a focus of all the latent passions of the human register, becomes, in its higher notes, a sharp surgical Well, we did have "Wm. Tell" last night, after many broken vows on the part of our manager, who, as Jules Janin said of a Prima Donna who owed him a bonus for a flattering feuilleton, "is very promising." The great chef d'oeuvre of the immortal Rossini has been put upon the stage in a style of almost unapproachable splendor, and with a cast rarely equalled in this country. The latter was as follows: Gessler, AMODIO; Matilda, LA GRANGE; William Tell, RONCONI; Jemmy, (Tell's Son,) CARIOLI; Melchthal, the Pastor, MUELLER; Arnoldi, BorTARDI, (Tenor,) Walter Furst, GASPARONI. MAX MARETZEK (handsome Max, so says the City Item) conducted the orchestra in a vigorous, but slightly flurried and noisy manner, as he invariably does. The spirited overture called forth a spontaneous encore of the most flattering description; when Max, in his obeisance, had turned his immaculate white cravat for the sixth time to the gaze of the immense audience, the elegant drop curtain arose upon an enchanting Alpine scene, in which Tell's cottage occupied the fore, and a charming lake at the foot of the Alps, the back-ground. A night view, in the second act, which, at first sombre with the shadows of darkness, is eventually illuminated with the rays of "Pale Cynthia," as she arises majestically amid the mountain peaks, throwing her mellow flood of light glimmeringly upon the waters, enhanced to a marked degree the grandeur of the scene wherein the inhabitants of the Cantons assembled to swear dire vengeance against their oppressors. Another magnificent stage effect is the "Lake of the three Cantons and Mountain Gorge," in the final act. The troubled waters in the foreground, and the frowning mountains girding the shores, constitute an indescribably grand nocturnal picture, occasionally lighted up for an instant by vivid flashes of lightning, or rendered fearful by very formidable thunder, manufactured by harmless " supes "between the flats. Then approaches the boat with Gessler, (Amodio, whose Falstaffian proportions seem to imperil navigation still more, and threaten to "swamp" the fragile bark at each turn of the oar) and Tell, who leaps upon a rock, and with an unerring kick sends the boat and his arch-enemy to perdition, with an arrow, by way of a pointed souvenir, probing the vitals of the latter. All this constitutes a superb tableau ! The music was not rendered with that precision and correctness which would have ensured a bravo from Rossini; the prompter usually fills the most important role upon the representation of a newly studied opera. Nevertheless, some of the massive architectural choruses, in which "Tell" abounds, were very acceptably rendered; one more rehearsal will enable the vocalists to do ample justice to them upon the second representation. Ronconi vocalized his portion of the score with the same unsteadiness of intonation, which has characterized him on each night of Maria di Rohan. He rarely pitches the opening note of an aria or recitative perfectly, and slurs over many passages in very bad style. Nothing, however, can equal his intense paroxysms of paternal emotion, when, overjoyed at the steady aim, which has safely and successfully pierced the apple, he falls half-swooning into the arms of his compatriots. In this scene, the great Ronconi draws the most callous stoic irresistibly into the plot, and forces him to share with him his paternal emotions. It is a masterly histrionic achievement, which causes one to forget, while the magic spell lasts, the imperfections of the singer in the perfection of the actor. The Tell of Ronconi was a magnificent delineation throughout. Bottardi, the Tenor, combines with a well cultivated taste and finished school of vocalization, a voice, which, howbeit pure and sympathetic in its middle 1. Chorus. From the Creation. "Awake the harp!" 7. Chorus.-"Hosanna." Mme. La Grange rendered her unimportant part in [Concluded.] - MANRICO. NEW YORK, APRIL 14. At EISFELD's concert, Miss HATTIE ANDEM, in Dove sono, from Mo- Our musical season, though lengthened out more than usual, is fast drawing to a close. The last Philharmonic on the 24th inst., and Eisfeld's sixth on the 4th of May, will probably end the list. Mason's last is announced for next Saturday, and it is said that Vieuxtemps will take part in it. In due time, I shall endeavor to give you a little summing up of the musical advantages we have enjoyed this winter. WORCESTER, MASS., APRIL 17.- The "Mozart programme: PART I. 1. Chorus.-From the Messiah: "And the glory of the Lord." (Mrs. Field). "I know that my " J. Lange. The audience was too small to express the gratitude due from the citizens of Worcester to a Society whose weekly rehearsals, through a long famine of concerts, had prepared a series of choruses from the best oratorios of Handel and Haydn. The second chorus from the Messiah" was received with a marked applause, which the more spiritual theme of the first one had failed to elicit. This may have been owing to the power that imitation in music always has of affecting many who are insensible to higher Art. Yet the imitation, in this instance, and the consequent emotion of the audience, can by no means be called low. When Handel has attempted, in " Israel in Egypt," to express the hopping of frogs by passages broken in time; and, in "Joshua," "by the harmony of one long-extended chord, to impress upon the imagination of his hearers the idea of the great luminary of the universe arrested in his course; or, in other words, to make them hear