ful consecutive choruses: Surely he hath borne our grief, and And with his stripes; the highest poetic as well as contrapuntal charm is found in the latter. After these choruses, the real force and quaintness of: All we like sheep, is for the first time felt. Another praiseworthy restoration was that of the answering quartet and chorus sentences: For as by man came death, in Christ shall all be made alive, &c. The quartets were finely given by the four principal singers, and the choral antithesis on the last clause told superbly.

The Drama.

The present season will be remembered by managers throughout the country as the most disastrous ever known. The sudden exhaustion in the public funds came so unexpectedly that no provision could be made to lessen its effect upon the theatrical world. Ample and liberal arrangements for a season of unusual brilliancy had been made by certain managers in the three Northern cities. New plans were laid, new enterprises decided upon. The expected increase in expenses was to be met by a triple combination of leading theatres in Boston, New York and Philadelphia, according to which attractive novelties were to be presented alternately before the public of each city. Everything promised well, but before the season was fairly on its way, the financial pressure cast a shadow over all, especially darkening the prospects of those who live by the provision of public amusement. The entire winter was one of managerial discontent; whether in the rapidly reviving interest in gaieties there is in store for them a "glorious summer," is yet to be seen.

In Boston matters have been the same as else where; neither better nor worse. The Boston Theatre has been the most afflicted of our places of popular resort if, indeed, that can be called a place of popular resort which for so long appeared to be sedulonsly shunned by the public. The season opened at the appointed time, with a company certainly above the average. Various attractions were brought forward in rapid succession. Mr. Edwin Booth appeared in the second week. In the fifth Mr. Charles Mathews came, and added much to his own fame, but nothing to the fortunes of the theatre. Two months passed away, each successive week witnessing a steady depletion of the treasury. The beautiful ballet troupe was introduced in the tenth week. Then, indeed, the audiences began to increase, but not sufficiently to counter-balance the enormons expenses at that time. After the departure of the ballet troupe, a month of dreary desolation ensued. Miss Heron, in the eighteenth week, proved a considerable attraction, but it was reserved for the Ravels, in the twentieth week, to awaken an interest thus far unseen. For nine weeks they filled the theatre, yet, unfortunately, so great are the regular expenses of the establishment, the additional outlays required for their visit prevented even then any pecuniary advantage on the side where it was most needed. One advantage, however, was gained;-that of passing without positive loss through the most dangerous period of the year. After the Ravels, came Mr. EDWIN BOOTH again, who succeeded in attracting for two weeks larger audiences, perhaps, than could have been secured by any other individual performer at that time. From our hasty summary we gladly step aside a moment to pluck an humble flower and throw it in the path of this young and brilliant tragedian. Of all the hosts of aspirants for histrionic fame who at this day tread the boards, he alone seems destined to attain a splendid eminence. Even now, when but just entered upon the tangled path of his profession, he justly claims a position so far above all other American actors, that only one or two can be named with him. In the personation of Shakespeare's characters, which most powerfully test an actor's abilities, Mr. Booth's genius carries him nobly through. The Shakespearian temple is not defiled, but adorned, when he enters it. Two more years of such rapid advancement in his art as he has shown during the past two, and he will surely stand in the front rank of living tragedians.

The present attraction at the theatre is the curious
specimen of Mr. Bourcicault's “ contemporaneous
drama,' Jessie Brown, or the Relief of Lucknow'
a series of effectively constructed scenes selected
from the events of the Indian war. The chief merit
of this play is the admirable manner in which it is
put upon the stage, the scenery and appointments far
exceeding in magnificence anything ever before seen
in this city. It has attracted large audiences at the
Boston Theatre, which now bids fair at least to incur
no loss for the remainder of the season.

the financial tempest, not unscathed, indeed, but with
The Boston Museum has sailed steadily through
perhaps less difficulty than any theatre in the North.
There is a wonderfully firm and capable hand at the
managerial helm. Mr. Kimball, it would seem, has
found that philosopher's stone which ensures fixed
fortune even in his dubious vocation. There are rea-
sons, which appear on examination, for his unvarying
success. At another time the examination shall be
made.

Messrs. ECKHARDT, WULF FRIES, SCHULTZE and SUCK, who compose as perfect a quartet as we have listened to in Boston. On this occasion we had a Fugue by Mozart; a religious Andante out of one of Beethoven's latest Quartets ("in modo Lydico"), profoundly beautiful and solemn; He was despised, and Behold and see if there be any sorrow, from Handel's "Messiah," the air being most feelingly sung in the one by the viola, in the other by the 'cello; and finally the introduction, and all the seven Sonatas of that famous old work, Haydn's "Seven last words on but appropriate to the day, and for the most part the Cross." These were all slow, grave movements,

very beautiful.

The London Musical World devotes three or four columns to us again part complimentary, and part friendly warning against German critics; thereby hangs a queue (in German, Zopff). We shall consider the matter at due length. . . . They have found out that the mother of LABLACHE was Irish. What wonderful instruction books are written now-a-days for musical beginners! We opened one and found the "Anvil Chorus" arranged for flute solo!

Last Tues

The Howard Athenæum-it is singular, by the way, that two of our theatres should seek to conceal themselves under an assumed name- - has been closed the winter long, with the exception of a ridiculous attempt at a season of a few weeks, of which the less said the better. It has recently opened with The music-lovers in Salem, in Providence, in Worthe brightest auspices, under the management of Mr. cester, &c., have enjoyed in turn the splendors of the and Mrs. Barrow. As now conducted, the Howard FORMES Constellation this week, in the interim be deserves to prosper. The company is remarkably tween the Oratorios in Boston. complete, and equal to almost any requirements, as day evening the young ladies of the "Mendelssohn has been shown. The plan adopted by Mr. Barrow, Musical Institute," in Pittsfield, Mass., gave a Soirée, a new one, and one which will probably carry success with it, -we must touch upon hereafter. under the direction of their zealous principal, Mr. EDWARD B. OLIVER. In the programme we notice These are the only theatrical reminiscences of the season worth alluding to. five Sonatas: (in E b, by Hummel; in D, by BeetThere have been at the National Theatre some representations alike disgrace-hoven; Op. 36, by Clementi; in C, by Kuhlau; and ful to the stage and to the city which permits them. Fantasia and Sonata, by Mozart); a Song without These have recently given place to a circus exhibiWords, by Mendelssohn; a Fantasia ("Winter's tion, and it is said that the control of the theatre has Tale") by Oesten; Polonaise, by Weber; and Songs by Mendelssohn, Schubert, Abt, Kalliwoda, and just been assumed by a gentleman who will endeavor Meyerbeer. Certainly an example worthy to be held to redeem its character. The task is a severe one, but is worth attempting. up to all seminaries where music is professed! We hear that the performance reflected great credit on both teachers and pupils. . . We read of our whilom tenor, Mr. ARTHURSON, as giving a third Soirée Musicale in Montreal, assisted by amateur pupils; the selections were "from the oldest masters.'

