archness of her comedy, her marvellous execu- Whether with good reason or not, the part of caught a face, which in spite of herself would tion, the purity, compass, power and delicacy of Fidelio held in the mind of Julia the highest haunt her dreams sleeping and waking, and the her voice, and the beauty of her person. When rank; and when she saw it announced for her thought of what must be, in contrast to what she sang Donna Anna, they reprinted Hoffmann's benefit, she almost trembled at the task she had might have been, dame over her, it was too much. fantasy-piece, as the best description of her in undertaken.

As she sat in her dressing-room between the the part, congratulating the public that its tragi- The overture and the scene between Marcel acts, all the sad thoughts and feelings, which she cal close was not true of the new songstress. lina and Jacquino were over, and the latter at had for weeks so successfully kept at bay, came Never was there such a “ Daughter of the Regi- length opened the gate of the prison, and Fidelio crowding unimpeded into her mind, and gained ment;" Rossini's sensuous, golden-hued music came forward in a suit of black velvet, her face complete control. The past was there. The had never before had an interpreter, and this somewhat pale, and her dark eyes lighted up future was there. The present was there. Each they held to be her native language, until the with an emotion visible even beyond the foot- brought its current into the overwhelming flood serere simplicity of Gluck showed her to belong lights, and exciting at the outset the sympathies of her wo. to a higher sphere. The critics knew not the of the audience. As she stood at the front of the But the overture to Leonore, which was played unspeakable woe, which had opened all her foun- stage with her post-bag and the chains she had as an introduction to the second act, now was tains of feeling, until not a chord in the human purchased, the vast audience, which occupied heard veiled and indistinct, before the curtain, heart could vibrate without finding an echo in every spot where the actors could be seen, rose and soothed and calmed her. The notes of the her own. Hence her power of identifying her

The presence of royalty was for- trumpet, which speak hope and joy and safety to self with every character she sustained. They gotten, and the theatre rang with cheers.

Florestan and Leonora, are introduced into this knew not that the intense brightness of her com- At length silence was restored.

overture, and are given behind the scenes; when edy arose from the shadows, so dark and deep, In the spoken dialogue with old Rocco, Julia they came they spoke to her heart of a higher joy which so long had laid upon her soul. The reck- at first could hardly sustain her part, but gaining and a nobler salvation than even those depicted less gaiety of the scherzo, which so often succeeds her self-command as she proceeded, she joined in in Beethoven's Opera. But still though she rethe darkest and gloomiest of Beethoven's adagios, the exquisite canon : Mir ist's so wunderbar, her gained her self-command, the agony was there. gives a true picture of that phase of our menta glorious mezzo soprano notes lending it a beauty In the scene where she assists in digging the constitution, by which in our heaviest affictions and sweetness until then unknown. fler com- grave for the prisoner, whose face she cannot

as one man.

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