the sun stand still," it has been questioned whether there is not a descent from his native sphere of genius. But in this chorus: "All we like sheep have gone astray; we have turned every one to his own way," although the composition is equally imitative, there is a great, pervading truth. The singers are themselves the men and women for whom the prophet spoke. Through them, the art of the composer becomes, in the simplest sense, a revelation of nature. thoughtful listeners can hardly smile at the repeated astray And astray," remembering that they, too, are numbered with the "All we." The Evening Hymn: "The day is past and gone," with its dream-like repetition, showed, perhaps more clearly than anything else, the perfect unity of the great choir and the thorough discipline that has produced it. A sacred lyric by Thomas Moore: “As down in the sunless retreats of the ocean," followed, with a deeper thrill. If the hall had seemed a temple before, it was then filled with smaller sanctuaries, in each of which a soul might respond to the harmony with its own secret prayer. Mrs. FIELD, well known previously to the friends of music in this city, sang with even more than her usual power. A defective articulation is one of those faults in her style which practice has not yet removed. Her rich and full voice is well adapted to spirited compositions. She was twice encored; first in the chorus: "The marvellous work," &c., and afterwards in the Duet: "By Thee with bliss," &c., with Mr. HAMILTON, the conductor of the Society. It is difficult, in connection with a single concert, to give anything like a just acknowledgment of Mr. Hamilton's efficiency. There are singers from whom the loudest applause of the concert-room is instinctively withheld, as if it were too rude an offering. The sweetness and purity of Mrs. ALLEN's voice ensure the more delicate tribute of a grateful and tender remembrance, that will always welcome her reäppearance with a smile. In any city, we may find church-windows of stained glass, through which the sunlight falls in gaudy patches. When a lost art shall be restored, the churches will have a more religious light," transmitted, but not colored, by the many-tinted panes. Truth, in musical execution, seems to be such a faithful rendering of the composer's thought as will preclude any coloring from the performer. Those who have heard Mrs. Allen will appreciate her best, when they reflect that she has the power, while she is singing, of making them forget her, and realize only the music in which she forgets herself. LINDA. ALABAMA, MARCH, 1858. From the land of negroes and magnolias, quite out of the world of Music, here, on the banks of the Alabama, I will give you a line from my present location, amid springs, rivers, caves, “tumble-down" buildings, fine gardens, deserted dwellings, and things generally antique. But I must forbear to speak of the beautiful landscape, since I would present a picture of the state of Music, from general observation and experience, in this section. The bill of a late Soiree Musicale was good, but all thought seemed centred on the expected comic Finale - sung and acted, to suit popular taste, according to previous custom. It was partially arranged for the occasion, and the music was pronounced charming! Let me add a few sentences that fell on my ear as the crowd passed from the hall. "Was not that a beautiful piece, and so well acted by all?" "We ought to have more of such music it takes." "I wish the Glee Class would sing 'Jordan am a hard road""! (Have never heard the melody, and must plead ignorance of its merits.) Then a teacher of Psalmody ventures to express his opinion, that I am "on the right track, now," and that I've been giving them "too much of this high-fallutin music"! The same gentleman declined singing the bass solo in the chorus "Oh, Hail us, ye free!" from Ernani, on the ground of its being devoid of melody; also, from being unable to ascertain the key into which it modulated, or to locate "Do," for a starting point! I am here reminded of an anecdote, which I remember to have read somewhere, of the late De Begnis, who was astonished and enraged at the presumption of one who had written a volume of music without ever having heard an Opera! At a Concert, in October last, where a solo from Il Barbiere appeared on the programme, from my position in a side-room, during the intervals of performance, I heard a lady inquire if "Una voce poco fa," was Dutch! After this, I persuaded the violinist to omit a fine solo, in which I was to accompany him on the piano, and give some familiar air in its place. I find here several fine pianists, who, with others, can appreciate good music, vocal or instrumental; but they join with the crowd in desiring "something that will take " - an expression I hear often, of late. If concerts in seminaries are to be given as popular entertainments, in place of exhibitions of the skill and improvement of the pupils, I would respectfully suggest the composing and arranging of pieces for such occasions, accompanied with stage directions, costumes, &c. Will you not select a theme for such, worthy the farcical nature of the subject and suggestion? C. not been without its compensations. To say we have not had any Opera, amounts practically in these times simply to saying that we have not had another round of repetitions of Verdi's Trovatore, Traviata, and the like. A good Opera, with a repertoire of the best, were a privilege indeed; but surely we can well afford to let the Trovatore stimulants lie by until our jaded senses shall have recovered some fresh tone. Such