CONCERTS. Since our last there have been several concerts. Illness has prevented our attending any of them except the annual Benefit of the MENDELSSOHN QUINTETTE CLUB, which, we are sorry to say, had but thin audience, although both programme and performance were of a very high order. We hope to speak more at length of it next week. The others have been that of the ST. CECILIA SOCIETY, on Saturday evening; the Wednesday Afternoon Concert, at the Music Hall, of which the larger features were Beethoven's C minor Symphony, and the Tannhauser Overture; and a private farewell entertainment given by Mrs. E. A. WENTWORTH, to some of her friends, at Chickering's, more especially in compliment to the members of the society worshipping at King's Chapel. This we were very sorry to lose. Mrs. Wentworth sails for Europe in the Vander. bilt, from New York, to-day.

Musical Chit-Chat.

23

The "MUSARD Monster Concerts" at the New York Academy of Music commence on Monday evening, to be continued every evening for one month. Ullman blows his biggest trumpets in the newspapers. They will be the "grandest, completest, most colossal" concerts ever known on this side the ocean. He has found his twenty liveried waiters, his "prepossessing" Naiads of exhaustless tea and coffee fountains, his twenty boys in fancy uniforms to sell the evening papers; he also invites you to the light of "twentyfive monster candelabras," to the downy case of "one hundred sofas," and what not. Then the orchestra numbers one hundred and twenty instruments! including "60 first-rate violins, 30 contra basses and 'cellos, 9 trombones and 20 drums!" besides the usual wind and brass. Such is the outfit for one of Musard's "Monster Quadrilles." We are nothing if not monstrous in these days. There is to be a "Comic Cattle Show Quadrille " and an Explosion of the Malakoff Quadrille." Musard brings with him famous solo

66

This evening the HANDEL AND HAYDN SOCIETY give the third of their grand Oratorio performances. The first part will be miscellaneous, giving a chance to hear the glorious organ of Herr FORMES in three famous bass songs, to-wit: In diesen heiligen Hallen, from the Zauberflöte; Schubert's "Wanderer," and an air from Figaro. Mr. COOPER's admirable violin-players from Paris; and THALBERG, D'ANGRI, &c., ism also will be heard. For the second part we are to have, for the first time, Mendelssohn's sublime "Hymn of Praise," of which the first half is an orchestral Symphony in three noble movements, and the second half grand choruses and orchestra, with splendid solos for tenor and sopranos. The hearer should prepare himself by reading the analysis commenced in our last, and concluded in this week's paper. To-morrow evening, the "Creation" will be again performed, giving another opportunity to hear the famous low D of Formes. Mrs. LONG, Mrs. HARWOOD and Mr. PERRING take the other parts.

The GERMANIA MILITARY BAND, whose new organization in the much desired form of a reed Band, of thirty instruments, we heralded with joy a few weeks since, announce a first Concert at the Music Hall for next Saturday evening. Let every one, who has grown weary of the age of brass, attend and lend his countenance to this good movement.

The eleventh and last but one of the Afternoon

Concerts of the ORCHESTRAL UNION will take place
next Wednesday.

We heard some rare music on the morning of
Good Friday, at the house of a gentleman in this
city, who provides a refined pleasure for himself and
his friends by private quartet performances of classi-
cal music once a week the winter through.
end he employs four of our best resident artists:

To this

are to take part in the opening. To be sure, this is
Musard fils, and not Musard the founder of this nice
and quiet little classical style of concert that wears
his name.
The father laid down the bâton in '42,
and since then the present Musard has reigned in
Paris, and is the only Musard known to the Parisian
of to-day; - all this has Mr. Ullman taken pains to
prove at a whole column's length by documents in
the newspapers, silencing malicious hints about the
identity of his lion. They do say, however, that the
real Musard concert hails from Bohemia; perhaps all
our readers are not so well booked up in Geography
as to be aware that Bohemia is in Paris. . . Ullman
has already sent up the signal balloon of his next
grand ascent: He has engaged London LUMLEY with
all his troupe, including PICCOLONINI, and the new
tenor GIUGLINI, to come over here next autumn.
The "Hutchinson Family," re-organized, are giving
more of their "hearty, homely," popular concerts in
New York, at Mozart Hall. ... Bach's triple Con-
certo is to be played at Messrs. Mason & Thomas's
Matinée to-day by the three pianists, SCHARFENBERG,
TIMM and WILLIAM MASON.
Quartet" is the name of a new Club for Chamber
Music, formed in Brooklyn, under the lead of THE-
ODORE HAGEN.

The "Haydn

In Philadelphia, MARETZEK'S Opera troupe concluded their first subscription series on Monday and Wednesday nights, with L'Elisir d'Amore and Lucia,

the principal parts being sustained by LAGRANGE, GASSIER, BRIGNOLI, GASPARONI and ASSONI. The small audiences thus far have been ascribed in part to the want of novelty; but an immense subscription was anticipated for the new series of ten nights, which was to commence last evening, with I Puritani, the great baritone RONCONI at last appearing as Sir George Walton. "William Tell' is to be given on Monday: this we really envy the Philadelphians. The Prophete, "North Star," "Huguenots, &c., are expected to follow. Other members of the troupe are GAZZANIGA, ADELAIDE PHILLIPS, D'ANGRI, AMODIO, &c. Fitzgerald says: "the Brignoli of to

Musical Correspondence.

