I shall not attempt to define the glowing emotions this rapturous movement embodies, which would be to presume upon my own speculations, and to divest the music of that vagueness which is almost the greatest of its wonderful charms. Let me only submit that my individual impression of the composer's possible purpose is, a feeling of overflowing happiness stimulated by the act of offering homage to the Great Principle of creation, the Author of nature and of the power to admire-if not to comprehend his works; the universal summons to "All that have life and breath" reëchoes round and round the eternal vaults of space, and now it wakens that loving sympathy for others' sufferings which is the worthiest offering at the shrine of mercy; now, prompts a wondering delight at all the goodness and the greatness of which we are the constant witnesses and the partakers. The theme of the Introduction recurs as a second section of the first or tonic Subject, when it is decorated by the addition of a florid counterpoint (or independent melody), of semiquavers, which, being successively played above and below the Subject, displays as much artistic skill in the composer as it produces brilliant and exciting effect. The almost singular length of this gorgeous movement, which is overflowing with ideas as it is grand in proportions, justifies a transient digression from the key of F, the fifth of the original tonic, to give peculiar effect to the first entry of the second Subject: &c. since, in a composition of this rare magnitude, broader contrasts are required, and therefore wider latitude in respect of modulation is admissible, than in movements in which the same form is condensed within conciser limits. The value of this transient digression is enhanced by the beautiful effect of the return to the key of F for the repetition of the same idea, equal to that of the modulation into A flat for its first introduction. Another prominent feature of the second Subject rises upon the close of this: &c. and the series of passages that grow out of it completes the First Part. The commencement of the Second Part will be recognized by another recurrence of the initial phrase, which now assumes a somewhat different character, from the important difference of its contrapuntal treatment. Here, then, begins the elaboration of the ideas presented in the First Part, but the imagination of the composer is so paramount throughout as to disguise all appearance of labor in the spontaneous effect of impulsive production. The theme subsequently assigned to the chorus, with which the work opens, is a prominent feature throughout this eminently interesting portion of the composition, always surprising and equally delighting us by the novel and unexpected manner of its introduction. It is again and again relieved by the lovely melody with which the second Subject begins, with its truly loving expression; and this breaks upon us, in one situation, particularly, with a beauty of effect that has scarcely a parallel,-I mean where the gradual dying away of the orchestra in responsive iterations of a fragment of the initial phrase, leaves only the clarionet sustaining some truly pathetic notes in the lowest part of its compass, and its exquisite pathos, the single mournful expression throughout the movement, dissolves in the smiling geniality of the heavenly strain thus felicitously introduced. max. The recapitulation of the First Part is introduced with electrifying effect by the fourfold repetition of a somewhat rare and very powerful harmony, to which a long crescendo has been the irresistibly exciting cliThe now familiar ideas are then brought before us with such variety of treatment, as imparts to them, even yet, a new interest; and the Coda, which commences like the Second Part, reinforces with ever-growing fervor the summons to universal nature to join in the song of praise. This forms a grand and very gradual climax, which leads up to the resumption of the majestic tempo of the Introduction, when the initial phrase is again given in its unisonous simplicity; and so the movement concludes, as it opens, with the noble dignity of its chief theme yet enhanced by the opposition of its original broad simplicity to the effect of the complicate elaborations of which it has been made the Subject. It is not quite peculiar to Mendelssohn to connect the movements of a grand instrumental work, but he has done so to a greater extent than Beethoven, the only composer that preceded him in this exception from the general practice; and we have in the pres- (2.) Allegretto agitato.