Opera as we might conceive of, as we sometimes read of, would be glorious; but such Opera as we are likely to get (judging from past experience) requires not much philosophy to do without. Yet we must envy our New York and Philadelphia friends their "Huguenots," and "Don Giovanni," and "William Tell," and "L'Italiana in Algieri,” with such singers as Formes and Ronconi and Lagrange and D'Angri. But our consolation is, that the absence of Opera, and of all the exciting, showy, fashionable sort of musical entertainments has left the field free for music of a more quiet, sterling and soul-satisfying character. After all, the best measure of the value of a musical season is, not the number of brilliant and exciting occasions, not the great crowds and furores, not the thousands of dollars spent and made,—but it is rather the amount or quality of good sterling music that has been heard. What a true music-lover covets most is opportunities of hearing and appreciating the best compositions of the men of genius. A season in which Beethoven, Bach, Handel, Mozart, Mendelssohn, Schubert, Rossini, Weber, Chopin, Schumann, &c., have been largely represented, is a season to be contemplated with some satisfaction. Judged by this criterion, the past musical winter with us has not been so poverty-stricken. Counting up the fine classical compositions, that have been publicly performed in Boston during the last six months, we may even feel rich. Here is the list, as near complete as we could make it, though it doubtless lacks some items. It is by no means so formidable a list as we were able to present some four or five years ago; but it is pretty solid; it shows that we have had considerable good music - we that are fortunate enough to find music in some forms besides the Opera-and it is interesting to analyze in several points of view: 1.-SYMPHONIES FOR ORbhestra. BEETHOVEN: No. 1, in C; 2, in D; 3, (Eroica), in E flat; 4, in B flat; 5, in C minor; 7, in A; 8, Dwight's Journal of Music. (the Allegretto only). BOSTON, APRIL 24, 1858. Music in Boston-Review of the Season. Our Concerts are over. This week has given us the last sound of orchestral Symphony, and the last Chamber Concert; the Oratorios had already made a glorious finale in that festival of four nights, with FORMES, and we now can only look back on the musical season of 1857-8. It is quite common to hear it called a very unmusical season for Boston; the commercial "panic" with which it entered prepossessed most minds with the idea that Concerts were impossible, that neither Opera nor Orchestra would "pay," that good music was to be calmly and heroically renounced as a luxury which the times could not afford. Opera, to be sure, we have not had at all, no other year could that be said since Boston was first bitten by the sweet, delirious poison of Italian Opera. But this privation has : MOZART: in E flat (played twice); in C ("Jupiter") twice; in G minor. MOZART: No. 2, in D minor; 3, in B flat; 4, in E flat; 6, in C. BEETHOVEN: No. 6, op. 18, in B flat; 1, of op. 59, in F, (twice); 2, of op. 59, in E minor, (three times); 3, of op. 59, in C. SCHUBERT in D minor. MENDELSSOHN: in A minor, op. 13; in D, op. 44; in E minor, op. 44; in E flat, op. 44; Posthu mous. RUBINSTEIN: No. 3, op. 17, in C. 6. TRIOS FOR PIANO WITH VIOLIN, &C. BEETHOVEN: Trio in B flat, op. 97, (twice); in E flat, op. 1, no. 1; in G, op. 1, no. 2; in C minor, op. 1, no. 3, (three times). MOZART: in E flat, (with clarinet and violin). 7. FOR PIANO-FORTE SOLO. BEETHOVEN: Sonata in C sharp minor, ("Moon light"). CHOPIN: Ballade in A flat; Two Nocturnes. MENDELSSOHN: Capriccio; Andante with var., op. 82. MOZART: Sonata for two pianos; Sonata with violin; Fantasia; Rondo from Concerto; "Jupiter" Symphony, (arranged); Minuetto in E flat, (arran.); Zauberflöte" Overture, (arranged); "Figaro" Overture, (arranged). 8.-VIOLIN SOLO. J. S. BACH: Ciaconna. TARTINI: Sonata. 9.-ORATORIOS, CANTATAS, &c. HANDEL: Messiah, (twice). HAYDN Creation, (twice). MENDELSSOHN: Elijah, (twice); Hymn of Praise, (Lobgesang); Christus, (fragment); Lauda Zion; Psalms 43d and 95th, (portions); Athalia, (portions); Hymn, "Hear my Prayer," Ps. 55. B; BACH: Motet, No. 5; Crucifixus, from Mass in MOZART: Ave verum corpus, (3 times). SCHUBERT: "Miriam " Cantata; Psalm, "The Lord is my Shepherd ". HAUPTMANN: Sacred Song, with chorus. 10.-PART-SONGS, CHORUSES, &c. MENDELSSOHN; Wanderlied; Wasserfahrt; Turkish drinking Song; Choruses from Edipus and Antigone. MOZART: "O Isis und Osiris". F. HILER: Soprano and Chorus: "Lebenslust". BACH: Air for Soprano, with 'cello; "My heart ever faithful," &c. MOZART: Duet from Cosi fan tutte; Trio (tenors and bass) from the Seraglio; "Deh vieni, non tardar"; Serenade, from Don Juan ; "Deh per questo," from Titus; "Parto, ben mio" (do.); Duet, "Crudel perché," from Figaro; "Non mi dir" (Don Juan); "Dove sono" (Figaro); “In diesen heilgen Hallen"; "Non piu andrai”. BEETHOVEN Recit. and Air, "Abscheulicher," from Fidelio; Terzet "Tremate empi"; Scena, "Ah perfido!"; "Adelaide ". WEBER: Trio, with chorus, from Euryanthe; Scena and Prayer from Freyschütz. CHERUBINI: Ave Maria. SPOHR; Das heimliche Lied"; Cavatina from Faust. "Die Rose"; SCHUBERT: "Die Barcarolle"; "Der Wan HAYDN in D; in E flat; "Surprise." "" Hark! the Lark!' R. FRANZ : "Waldfahrt"; "In Walde"; ist gekommen ". "Er MENDELSSOHN: "Zuleika." ROSSINI: Romanza from Tell; "Mira la bianca luna," (duet); Cavatina from Donna del Lago, &c. The above list is limited to works of masters, works which it is customary to term classical. Of course it would be more pains than profit to count up all the lighter things that have been given, from clap-trap songs and variations, to the hacknied concert extracts ("gems") from Italian Operas. Yet, strange to say, and happily as MOZART: NO. 4, in D, (three times); 5, in G mi- strange, the Concerts of the winter have really nor, (twice); in B flat, (twice). BEETHOVEN: No. 1, in E flat; 2, in C. given an unusually small proportion of this sort of MENDELSSOHN in A, op. 18; in B flat, No. 2 of miscellany. Especially has this been the case op. 87. SPOHR: in C minor (with piano), op. 53. 