JULIEN made his farewell appearance. Owing to the counter attraction, he had but a slim audience; but, NEW YORK, APRIL 6.- Mr. SATTER has given according to all accounts, those who heard him were two more concerts, for which the programmes were delighted. The other was the performance of the rather more mixed than was' accordant with good 'Messiah," at the Academy. This did not eqnal the one on Christmas night. FORMES, it is true, taste. At the first, he played, alone, the Tannhäuser Overture, astonishing anew even those who had heard was equally good, and CARADORI even better, but the it before. His rendering of two or three of Mendtenor was far inferior to Mr. Perring, and Mme. elssohn's "Songs without Words " d'ANGRI rather risked the reputation she had acquired was not particularly satisfactory; the spirit was wanting, and the quired as a singer of sacred music. The choruses day is as superior to the Brignoli of 1855, as Formes performance of the "Spring Song," with which he during the evening; the "trumpet aria" was vociferwere below criticism. An enlivening scene occurred

"

is to the average of bassi.'
Mr. SENTZ's
orchestra, at their "Germania Rehearsals," have
reached the point of giving a Symphony entire; they
have played Mozart's "Jupiter," in C.
The
"Harmonia Sacred Music Society" gave their thir-
tieth concert (second of the season) last Monday
evening, assisted by Mr. FRAZER, the tenor. The
programme was miscellaneous.

A Philadelphia paper gives us the information that
"Mr. Ullman is negotiating for the Howard Athe-
næum, Boston, with a view of giving a series of
Italian operas, with Lagrange, D'Angri, Formes,
Gassier, &c." Yet these same artists are just now
sailing under the Naretzek colors. There is a rumor,
also, that the two high and mighty powers have
joined hands and relived to cut Boston altogether!
Master PAINE, a young pianist, has been gratifying
the musical people of Portland, Me. with a series of
concerts (to the end, we infer, of bridging the way to
a higher Musical education in Europe.) The last
time he was assisted by the Orchestral Union, under
Mr. KOTZSCHMAR, by two bands, Miss JENNY
TWITCHELL, the singer, and several instrumental
solists.

From my Diary. (New Series, No. 2.) April 6.- I met a gentleman on Sunday, who told me of the desire expressed by one of our best patrons of all good music, a gentleman of the highest culture, for something similar to the historical concerts of Dresden, Berlin, and London. It is not a new suggestion, as the volumes of Dwight's Journal will testify. I know of but one attempt to give a concert of this class in Boston, viz., that given by Mr. Cutler with the choir of the Church of the Advent, last year, and which was not so successful in a pecuniary point of view, as to invite its repetition. There is one way in which something might be effected, and the lovers of solid, old church music gratified but is it practicable?

Let us draw a fancy sketch.

The Handel & Haydn Society, through its government, organizes an adequate orchestra and takes upon itself the risk of undertaking a series of concerts similar to those of the 66 Gewandhaus in Leipzig, or of the "Sternsche Gesangverein," in Berlin. The public comes forward liberally and agrees to furnish means for a fair trial of the experi- that is, so many tickets are subscribed for as will ensure the society against loss.

ment

The Society agrees on its part to give a series of ten Symphony Concerts on alternate Saturday evenings, and a certain number of performances of Oratorios in the course of the season. At each of the Symphony Concerts a portion of the Society-so many as have the time and musical taste to induce them to join this extra choir will perform cantatas and choral music of various styles and eras. Under some such arrangement there would be ample opportunity for the production of specimens of the works of Palestrina, Durante, Leo, Lasso, and their contemporaries. Extracts from the secular works of Handel, Bach, Gluck, and Hasse, could occasionally be given; indeed two or three performances might be modelled upon the London "Ancient Concerts " for so many years a leading feature in the music of that city.

Smith-like X in Algebra a name denoting an unknown individual, intends to leave two or three hundred thousands by-and-by in trust for the support of concerts and good music generally, as Lowell left funds for the lecturing institute. Until Smith does this, I fear we shall hear no Palestrina or Lotti music, unless the fancy sketch above becomes a reality.

answered an encore, could bear no comparison with
that of more than one other artist. Bach's "Triple
Concerto" was marred in its effect by the prepon-
derance of the pianos over the string-quartet; the
pianos were again some of Steinway's noisy ones,
and did not go well together. Messrs. GOLDBECK
and PYCHOWSKI assisted Mr. Satter at these instru-
ments, while MESSRS. MOLLENHAUER, NOLL, EIS-
feld and BergnER played the quartet accompani-
ment. Mr. Mollenhauer gave us two of his tricksy
and elaborate violin solos, of which one grows heartily
tired by degrees; and Miss ANDEM, with her fine,
clear, though cold voice, and indifferent manner, was
the vocalist of the evening. The last number of the
programme was a Grande paraphrase des Huguenots,
played and composed by Mr. Satter, which abounded
in difficulties, but was rather deficient in beauty. It
called forth, nevertheless, a storm of applause and a
vehement encore. To this Mr. Satter replied with
- tell it not in Gath! - nothing more nor less than
"Yankee Doodle"! An ingenious representation of
it, to be sure, with a very natural imitation of the
drum and fife, &c. but 'how are the mighty
fallen"! Bach and "Yankee Doodle" in the same
ranks! Mr. Satter's second concert was similar in
quality.

Saturday before last the Academy was crowded to
overflowing, and chiefly with ladies, in honor of the
last operatic performance of CARL FORMES, who
sang for the first and only time at a Matinée. The
pretty little opera of "Martha " was performed,
with the usual merits and defects, and the same cast
as earlier in the winter, except that Mme. JOHANNSEN
made the heroine, instead of Lagrange, and, though
her voice is fresher, was inferior in her acting.
MASON'S Matinée, which took place at the same time
presented a very attractive programme. A quartet
(in D) by Mozart; Schumann's Andante and Varia-
tions for two pianos (in which Mr. TIMм assisted
Mr. Mason); a Scherzo and Trio from a Quartet by
Cherubini; and the Andante and Variations from
Schubert's posthumous Quatuor. The performance
of these compositions was very fine; in fact, this
quartet party are fast coming up to that of the Eis-
feld, and if the latter often play as carelessly as they
did in the Schumann Quartet at their last concert
(which I forgot to mention), the former may soon be
beyond them.

Monday and Wednesday night FRY'S "Leonora "❘
was given. By a glimpse which I caught of the
Journal (my copy has not yet reached me,) I see that
you have had a notice of it; not having read it
through, I do not know how far it enters into details.
I will say, therefore, what I have heard, that the opera
is full of pleasing melodies, but also full of reminis-
cences; and that it is almost as impossible to execute
as the Stabat Mater of the same composer. As a
specimen, I was told that in one of the choruses the
Sopranos have to commence on the high C!