-This movement is, more or What we may regard as the Scherzo (I use the term, purely in its technical meaning, for the sake of assisting those who are familiar with it as a musical definition to comprehend the structure of the present movement, the Scherzo is an epitome of the form which is embodied in proportions of almost unequalled grandeur in the foregoing Allegro. It is one continuous stream of song, divided, in alternate phrases, between a combination of string and one of wind instruments: the exquisite dialogue consists at first of complete rhythmical periods for each, but its responses are brought closer together as the movement proceeds. Unbroken as is the flow of this passionate melody, its several ideas are sufficiently distinct for us to signalize the principal features in the plan, as, for example, the chief Subject will be recognized by this opening phrase: &c. and the second subject, however it may seem to grow ning &c. The First Part (according to the general practice, What is analogous with the Trio in the usual distribution of an instrumental work,-an episodical portion of the movement which forms an alternative with the Scherzo, consists of a Choral or Hymn-tune for a complete choir of wind-instruments, with interludes between its several strains composed of fragments of what I must still distinguish as the Scherzo, for the same as one of the innumerable collection harmonized by Bach, "Das wall Gott Vater und Gott Sohn," -a hymn of Thanksgiving to the Trinity,-but varies from that after the first strain; whether it be another tradition of the same tune, or the composition of Mendelssohn designedly or accidentally founded upon it, I am unable to ascertain; the contrapuntists who have chosen any of these primitive melodies of the Lutheran Church as themes for elaboration, have always exercised such apparent discretion as to the rhythmical arrangement, even as to the intervals, and as to the employment of the whole or only a portion of the Choral, that, according to such precedent, the former of my suppositions may be correct. It commences thus: rest of the orchestra. This Choral commences the Dwight's Journal of Music. BOSTON, APRIL 3, 1858. Our New Arrangement. To-day our JOURNAL, on its seventh birthday, greets its readers in a new dress, having outgrown the old. We are emancipated from the cares of business and clerkship. Under the auspices of our new publishers, who assume those cares, we are now free to give our undivided thought to our own proper and congenial work of simply editing a musical paper. We offer you henceforth both hands full, no longer needing one hand to hold up the other. We give sixteen pages, the old eight pages forming now an unbroken whole of reading matter, with a chance now and then to overflow into the extra advertising sheet, which enfolds the reading columns and serves to waft them, as the seed-down the seed, to many places where their thoughts may lodge and possibly take root. We also bring you, and intend to bring you every week, four pages of good music. That we are in earnest when we say good music, judge by the specimen herewith presented. Of this we speak more fully in another place. These additions we are enabled to make by shifting the business responsibilities of the JOURNAL from our own upon the broader To this shoulders of our new publishers. consummation we have long looked forward. For six years we have sustained this JOURNAL, without any business agency, with small capital and smaller compensation, simply in the hope, that one day, when it should have earned for itself a character and developed from itself the all-essential and intrinsic element of success,- when it should have proved itself worthy to live, by at least a certain tough tenacity of life,-that then the other element, the "business man," would come to meet it and conduct it into larger fields of usefulness. If this union shall fulfil its promise, it will place us in the position we have always sought: 1) to make a much better paper; 2) to circulate it far more widely. The new arrangement gives us room for more variety of matter; gives us time (free from the cares which hitherto have often forced us to make shift to fill our columns in the easiest way)-time to prepare the matter much more thoroughly and serve it up in forms more sure to catch and interest varieties of readers,-time to be short, (in which desirable feature, however, to-day's number is a failure, simply for the want of time, in hur&c. rying out of the old house into the new). We hope it will give us leisure to think and study, and do more justice to important topics, hitherto too often of necessity evaded or postponed;-leisure to lay hold of and secure a few of our own darling editorial ideals, the ghosts of which unrealized have too long and the interludes, according to the frequent prac- (To be continued). haunted and unnerved us. Could we sat isfy ourselves, we should not fear but we would satisfy our readers! Above all, or we are much mistaken, it will give us, with new means, new independence. We shall be freer than ever-if that were possible-to utter our own thought. On this point it is perhaps fit that we should dwell a moment. We need not re-state the objects for which this journal was established, farther than to say, that: recognizing Art, particularly Music, as a most important element in the national and social life of a free people,-as "a true conservative element, in which Liberty and Order are both fully typed and made beautifully perfect in each other;" and recognizing the fact, that Music has become so much a feature in the earnest life and culture of advanced American society, entering into many of our schemes of education, and