5.-VIOLIN QUARTETS. with songs. Our prima donnas and tenores of the concert room have, in far the majority of HAYDN Quartet in B flat, (twice); in D; in C, cases, had the good sense to select such pieces No. 45; in G; in D minor, No. 76. as are named above; singers feel the public pulse quite carefully, aud therefore we regard this as a good sign of improving taste. Partly let us thank "hard times" for that; they have shut out the fashionable, showy sort of "monster" concerts, such as demoralize us musically, and confuse the taste, exciting more than nourishing or refining; what concerts we have had, were of the quiet kind, in answer to the constant, reasonable demand of genuine music-lovers; and the complexion of the programmes corresponded. Again, we must remark, the list, although a rich one, is equally remarkable for its deficiencies. Many things one misses there, which he would hardly think could have failed to figure in the winter's programme of so musical a city. The list of overtures is meagre. One department, which has often been the richest, is almost entirely unrepresented; that of classical piano-forte music. We have not had the usual supply of Chopin. Of Beethoven but one Sonata! On the other hand, the pianists have been doing us the best kind of service in concerted music, such as Trios, Quartets and Concertos. In fact, it is in quiet classical Chamber Concerts, that we have been strongest, thanks principally to the persevering nine years' labors of our Mendelssohn Quintette Club. We count up well in Symphonies, compared with other cities; especially in those of Beethoven. We have had seven of the nine; but we still wait in vain for a full hearing of that climax of "Joy" and Genius, the Ninth, ever since that first inspiring taste of it which the Germanians and the Handel and Haydn Society gave us in 1853. Nor have we had Schubert's glorious one this season. The reason appears in a still more painful, general confession: We have not had the orchestra for such things. So far "Panic" had the best of it; our orchestra had to be put on an economical footing; it was late before the machinery began to move at all, and then only by the energy and courage of one man, our excellent conductor CARL ZERRAHN, to whom we owe all our orchestral feasts this winter; the orchestra was small, the rehearsals few, the remuneration extremely moderate at that, and the only wonder is, that in such times, with such small means, we have yet been enabled to hear so many noble Symphonies, and most of them so well performed. Boston is still without a permanent grand Orchestra, still without a sure and regular provision for orchestral Concerts of the first class. How long shall this be? We refer the reader for the present to some pertinent suggestions in another column by our "Diarist." About the Oratorio, and some other points in this connexion, we have yet to speak. The Drama. There is little to be recorded this week. The Howard Athenæum continues its career of almost unmeasured success and, what is better, continues to merit it. The week has been devoted to revivals of the best old English comedies, played with remarkable perfection, and set upon the stage with excellent taste. The Boston Theatre, while putting forth strong attractions, has yet failed to receive its reward. Miss Robertson, always delightful and charming, has given a series of her most popular personations, in all of which she has been ably supported by Mr. Bourcicault, Mr. Gilbert, and others. But the cloud that darkened the fortunes of the theatre during the opening weeks of the season, seems, since the departure of the Ravels, to have rested more heavily than ever upon it. The Museum prospers with its pleasant piece of pageantry, and the National Theatre is closed. CONCERTS OF THE WEEK.- The GERMANIA BAND had their Concert Saturday evening. Though the exhibition showed that that there is talent enough among our musicians to make up a complete band, it was not so successful as we had expected. There bassoons, French horns, a couple each; but even were half a dozen good clarinets, with oboes, flutes, these, although well played, were but a trifle against such a "power" of brass. There should be less of the noisy, more of the softening element. Then again the programme was not such as fairly showed the qualities of a band. They played scarcely any marches; but overtures, &c., proper for an orchestra, throwing away the orchestra they had upon Quadrille medleys a la Jullien. The Germania can and will do better. Proportion is the thing required. Wednesday brought with it the last of the twelve Afternoon Concerts of the ORCHESTRAL UNION. There was a great audience. It was a rare pleasure, after a long interval, to hear again Mendelssohn's Symphony in A major, full of impressions of his young days in Italy, with its ardent, fresh, exhilarating Allegro; the musing, twilight, old cathedral mood of its Andante con moto; its perfectly summer-like, blueskied, genial, Mozart-like Scherzo; its fine delirious finale in form of the Saltarello and Tarantella