On Thursday" the Huguenots" was given for the
last time, and with that performance the opera closed,
to make room for Mons. MUSARD and his concerts.
This gentleman, by the by, is the innocent cause of a
deal of trouble to poor Mr. Ullman. The adver-
tisements in our daily papers will give you sufficient
information on that score, however. There were two
attractive concerts on Tuesday night, though it was
not hard to choose between them. At the one PAUL

proceed with the following chorus. But the audience
ously encored-but Mr. ANSCHUTZ attempted to
were not to be cheated out of their pleasure, they
drowned the orchestra completely with tumult. Mr.
Anschütz, after several endeavors to go on, turned
to the audience and said in an excited tone: "Gentel-
men and ladies? it is nevare de costome to repeat de
sackred moosic!" But the "gentelmen and ladies
the trumpet aria. Mr. Anschütz listened a while,
did not care for the "costome," and noisily called for
growing more and more wrathy, and finally flung
down his baton and walked off the stage. At this
there was some consternation, particularly as some of
the solo singers and chorists followed. But the storm
broke out anew, and raged with increased fury.
Formes sat still, the while, laughing in his sleeve, and
evidently enjoying the scene. At length a gentleman
appeared: probably the president of the Harmonic
terms, saying that they were always happy to repeat
Society, and addressed the audience in the politest
any
number which pleased the audience, but that in
this case, they must beg the indulgence of the latter,
as the trumpet accompaniment to the aria in question
was so difficult that it was impossible for the perfor-
mer to go through it again. This speech was duly
applauded, Mr. Anschütz re-appeared, resumed his
baton, and the oratorio proceeded, I rejoice to say,
without further interruption.

What say you to this specimen of the manners of
our public? I must confess that I have been almost
ashamed to give it you! Such demonstrations, too,
so particularly inappropriate to the character of the
music that was being performed! In Europe a very
good rule exists, of not even allowing applause at
oratorios-much less encores. People who come to
hear sacred music are expected to behave quietly. I
am very glad that Mr. Anschütz carried his point in
this case.

-t

FLORENCE, ITALY, FEB., 1858.-In Florence, as I have observed in a previous letter, the great majority of the performing musicians are very young men and boys; and these chiefly make up the orchestras. The pay given is very trifling-only a few pauls a night—and the rehearsals are not paid for at all. The musicians forming the military bands are also young men, and very many of these performed on their respective wind instruments in the various orchestras during the evenings. The best musicians in the city, solo performers especially, are attached to the court; but the pay of even the most eminent does not amount to over eight dollars a month; for the rest, they eke out a subsistence by giving lessons and performing at private concerts, at the houses of the wealthy Florentines and strangers. The operatic singers also are paid very small salaries, but it is always the custom for the prima donna, and tenor, to have regularly signed contracts, professing to engage their services for the season at certain high rates. These serve a purpose similar to the "characther" of an Irish servant girl, and are only used to exhibit to any manager wanting their service elsewhere, while in reality their salary is probably but one-half of that named in the contract.

Florence is particularly noted in the musical circles as being productive of performers of eminence on wind instruments. The best Florentine flutist has recently been appointed flutist to the Emperor of Russia. There is one PIMBONI here, who does wonders, nay miracles, upon the trombone, performing the most florid and difficult variations, and producing tones as delicate as those of the flute. On dit that Jullien has declared that should he engage Pimboni, his auditors would never want to listen to any one else. This Pimboni has a brother, PIMBONI number

1

two, who is a Titan upon the clarionet. The best French horn is Signor PAOLI, who is attached to the Tuscan court, and is acknowledged on all sides to be the first maestro on his instrument in Italy. His Florentine friends assert that he is superior to V1VIER. From a personal acquaintance with Signor Paoli, I can attest his merits as a remarkable and expressive performer, and his Method for the Horn, published by Ricordi of Milan, proves that he knows how to write about his instrument as well as to play on it.

regret, unwilling to leave a spot, that, at all times glorious and attractive, is at this hour doubly enchanting.

Oftentimes, I am undecided whether to spend the vesper hour of Friday evenings at St. Peter's or at the Coliseum: for at each of these places, that only resemble each other in the circumstance of being both now devoted to the worship of the same God, the services on these occasions are deeply iuteresting. It is difficult to decide which is the most imposing, the rich harmonies of the Papal choir at St. Peter's or the simple chant of the multitude, as they leave the old Roman ruin, following the uplifted cross, and singing a simple and oft-reiterated strain, in which the words "Santa croce" are alone clearly distin

Among these fine busts I particularly remember of
musical men, Paesiello, with a grand, statesmanlike
head - Cimarosa, common-place and pug-nosed—
Zingarelli, with a head like Webster. Of artists,
sculptors and architects, there are Fra Angelico, with
a sweet, benign face, full of love and kindness-Fra
Bartolomeo, much the same kind of features, but
more dignified-Perugino, with smiling lips and
long waving hair — Giotto, deep and reflective - Da
Vince and Benvenuto Cellini, looking singularly
alike with their quaint caps and long beards- Andrea
del Sarto, young, romantic and beautiful, such as
might have been the sleeping Endymion - Rafael,
looking as Rafael alone looks-Domenichino, who,
instead of being the devout old man one would seem
to expect after seeing such a work as his " Commu-guishable.
nion of St. Jerome," is young and graceful, looking Rome.
like Charles the I.—Brunelleschi, old and ugly-
Lorenzo Ghiberti, heavy and ponderous, not at all
as if he could descend to minute and laborious detail,
as manifested in his famous doors at the Florence

Though VERDI is the ascendant musical star here,
as in all Italy, yet he does not entirely eclipse the old
masters. The Florentine Philharmonic Society fre-
quently produce the works of Beethoven, Mozart,
and Haydn; and the chamber quartets of classical
writers are often performed at the private concerts
frequently given here by prominent music-teachers
and their pupils. The most successful piano-forte
teacher here in Italian Florence, is Prof. KRAUSS, a
German gentleman whose acquaintance I had the
pleasure of making. He has been a resident of Flor-Baptistery - Antonio Raimondo of Bologna, from
ence eighteen years, during ten of which he has offi-
ciated as organist of the English church; but his
instrument is a very inferior one, not at all calculated
to exhibit the real ability of the performer.