dances of the land. The orchestra was short of 'cellos; yet they made shift to play the "Tell" overture quite well. The GERMAN TRIO gave the last of their six concerts at Chickering's, that evening, with this pro gramme: Part 1. Trio in G, op. 1, No. 2. for Piano, Violin, and Violon- (Themes from William Tell), De Beriot and Osborne. Part 3. The performers were Messrs. GAERTNER, HAUSE, Musical Chit-Chat. A letter from A delightful private concert by an amateur Club, . The Atlantic Monthly for May has an admirable article upon the early life of BEETHOVEN, drawn from original sources. It is from the pen of Mr. A. W. THAYER (our "Diarist"), who knows more of that great master's history than any other This sample warrants the best anticipations of Mr. Thayer's Biography of Beethoven, which has been so long in preparation. man. week, has been a couple of "Berlioz Nights," at C. & C. F. HILL gave a soirée last night at Dod- We have the first number of a new Philadelphia paper, called the Sunday Topic, which seems to dip largely into music, as well as literature. It gives a classified list of all the operatic performances in the Academy of Music there, from its opening (Feb. 25, 1857) till April 14, 1858. It includes 30 different operas, and 102 representations. La Traviata takes the lead, 13 times. The Trovatore comes next, 10 times; then Lucrezia Borgia, 8 times; Linda, 6 times; Fidelio, 4 times; Lucia, Ernani, Il Barbiere, L'Elisir, each 4 times; Freyschütz, Don Juan, L' Italiana, &c., &c., 2 each. Paris, after her triumphs in Berlin. Mme. CASTELLAN has arrived in London. Mme. PAULINE VIARDOT GARCIA has arrived in Mr. CHARLES SALAMAN delivered a lecture on Beethoven lately, to a select circle, at his house in London. We are sorry to learn that Mr. AUGUST FRIES, one of our most esteemed musicians, and leader of the Mendelssohn Quintette Club during the whole nine years of its existence, is soon to leave, having an excellent position offered him in Bergen, Norway, where music is much cultivated. Mr. Fries will leave a host of friends in Boston and its musical By the way it has occurred to us that, it would be dependencies. We wish him God speed, if he must go. interesting and well worth while to count up all the valuable works of instrumental chamber music with which the Quintette Club have, first and last, made their circle of listeners acquainted. Perhaps we shall present a list. Music Abroad. LONDON. They love solid programmes in London-good music and a great deal at a time. For instance here is the programme of Mr. JOHN HULLAH's sixth and last Orchestral Concert, at Saint Martin's Hall, selected wholly from the works of Beethoven: PART I.-Overture: "Men of Prometheus; " Air: "The Call of the Quail; " Air: "In questa tomba; " Choral Fantasia (piano, Miss Arabella Goddard); Trio: "Tremate, empi:" Overture (in E), Fidelio. PART II.-The Choral Symphony. Miss ARABELLA GODDARD's first Soirée (second series) for April 14th, is quite as remarkable for weight of programme: PART I.Sonata in E flat, Pianoforte and Violin (No. 18), Mozart (Miss Arabella Goddard and M. Sainton); Grand Sonata in D major (Op. 106), the last Pianoforte Sonata composed by Hummel) Hummel (Pianoforte. Miss Arabella Goddard); Fuga Scherzaudo. and Fuga, in A minor- No. 15 from book 9. and No. 2 from book 4 of F. C. Griepenkerl's "Complete Collection of the Pianoforte Works of J. S. Bach"-(repeated by desire) J. S. Bach (Pianoforte, Miss Arabella Goddard) PART II. Sonata in A major (Op. 101), Beethoven (Pianoforte, Miss Arabella Goddard); Grand Quartet in F minor (No. 2), Pianoforte, Violin, Viola, and Violoncello, Mendelssohn (Miss Arabella Goddard, M. Sainton, Herr Goffrie, and Sig. Piatti). There was a long list of Oratorios produced in the last weeks of March. It includes "Israel in Egypt," by Hullah's upper Singing School; "Samson," the 'Lobgesang," and Mozart's "Requiem," by the lah; and, the great event of all, Bach's "Passion" Sacred Harmonic Society; the "Messiah," by Hulmusic (according to St. Matthew), by the Bach Society, whose members, under their enthusiastic chief, Prof. STERNDALE BENNETT, have spent five years in studying it. It is said to have cost Mendelssohn very nearly as much trouble at Leipzig. Passion week was full of music in London. Besides the Oratorios, &c., above named, a series of five Concerts were commenced at Drury Lane, under the auspices of Miss LOUISA PYNE and Mr. HARRISON. The first part of the first programme contained the "Pastoral Symphony;" Mozart's Piano Concerto, in C (by Miss Goddard), Mendelssohn's Ruy Blas overture, airs, scenas, &c., by Rossini, Webber, and Mozart; the second part, selections from Trovatore. The Royal Italian Opera, at the new theatre, Covent Garden, is announced to open May 15. Mr. Lumley, too, has issued his prospectus : The list of prima donnas includes Mesdames Alboni, Ortalani, Spezia and Piccolomini-besides Mademoiselle Titiens, or Titjens, from Vienna. Her Majesty's Theatre opens directly after Easter, and the Huguenots will be the first opera. The list of male singers is the same as last year, Signor Corsi alone is missing. A Signor Mattioli (barytone) is the only novelty. The tenors are Signors Giuglini, Belart and Mercuriali; the barytones, Signors Benevanto, Belletti, Aldighieri and Castelli; the basses, Signors Rossi and Vialetti. Signor Bonetti retains his post as conductor, but Signor Arditi remains on the establishment. PARIS.-We gather the following items from the Paris correspondence of the London Musical World of March 27. La Magicienne, after eight month's preparation, has been produced at the Imperial Opera in a style of lavish magnificence. Their Majesties "assisted" at the performance, and the theatre was crowded to suf focation. The success of the opera, however, was very equivocal, and I do not think there is much chance of this new production of M. M. Halévy and St. Georges surpassing (if equalling) that of the Juif Errant. For my own part I never remember sitting out a more dull performance. The book is one of the silliest ever written. The old legend of Melusine might have been turned to much better purpose. I have no patience to relate the story, which is unworthy of M. St. Georges even in his weakest moments. The music is by no means the best M. Halévy has written; nor could I trace those extraordinary beauties which his admirers detected, in the fifth act. The "interpreters' were Mad. Borghi-Mamo, Mad. Lauters-Gueymard, Mdlle. Delisle, MM. Gueymard, Bonnehée, and Belval. In the ballet Malle. Zina Richard was the principal dancer. At the end of this very heavy and glittering performance I sighed for the days when such operas as La Muette de Portici, Guillaume Tell, and Robert le Diable were produced in rapid succession! At the Italiens, Prince Joseph Poniatowski's opera buffa, called Don Desiderio, was produced on the 10th inst. The excessive lightness (not to say triviality) of this music, though somewhat monotonous at the Imperial Italian Opera, made itself regretted on the following evening at the Imperial French Opera. Mario, Malle. Donatelli, Zucchini, and Corsi did their utmost for the principal parts. M. Litolff has given his concert in the salle Herz with enormous success. He repeated his "concertosymphony" (No. 4), and both the playing and the composition pleased more than ever. M. Berlioz (who admires the Brunswick orchestra) praises M. Litolff's music to the skies. My opinion (with deference to MM. Berlioz and Fétis, who do not always agree) is that M. Litolff's music by no means comes up to what they have said of it. As a player, I find that, with immense fire and energy, he does not combine clearness and accuracy. The overture entitled Le Chant des Guelfes, and the "Illustrations" of Faust were interesting in different degrees, the first in a much less degree than the last. However, M. Litolff left the concert room, his brow covered with laurels. How long the present vogue for him may last depends upon Parisian caprice, which, even as caprice, is wonderfully capricious. M. Rubinstein has already given his first concert, and although his playing produced just the same sensation as last year, his music seemed to please less. Tamberlik is to make his first appearance at the Italian Opera on the 28th instant. The opera selected for this event is Otello. Grisi is to be the Desdemona; Corsi, Iago; and Belart, Roderigo. M. Calzado has, I am told, made another valuable acquisition for next season, in the shape of Signor Galvani, who made a fiasco some years ago at the Royal Italian Opera. Apropos of pianists, M. Rosenhain gives a concert for the benefit of a German charity to-day, at which he is to play the adagio from an early concerto of Beethoven-a not very classical proceeding by the way, for so classical a musician. M. Alexandre Billet has announced a concert for the 9th prox, in Pleyel's Rooms: and M. Henri Wieniawski, the violinist, who has just arrived, has also indicated his intention of astonishing the Parisian connoisseurs. I have not heard whether he is accompanied by his brother, the pianist. The violinists here, though not quite so numerous as the pianists, are still in flocks. Among the most remarkable is Signor Sivori, who gives a concert on the 29th (Monday), at which perhaps M. Wieniawski may be inclined to take a lesson. Madame Vanden HeuvelDuprez is engaged for eight months at Marseilles ; so that there is no chance of seeing her again at the Opéra Comique for a considerable period. She has already appeared in Les Diamants de la Couronne and the Etoile du Nord with great success. concerts, (Feb. 11), Mme Viardot Garcia's singing caused the greatest enthusiasm. One of the German critics speaks of her as "perhaps the greatest singer just now in the world" "the only one who still represents the glory of the older Italian school." She sang a scena with chorus from Gluck's Orfeo; an aria from the opera Brittanicus, by Graun; Rossini's Non piu mesta; two Spanish songs, and a Mazurka by Chopin. At the last Gewandhaus concert the introduction and finale of the first act of Wagner's Lohengrin, and the Ninth Symphony of Beethoven were brought out. Lind, who brought it out in England, was performed here last month for the first time by the Philharmonic Society, and well received. For the Italian opera season at the Court theatre, Mme. Steffanone, Miss Elise Hensler, and the buffo Zucini are engaged. M. Roger, the tenor, has been singing in the Huguenots and in the Prophète with great success at the Karn'thor Theatre, the prima donna being Mdlle. Tietjens, who has been engaged by Mr. Lumley. M. Colasanti, the ophiclidist, one of M. Jullien's many discoveries, who was reported dead, is performing on his instrument with great liveliness. The Helmsberger Soirées have recommenced. One of Schumann's quartets was played at the first. At a Soirée of the Männergesang-Verein, several pieces from Schubert's opera of Fierabras, including the overture, a duet for tenor and bass with chorus of male voices, and a scena for soprano, also with male voices, were performed. The Chant des esprits sur les eaux, by the same composer, and some pieces of M. Berlioz, were also played, and the whole concert excited more than