Of church music in Florence little can be said. On the high festivals of the church, the services of operatic artists are obtained, but on ordinary occasions, the music is inferior. There are no eminent

organists and no really good organs. Enter a Florentine church, and you will hear some rambling, florid performances, upon an organ with a sharp, cutting tone, but wholly devoid of that solemn grandeur, which we generally associate with this Milton of instruments, and which in the English cathedrals is found in its most glorious development. The organs in this city are (with the exception of that in the English church), destitute of swell-pedals, and no really beautiful effects can be produced. As to fugueplaying, it seems to be almost unknown.

Indeed, I have been very much surprised to see how little real musical taste there seems to be in Rome a hand organ is a rarity—there are but two or three music stores in the city-pianofortes are not in as many families as in an American city of the same size, and there is little to show me that I am in the land of music. - the very home of Apollo. Sometimes I hear a few jolly young men in the evening roaring one or two staves of Trovatore or Norma, but as this is perhaps the only music they have ever heard, their performance exhibits no more real love for music than the untutored efforts of some New York or Boston rowdy, who staggers home, singing "Nelly Bly" or "Root, Hog, or die "!

Luckily people don't come to Rome to hear music. It is the eye rather than the ear that is to be gratified in the Imperial City; and where there are so many to see, one can endure very easily the absence of all orchestral or vocal harmonies.

Among my daily strolls amid the Art galleries of Rome, I very frequently include the gallery of busts of distinguished Italians in the Capitol. There, in some half a dozen rooms, are all the great men of modern Italy - for the old fogeys of classic times, there is a separate gallery.

whom Ary Scheffer seems to have taken the model
for his heads of Christ in his Consolator and other
pictures. Of writers there are Metastasio, with a
hooked nose, looking more like an avaricious old
miser than a poet — Alfieri, deep and determined -
Dante, as Dante alone looks, he and Rafael being
each a type of peculiar beauty-Goldoni, fat-faced
and funny, the very ideal of a comedy writer. Per-
haps, all things considered, the handsomest man of
all was Pietro da Cortona, a painter of merit, if not
of the first rank. Michael Angelo is old and wrin-
kled, but there is a Miltonic grandeur about his fea-
tures. It is singular that amid this collection, so few
musicians should be found.

Perhaps the most impressive time to see St. Peters
is near sunset, when the setting sun sends in his rays
so that they quite illuminate the interior of that

66 wondrous dome
To which Diana's marvel was a cell."

Both of these scenes are peculiar to
TROVATOR.

Special Notices.

DESCRITIVE LIST OF THE

LATEST MUSIC,
Published by O. Ditson & Co.

VOCAL, WITH PIANO ACCOMPANIMENT. Mothers of New England-Balad.

J. Haynes. 25

A simple melody, tastefully arranged.
I'll go with thee to thy Island Home-Song.
One of six plaintive songs-pretty.
Childhood's Home-Song.

25

E. C. Bigelow. 25 Descriptive of home scenes. Quite easy.

My Happy Fireside-Song and Chorus. Avery. 25

A new song by the successful composer of "The
Fairy Dell," Come take a sail," &c.
The Storm King.

F. Laurence. 25
A bold and spirited song, well calculated for Con-
certs, and intended for a baritone voice.
Father and Mother.
J. H. McNaughton. 25
A capital song for the home circle.
Come to me, dearest.

L. O. Emerson. 25 A decided love song, full of sentiment, pathos and tenderness; the words are beautiful, and the music appropriate.

Three little kittens lost their mittens.

Foxy. 35

A charming and amusing song or duett for the young, with a spirited vignette representing the kittens and their mother, in two tableaux. This song has been performed at children's concerts with great success.

Willie and I.

S. B. Ball. 30

A favorite Sunday School Song, with a pleasing illustration representing a boy and girl on their way to Sabbath School. The words and music are excellent. This song has been repeatedly sung at Sunday School Conventions, Monthly Concerts, &c. Quite easy.

During Lent the musical services held at Vespers on
Friday and Sunday evenings are peculiarly attractive.
These services take place in one of the side chapels,
and a short time before the hour of commencing, you
see fat, oily men of God, dressed in violet and white,
and red and black, waddle slowly in and take their
accustomed seats. The musicians are in a gallery,
and of course they are the real attraction. The music
performed, though florid and Italian, is not operatic.
Pacsiello, Zingarelli, Cherubini supply the repertoire Lord God of Abraham-from Oratorio of Elijah. 25
rather than Bellini, Verdi or Rossini. The organ
stands in a niche, behind the singers' gallery.

Marion Lee-Ballad.

H. G. Thompson. 30 Every one has heard, and few but have admired the song of Lilly Dale." This ballad is by the same author, and in the same sweet and pathetic vein.

One of the noble songs performed by Herr Formes in
that Oratorio.

The Hunter's Lament, and Spring is coming.
Two Songs composed by A. Koepper, 25
Graceful compositions, and every way adapted for
the parlor.

INSTRUMENTAL MUSIC FOR PIANO.
Bunte Reihe-Mazurka, Minuett, Scherzo, and
Dance.

Somewhat difficult, but very desirable.
La Campanella.
Rhapsodie.

March de la Reine.

At these vespers I hear frequently the castrati,
peculiar, I believe, to Rome. Their voice is that of
a rich mezzo-soprano, but the effect would be better
were the performers invisible, as it seems rather out
of place to see a stalwart man performing the roulades
and flourishes generally considered the exclusive
property of a prima donna. They also make use of
boys in this choir as in the English Cathedrals, and
the lads sing like Cherubim and Seraphim. One in
particular I remember, whose wild, quaint voice is
heard with a startling effect amid the melancholy Florentine Polka.
movements of a minor Miserere. He sings with ex-
quisite taste, and I have heard him perform a solo -
the Stabat Mater dolorosa—in a manner that has
brought tears to the eyes of many of the listeners
present.

It is beautiful to see how night gradually settles in St. Peter's, while the lights that are burning night and day around the altar seem to grow brighter, and Canova's kneeling statue of Pius VI., that occupies the most sacred spot in the church, seems like some ghost haunting the place it loved when an inhabitant of earth. The people strolling about St. Peter's seem smaller at this time than ever, and when the custodian warns them that the church is to be closed for the night, every one departs with a feeling of

F. Liszt. 25

F. Spindler.
J. Ascher. 40

Taubert. 50 30

Starlight
Sparrow Waltz.
Linnet
Josephine Waltz.