ordinary interest. BERLIN. On the 10th of March the three hundreth representation of Der Freyschütz was given at the Royal Opera. It was first produced on the 15th of June, 1822. Between that date and 1836 the part of Agatha was sung 91 times by Frau Seidler; that of Caspar, 112 times by Herr Blume, and that of Max 96 times by Herr Stümer. Taubert has composed music for a commemoration fête, in honor of the sculptor Rauch, which was to take place on the 30th. MUNICH, March 2. The Allgemeine Zeitung says: "The concert of yesterday, which followed immediately upon Wagner's Lohengrin, may be regarded as a lofty Song without Words, with the refrain: What need of a Music of the Future, when that of the sacred Past was made for all eternity! We had Beethoven's Sinfonia Eroica; a Passacaglia by J. S. Bach; an Andante aria from Mozart's Il Re Pastore, and Mendelssohn's "Midsummer Night's Dream" overture!" COLOGNE. The programme of the sixth Gesellschafts-Concert consisted of the "Spring" and "Sumfrom Haydn's Seasons," and Beethoven's Symphony in A. Of the seventh concert this was the programme: mer PART I.-1. Symphony in C minor, by L. Spohr; 2. "Tantum ego," for chorus and orchestra, by Cherubini; 3. Concerto in G minor, for the pianoforte, by Mendelssohn, performed by Herr Alex. Drey shock. PART II.-4. Overture ( Nachruf an *") by Joachim; 5. Spinnerlied und Rhapsodie, by A. Dreyshock; 6. Hymn, for chorus and orchestra, by G. F. Handel: 7. Concertstück, by C. M. Von Weber, played by A. Drey schock. The Lower Rhine Musik-Zeitung is enthusiastic about the playing of Dreyschock. BORDEAUX.-Spontini's Fernand Cortez has been produced with great success. The widow of the celebrated composer was present at the first representation. For the sake of strong contrast the next opera is to be Verdi's Trouvère, the French version of his Trovatore. NAPLES.-The directors of the San Carlo have summoned Verdi before the tribunal of commerce for refusing to allow his new opera (to the same book as Auber's Gustave III.), to be produced, with certain changes which the political atmosphere of this patriarchally governed state rendered inevitable. GOTHA. Just as Dr. Liszt at Weimar doses the inhabitants with Wagner, so does the Duke of Saxe Cobourg-Gotha regale his liege subjects with music from his own pen. His third or fourth opera, Diana von Solange, is terminated, and though the first performance was originally intended to be given for the benefit of the Parisians, it is understood that the population of Gotha will have the privilege of inaugurating its career. ST. PETERSBURGH.-Madame Bosio and Signor Tamberlik are both reëngaged for three consecutive years at the Imperial Italian Opera here. Special Notices. DESCRIPTIVE LIST OF THE LATEST MUSIC, Published by O. Ditson & Co. Vocal, with Piano Accompaniment. Minnie Moore. J. L. Hatton, 25 A Ballad in that sweet and expressive style of which "O whisper what thou feelest" is the prototype. To Chloe in Sickness (English and German words). Sterndale Bennett. 25 A touching song in B minor, quite worthy of the renown its author enjoys of being the most classical amongst England's modern musical writers. The Hindoo Maiden (Eng. and German words). Louis Huth. 25 A simple Story with a pathetic Refrain. It tells of a When the bright waves are dashing. Duet. A nice little duet for equal voices. Mrs. Sullivan. 25 My Home is a cave by the dark sea-shore (Song Poem and Music breathes a bold, free spirit; quite Annie Lyle (Song and Chorus). H. S. Thompson. 25 A simple, smoothly-flowing Melody; easy and pretty. The Lake (Eng. and Fr. words). Oh, worship not the Beautiful (Song). Burnham. 25 A simple Song for the Fireside-quite pretty. Soft skies of sunny Italy (Song). Cherry. 25 This favorite composer sings here of Italy's azure sky, with such a sunny glow and warmth of feeling, as if he was drifting slowly through the water-streets of Venice, reposing on the couch of a gondola, and shaded by proud palaces, improvising, as only Italians can. Kücken. 25 The Young Recruit. A youth relates to his sweetheart his dreams of future List to the gay Castanet ("Rose of Castille)." 25 Instrumental Music for Piano. Le Galopin. V. Busch. 25 A spirited Impromptu in the form of a Galop. Flying Cloud Schottische. Lovetear Landler (Redowa). D'Albert. 25 C. Strauss. 25 P. Bayer. 25 Five Step Waltz, Valse a cinq temps, (in 3 and 2 alternately). Conner. 25 Excellent dance music of moderate difficulty. Lancer's Polka. A. Scard. 25 A beautiful, spirited and fascinating composition. Ascher. 40 La Montagnarde (Mazurka de Salon). This "Mountain Girl" is a little gem, bold and handAscher has written some, dashing, yet tender. nothing of late that can compare with this unpretentious little piece in point of freshness, originality and beauty of melody. Nor is it at all difficult. The mountain-echo introduced will be found of charming effect. Books. PRACTICAL (A) TEXT BOOK OF MUSIC, as connected with the Art of Playing the Piano Forte. By Edward B. Oliver. Price 38 cents. This volume is the production of a thoroughly educated and skillful teacher, one who has, in the exercise of his professional duties, been much at a loss for a suitable book on the Art of playing the PianoForte, as an assistant in communicating much instruction that is most valuable and important, and who therefore has been led, in endeavoring to supply his own wants, to prepare this volume. It will be found to contain those essentials of a musical knowledge, which every student of the Piano, or of any instrument, must possess, as the conditions of intelligent practice; they are presented with an admirable consistency and clearness. Among the multitudes of attempts to state the rudiments of music in a popular form, it is, indeed, seldom that we find so much real thought and judgment brought to the task. The matter is thoroughly digested, and the topics placed in their true relations. The definitions are philosophical, precise, and satisfactory. It is not a book of Exercises, a "School," or "Method," for the Piano-Forte; but it conveys, in the form of question and answer, a very convenient and intelligent solution of those theoretic questions which arise to puzzle every young beginner in the practice of the Art. WHOLE NO. 317. BOSTON, SATURDAY, MAY 1, 1858. Schumann on Mendelssohn. [Scattered through the four volumes of Robert Schumann's collected writings about music and musicians, are various brief reviews and notices of works by MENDELSSOHN, soon after their first publication, which appeared in the Leipzig Neue Zeitschrift für Musik. They are interesting as showing the fresh impression made by the works of one great composer upon the mind of another, who was fast rising into prominence. Especially is their pervading tone of sincere, cordial admiration worthy of notice, in connection with the charge of "jeal" of Mendelssohn's great fame so often brought against him by the Anti-Schumannites of London. (See article from the Musical World, copied in this Journal, April 17.) For this and other reasons we have thought these bits of criticism worth translating. We give herewith a few of them, and shall continue them hereafter.-ED.] Op. 56. ousy SYMPHONY ("ITALIAN,") IN A MAJOR The Symphony by Mendelssohn Bartholdy has been most eagerly expected by all who have thus far followed with a sympathetic interest the shining path of this rare star. They looked forward to it as in some sense his first achievement in the symphonic field; for what was actually his first Symphony, in C minor, falls almost within the artist's earliest period of youth; his second (the "Scotch," in A minor), which he wrote for the Philharmonic Society in London, has not yet been made known through the press (1843); and finally the Symphony-Cantata, Lobgesang, cannot be regarded as a pure instrumental work. Thus in the rich wreath of his creations there was only wanting (with the exception of the Opera) the Symphony: in all other kinds he had already shown himself fruitful. We know it by third hand, that the beginnings of the new Symphony date back to an earlier period, that of Mendelssohn's sojourn in Rome; it was resumed and finished only very recently. This is certainly interesting to know, in estimating its quite singular character. As when from some old book laid aside we suddenly pull out a yellowed leaf, which reminds us of a vanished time, that now comes up again in all its brightness, until we forget the present, so may fair recollections have played around the imagination of the master, when he found once more in his papers melodies once sung in beautiful Italy, so that, consciously or unconsciously, at last sprang up this gentle tone-picture, which, like the description of the Italian journey in Jean Paul's "Titan," can make one for a while forget his sorrow that he has not seen that blessed land. For that the whole Symphony is pervaded by a peculiar peoples's-tone, has many times been said; only a wholly unimaginative man can fail to mark this. It is its peculiarly charming color, then, that secures to this Symphony of Mendelssohn, as well as to that of Franz Schubert, an especial place in symphonic literature. The traditional instrumental pathos, the usual massive breadth you do not find in it, nothing that looks like bidding against Beethoven; it comes much nearer, and especially in character, to that one by Schubert, with the distinction that, whereas the latter intimates to us a wild and gipsey sort of people's life, Mendelssohn's transports us to beneath Italian skies. And this is equivalent to saying, that a more graceful, polished manner dwells in the new work, while to Schubert's on the other hand, we must In its ground-plan the Symphony of Mendels- As to the purely musical part of the composition, no one can doubt that it is masterly. In beauty and delicacy of structure, as a whole and in the connecting members singly, it takes a place beside his overtures; nor is it less rich in charming instrumental effects. How finely M. knows how to reproduce an earlier thought, and to adorn a repetition, so that the old shall meet us as it were newly transfigured; how rich and interesting the detail, without any overloading or Philister-ish pedantry of learning, of this every page of the score gives us new proofs. The effect of the Symphony upon the public will depend in part upon the greater or less virtuosity of the orchestra. This to be sure is always the case, but doubly so here, where there is less question of masses, than of refined delicacy of single instruments. Above all it requires gentle blowers. The Scherzo is most irresistible in its effect; a more genial one has scarcely been written in recent times; the instruments talk in it like men. The piano-forte arrangement is by the composer himself, and certainly the truest transcript that could be conceived of. Still it gives you an idea of only half the charm of the orchestral effects. The conclusion of the whole Symphony will Op. 30. SIX SONGS WITHOUT WORDS. Who has not in some twilight hour sat at the VOL. XIII. No. 5. put a new text to the composition of his own But to our Songs! Clear as sun-light is the TRIO FOR PIANO, VIOLIN AND 'CELLO. What shall I say about this Trio, which every |