Godfroid. 25

C. Miszner.

S. F. A. 25 C. Mayer, Jr. 25

25

C. Gustave Fitze.

25

25

Louise A. Denton. 25 25

F. Langguth. 25

These pieces are easy, pleasing and of a popular class. Battle March of Priests in "Athalia," for eight hands on two pianos, arranged by A. Dorn. 60 One of a Series published for the convenience of Seminaries and Classes in Music.

Home again—varied.
Chas. Grobe. 50
Dearest spot on earth to me is home-varied. " 50
Late arrangements of the ever successful and
agreeable Grobe. The brilliancy and originality of
the variations will make them as successful as his
"Shells of Ocean," the popularity of which has
never been excelled.

WHOLE NO. 315.

BOSTON, SATURDAY, APRIL 17, 1858.

For Dwight's Journal of Music.
ECHO.

From the German of MATTHISSON.

Forever thine! Though waste and mountain sever,
And stormy brine!

By zephyrs fanned, or deserts scorched, forever,
Forever thine!

Where marble halls, in gorgeous lustre gleaming,
By torch-light shine,

Where silvery moons in shepherd-vales are beaming,
Forever thine!

When, with inverted torch, kind Death releases
This heart of mine,
Then shall it sound till life's last throbbing ceases:
Forever thine!
C. T. B.

Robert Schumann's Musical Life-Maxims. [The following maxims, or aphorisms. (which we translated from the German a few years since), embody the whole creed and practical philosophy of that true artist, and should engrave themselves upon the mind of every one who means to make himself an artist in the sphere of sound. The composer

mind not only the Melody of a composition,
but also the Harmony belonging to it.

XIV. Accustom yourself, even though you
have but little voice, to sing at sight without
the aid of an instrument. The sharpness of
your hearing will continually improve by that
means. But if you are the possessor of a
rich voice, lose not a moment's time, but cul-
tivate it, and consider it the fairest gift which
heaven has lent you.

XV. You must carry it so far that you can
understand a piece of music upon paper.
XVI. If any one lays a composition before
you for the first time, for you to play, first
read it over.

XVII. Have
done your
you
musical day's
work, and do you feel exhausted? Then do
not constrain yourself to further labor. Bet-
ter rest, than work with no spirit, no fresh-

ness.

XVIII. Play nothing, as you grow older, which is merely fashionable. Time is precious. One must have a hundred human designed them as an appendix to the first edition of his piano- lives, if he would acquaint himself with all

forte instruction book, called the Jugendalbum, or "Album for Youth."-J. S. D.]

The

that is good.

XIX, In every period there have been bad compositions, and fools who have praised

them.

I. The cultivation of Hearing is the most important matter. Take pains early to distinguish Tones and Keys by the ear. XX. A player may cram his memory with bell, the window-pane, the cuckoo-ask your-monplace and must be changed. Only where finger-passages; they all in time grow comself what tones they each give out. such facility serves higher ends, is it of any

II. You should sedulously practice Scales and other finger exercises. But there are many persons who imagine they have accomplished everything, when they have spent many hours each day for years in mere mechanical exercise. It is about as if one should busy himself daily with repeating the A-B-C as fast as possible and always faster and faster. Use your time better.

III. "Dumb piano-fortes," so called, or key-boards without sound, have been invented. Try them long enough to see that they are good for nothing. You cannot learn to speak

from the dumb.

IV. Play in time! The playing of many virtuosos is like the gait of a drunkard. Make not such your models.

V. Learn betimes the fundamental laws of Harmony.

VI. Be not frightened by the words, Theory, Thorough-Bass, Counterpoint, &c.; they will meet you friendlily if you meet them so. VII. Never dilly-dally about a piece of music, but attack it briskly, and never play it only half through!

VIII. Dragging and hurrying are equally great faults.

IX. When you are playing, never trouble yourself about who is listening.

X. Always play as if a master heard you. XI. Strive to play easy pieces well and beautifully; it is better than to render harder pieces only indifferently well.

XII. Always insist on having your instrument purely tuned.

XIII. You must not only be able to play your little pieces with the fingers; you must hum them over without a piano. Sharpen your imagination so that you may fix in your

worth.

XXI. You must not circulate poor compo-
not obliged to.
sitions; nor even listen to them, if you are

XXII. Try not to acquire facility in the
so-called Bravura. Try in a composition to
bring out the impression which the composer
had in his mind; more than this attempt not;
more than this is caricature.

XXIII. Consider it a monstrosity to alter, or to leave out anything, or to introduce any new-fangled ornaments in pieces by a good composer. That is the greatest outrage you can do to Art.

XXIV. In the selection of your pieces for study, ask advice of older players; that will save you much time.

XXV. You must gradually make acquaintance with all the more important works of all the important masters.

XXVI. Be not led astray by the brilliant
Think more of the applause of artists, than
popularity of the so-called great virtuosi.
of that of the multitude.

ble again; if you persist in it for years, you
XXVII. Every fashion grows unfashiona-
find yourself a ridiculous coxcomb in the eyes
of everybody.

XXVIII. It is more injury than profit to
you to play a great deal before company.
Have a regard to other people; but never
play anything which, in your inmost soul, you
are ashamed of.

XXIX. Omit no opportunity, however, to play with others, in Duos, Trios, &c. It makes your playing fluent, spirited, and easy. Accompany a singer, when you can.

XXX. If all would play first violin, we

VOL. XIII. No. 3.

could get no orchestra together. Respect each musician, therefore, in his place.

XXXI. Love your instrument, but do not have the vanity to think it the highest and only one. Consider that there are others quite as fine. Remember, too, that there are singers, that the highest manifestations in Music are through chorus and orchestra combined,

XXXII. As you progress, have more to do with scores, than with virtuosi.

XXXIII. Practise industriously the Fugues of good masters, above all those of JoHN SEBASTIAN BACH. Make the "Well-tempered Clavichord" your daily bread. Then you will surely be a thorough musician. XXXIV. Šeek among your associates, those who know more than you.

XXXV. For recreation from your musical studies, read the poets frequently. Walk also in the open air.

XXXVI. Much may be learned from singers, male and female; bnt do not believe in them for everything.

XXXVII. Behind the mountains there

live people, too. Be modest; as yet you have discovered and thought nothing which others have not thought and discovered before you. And even if you have done so, regard to share with others. it as a gift from above, which you have got

XXXVIII. The study of the history of Music, supported by the actual hearing of the master compositions of the different epochs, is the shortest way to cure you of self-esteem and vanity.

XXXIX. A fine book on Music is THIBAUT Ueber Reinheit der Tonkunst, (“On Purity in Musical Art.") Read it often as you grow older.

XL. If you pass a church and hear the organ playing, go in and listen. If it happens that you have to occupy the organist's seat yourself, try your little fingers, and be amazed before this omnipotence of Music.

XLI. Improve every opportunity of prac tising upon the organ; there is no instrument which takes such speedy revenge upon the impure and the slovenly in composition, or in playing, as the organ.

XLII. Sing frequently in choruses, especially in the middle parts. This makes you musical.

XLIII. What is it to be musical? You
are not so, if, with eyes fastened anxiously
when some one turns over two pages at once,
upon the notes, you play a piece through
painfully to the end. You are not so, if,
you stick and cannot go on.
But you are
musical, if, in a new piece, you anticipate
pretty nearly what is coming, and in an old
piece, know it by heart; in a word, if you
have Music, not in your fingers only, but in
your head aud heart.

XLIV. But how does one become musical?
Dear child, the main thing, a sharp ear and
a quick power of comprehension, comes, as
in all things, from above. But the talent
may be improved and elevated. This you
may do, not by shutting yourself up all day

XLVIII. Do not neglect to hear good Operas.

XLIX. Reverence the Old, but meet the New also with a warm heart. Cherish no prejudice against names unknown to you.

L. In judging of a composition, distinguish whether it belongs to the artistic category, or only aims at dilettantish entertainment. Stand up for those of the first sort; but do not worry yourself about the others.

at a loss what to do with it, those who are able to
arrange their thoughts in order, and make them the
germ of a symmetrical whole, are likened to Hebrews
fending their money out to usury. But this definition

of the "

'genial madman" has at least the merit of being humorous; while the arguments and deductions of Dr. Zopff and his tribe are just as commonplace as they are disingenuous.

It is arraigned as a weakness in Mendelssohn that, aware of his inferiority to the great masters, he leaned upon them for support and looked up to them as models, instead of asserting his own independence. The sophistry of this charge is glaring. Examined from any point of view it must fall to the ground. If Mendelssohn was inferior, and knew it, surely his acknowledgment of the fact and his consequent policy and conceit, effrontery and shallow pretence, are was rather a strength than a weakness. Hypocrisy vices, not virtues-otherwise the modern æsthetic criticism of musical Germany, instead of being eontemptible, would deserve and command respect. But, in sober truth, Mendelssohn was conscious of no such inferiority. He wrote just as much from the heart as Beethoven himself, or any of the grandest musicians; and the proof lies in the striking individuality of all his compositions, from the pianoforte quartet in B No musician was ever fuller of zeal or stronger of minor to the fragments of his unfinished Christus.

faith than Mendelssohn. No musician ever worked with greater enthusiasm, or took greater pains to perfect his conceptions. A more conscientious laborer in the field of Art, a more religious worshipper of its divinity, never lived. The attempt to paint MendelsLI. "Melody" is the watchword of the sohn as a carpet-knight is so supremely ridiculous, Dilettanti, and certainly there is no music that it can only be excused on the assumption of utter without melody. But understand well what ignorance both of the man and the artist. they mean by it; nothing passes for a melody (transferred from the pages of Mr. Dwight to our We have not at hand Dr. Zopff's Characteristics with them, but one that is easily compre-own); and we do not think the trouble of looking hended, or rhythmically pleasing. But there are other melodies of a different stamp; open a volume of Bach, Mozart, or Beethoven, and you see them in a thousand various styles. It is to be hoped that you will soon weary of the poverty and monotony of the modern Italian opera melodies.

(From the London Musical World, March 13).

Dr. Zopff's Characteristics of Mendelssohn.

Dr. Hermann Zopff (of Berlin) has made another contribution to DWIGHT'S JOURNAL OF MUSIC. This time our Boston contemporary is not favoured with "characteristics" of anybody except of Dr. Zopff himself. We have inserted the article in another column, where such of our readers as feel disposed to chop logic with so muddy an essayist may read the Zopffian defence of the Zopffian paradoxes. Dr. Zopff endeavors to substantiate his position not only in respect of Mendelssohn, but of Weber. As, however, we have not seen his " 'characteristics" of the last-named composer, nor the reply of one of Mr. Dwight's co-laborers, we have nothing to say to either; but what we have advanced on many occasions with regard to Mendelssohn we are inclined to maintain, notwithstanding Dr. Zopff and his fellow sophists in Berlin, Leipsic, Weimar, and Hanover. Dr. Zopff seems to belong to a class now unhappily spread throughout the length and breadth of Germany (a symbol of the decline of Art in that once favored country)—the class of "æsthetic" reviewers. The profound reasoning of the Teutonic metaphysicians, while it has led shrewd men to think, has induced shallow men to aim at a show of reasoning. No subject, even the most simple, can now be discussed apart from a host of speculations altogether irrelevant. Let any candid inquirer, for example, read attentively the "Characteristics of Mendelssohn," published in DWIGHT'S JOURNAL, by Dr. Zopff, and try to reconcile the presumed shortcomings of that great musician with the reasons assigned for them. The candid inquirer will find insinuations that go to establish nothing, and personal anecdotes that might just as well have accounted for Shakspeare's dramas, Bacon's philosophy, or Mr. Albert Smith's Ascent of Mont Blanc, as for Mendelssohn's musical idiosyncracy. Whether true or false, they are all equally worthless in the consideration of such a problem. His agreeable manners, attractive exterior, and remarkable accomplishments rendered Mendelssohn a favorite in society; and this is made the basis of some half dozen foolish conclusions, with respect to what his music might have been had he himself been otherwise. Just as well may we accept the not less intrinsically absurd, but infinitely more diverting arguments of Herr Wagner about Jews and Jewish music. Because Herr Wagner, when a musical idea comes to him (by some rare and happy chance), is

out the numbers that contain them would be well
bestowed. We have still some consciousness of the
the burnt child dreads the fire, we have no intention
qualms experienced from their first perusal; and, as
of risking similar inconvenience. Some few of the
mere facts, apart from "æsthetics," we retain. For
instance-" because Beethoven wrote the Choral
Symphony, Mendelssohn composed the Lobgesang."
As well might it be said that, because Bach wrote
The Passion, Handel composed The Messiah; or
because Handel wrote The Messiah, Haydn composed
The Creation; or because Mozart wrote Davidde Pen-
itente, Beethoven composed the Mount of Olives.
There is no more in common between the Choral
Symphony and the Lobgesang than between the Jupiter
and the C minor. Nothing can be more dissimilar in
style and in execution than the two first-mentioned
works. When Haydn had written his first symphony,
did he contemplate that no one henceforth should
compose a symphony after the model he had perfected?
-and when Beethoven put the finishing touch to his
stupendous "No. 9," did he for an instant imagine
that from that time onward the chorus should never
again be united with the orchestra in a grand sym-
phonic composition? From this point of view, nev
ertheless, does Dr. Zopff regard the Lobgesang--one
of the most wonderful of musical creations, and
the more wonderful inasmuch as it does not contain
one single phrase from end to end that bears the
slightest resemblance to anything in the Ninth Sym-
phony. In short, it is impossible to account for the
mental aberration that could suggest to our critic the
notion of comparing them. Again, if we remember
rightly, it was laid to the charge of Mendelssohn that,
in consequence of somebody's suggestion, he omitted
clarionets from various compositions for the Church
--as instruments of too soft and voluptuous a charac-
ter for sacred music!

And of such-like rubbish consist the technical criti-
cisms adduced to illustrate the general opinion which
Dr. Zopff, with an aesthetic dulness truly national,
attempts to establish in reference to Mendelssohn.
The mere thought that the man who composed Elijah
should be amenable to such a tribunal, is enough to
create despair for music in the country of his birth.
We are no friends to any restrictions on the expres-
sion of opinion; but we must say that if libels on the
great dead were scrutinized with as jealous an eye by
public opinion as libels on living despots by public
governments, such men as Dr. Zopff would have a
better chance of meeting their deserts. When, after
all this splutter and froth, the writer, alluding to
Mendelssohn's expression of grief and despondency
in music, quotes a stupid criticism, in which it is
disadvantageously compared with that of Beethoven
and Schumann, the cup of disgust is filled to over-
flow. Only the critic who could name Beethoven and

* On the violin concerto, which was stated to have been performed, with evident displeasure by Herr Joseph Joachima man so intellectually superior to Mendelssohn, and such a hater of the "conversazione style!"

Schumann (a vigorous giant and a puling school-boy)
in a breath, would have been guilty of the nonsense
that characterizes in almost every sentence the essays

published in DWIGHT'S JOURNAL OF MUSIC, under
the title of Characteristics of Mendelssohn. When,
however, the same writer (vide his last address to our
confiding Yankee brother), appeals in support of his
own opinions to the "collective verdict of our great-
est critics of a Marx, a Schumann, and a RELL-
STAB (!)"-we are less astonished at his madness.
Who that has any knowledge of German musical
literature, can be unaware of the narrow-mindedness
of Herr Marx; of the jealousy which, in spite of a
not unamiable nature, the impotent Schumann enter-
tained for his puissant contemporary, whose mere
presence at Leipsie tongue-tied the Jesuits; and of
the utter incompetency of Herr Rellstab to criticize
an art with which his own criticisms prove him to be
so superficially acquainted? Our sophist must have
been in a sorry plight when he found himself impelled
to invite the aid of such champions; and we are happy
to leave him with the conviction that Mendelssohn
will rank with Bach, Handel, Haydn, Mozart, and
Beethoven, as one of the greatest of musicians, in
spite of the shower of "Zopffs" at this time infesting
Vaterland," and playing (without being aware of it)
the musical Sepoys.
the game of Dr. Liszt, Herr Richard Wagner, and

P.S.-We may express our regret, in a postscriptum, that so intelligent and enthusiastic a music-lover as Mr. Dwight (who wrote the analysis of Elijah, quoted in the Musical World) should be against, instead of with, us in this discussion. If Mr. Dwight will explain the meaning of a single argument in the rhapsody of Dr. Zopff, we shall be happy to salute him. Meanwhile we cannot refrain from calling his attention to the premonitory inscription on the door of Trimalchio (Nero), recorded in the Satyricon of Pe tronius-"Cave Canem." This warning was common among the Romans; and we regard Americans and Englishmen as equally citizens of modern Romemusic, Mr. Dwight, beware of modern German critiwhich means modern civilization. For the sake of cism, for the most part nothing better than a mixture of rhapsody, sophistication, paradox, and fables. "Cave Canem."

Fry's "Leonora "-What the Critics say of it.

(From the Courier and Enquirer).`

Having produced a work of the merit of "Leonora," which we believe was written about seventeen years ago, Mr. Fry had a moral right to expect other treatment than that which he has met with. He had not a right to expect his work to be praised because it was written by an American; but he had a right to a hearing in the metropolis of the United States, and to run his risk of condemnation. We do not advocate the performance, even on a stage less distinguished than that of the Academy of Music, of any and every composition that may be produced by youthful Yankees in their lyric phrensies; but an hour's examination of such a score as that of Mr. Fry's "Leonora," would have convinced any competent and unprejudiced musician that, although not a work of the first class, even in its school, it gave full warrant to the composer to appeal to the public for their judgment upon its merits.

It is needless to speak of the plot of the opera, for it is that of" Claude Melnotte," altered so as to suit the capacity of the lyric stage to express simple emotions only; and having its plot, it has all of that drama that is worth having. Of the music, we have not the space to speak in critical detail. It is written altogether in the school of the modern Italian composers; and although its composer is an American, is as much an Italian opera as La Sonnambula and Lucia are Italian, or Fidelio and Oberon are German operas-the latter, by the way, having been written to English words. The treatment throughout-of the voice both in the solo parts and in the chorusesof the orchestra,-the free and fluent melodies, not often strongly marked in figure, and advancing always to a climax,-the neglect of contrapuntal effect, even in the concerted pieces,-and the direc tion of the composer's efforts solely to the dramatic expression of the sentiment of each scene, mark it as a work of that declamatory school which came into existence when Bellini wrote Tu Vedrai in Il Pirata. The music is marked by an easy melodic flow throughout. The composer's thoughts are not only graceful in themselves, but he passes from one to the other with that freedom from constraint which only accompanies either great power or skill acquired by long experience. The last, however, Mr. Fry had not when this opera was written; for it must be borne in mind that this is his first dramatic work; and in this fact we find not only the reason but the justification of the resemblance which certain parts of it bear to well-known passages in Norma, La Sonnambula