descending in some form, often too trivial and vulgar, into all amusements, seeing this, we felt moved, according to the humble measure of our abilities, to try to supply an organ of true criticism and a weekly bulletin of news and progress in this most popular and influential, but least thoughtfully considered, of the Fine Arts. The execution of our design may have been feeble, as it has certainly been fragmentary and cramped for want of time and means. The half of our programme still has stood as but a sign of what we wished and meant to do, in happier circumstances. Our strength lay meanwhile in our love and reverence for Truth as the first principle of Beauty, in our sincere and independent utterance, from a single sense of loyalty to Art, coupled only with a fervent wish to make Art better understood and loved. Many short-comings therefore have been pardoned to the true aspiration, and our work has never lacked at least the encouragement of sympathies which every one must value. Now then, we have not held on to this treasure six years, waiting for a publisher to give it currency, only to drop it in the dust the oftentimes determines purchasers; and the On other points of editorial policy and upon the words Italicized. This Journal, in With the music-seller the first consideration of course, is quantity; with the critic and true friend of Art, it is quality. The former labors to supply the widest possible demand; the latter to educate that demand up to some degree of fineness and intelligence. The of Beethoven's Sonatas, or of Bach's Fugues, seller would as gladly sell a thousand copies as he would the same number of the most FOUR PAGES OF MUSIC. - Our Journal is en- ruses of "William Tell," welcome alike to German once to any one kind; we must learn by experience. To-day we make a good beginning. Our selection large towns. Many of these require for social practice or for public performance, pieces of less formidable length than oratorios. Of these there are rich stores, unpublished and almost unknown here. There are Cantatas, Psalms by Mendelssohn and others, admirably adapted to the purpose. And how desirathe study of good music, instead of wasting them ble that these societies should spend their hours upon upon the pretentious crudities of every country sing moment we have found him. Six years ago, popular and clap-trap variations; Mendels- ing master turned composer! We have selected for in the first number of this paper, in announcing our purposes, we said: The tone of our criticisms will, we hope, be found impartial, independent, catholic, conciliatory; aloof from personal cliques and feuds; cordial to all good things, but not too eager to chime in with any powerful private interest of publisher, professor, concert giver, manager, &c. This paper would make itself the "Organ" of no school or class, but simply an organ of what we have called the musical movement in this country; of the growing love of deep and genuine music. It will insist much on the claims of "Classical" music, and point out its beauties and its meanings-not with a pedantic partiality, but because the enduring needs so often to be held up in contrast with the ephemeral. But it will also aim to recognize what good there is in styles more simple, popular, or modern; will give him who is Italian in his tastes an equal hearing with him who is German; and will print the articles of those opposed to the partialities or the opinions of the editor, provided they be written briefly, in good temper and to the point. All this we now re-affirm, and, to avoid any misapprehension, with especial emphasis our first piece, a beautiful Hymn by Mendelssohn, sohn and Chopin, Strakosch and Wallace, it From my Diary. (New Series, No. 1.) maximize certain principles, which seem to me to lie 1. Luther's Choral: Eine feste Burg ist unser Gott. Nobly harmonized for male voices. Sung with intonation and fine blending of the thirty voices, 1. The best is hardly too good for the Deity, the first verse strong, the second soft, and so on alterwhether in religion or art. 2. Art is, or should be, the handmaid of religion; this principle is recognized in the poetry (hymnology), in the abominable architectural experiments, in the attempts at fresco painting, &c., which we find in the meeting-houses of all denominations. 3. Music is of all arts that which appeals most strongly and universally to the feelings. Go into a cathedral abroad, where painting, sculpture, architecture, and music all address themselves to the hearts of prince and peasant alike, and see the effect of the Kyrie Eleison upon the multitude! 4. Music has a two-fold object in the service of the church; to attain which it should be on the one part of the highest artistic excellence possible, on the other of the simplest character. The one object is to excite and deepen emotion; the other to be the medium for giving vent to it.. 5. Hence, as the church pays high salaries for a man of high culture to occupy the pulpit, so it should not be sparing of inducements to suitable persons to engage in cultivating the musical talent, which it has at command within itself, it being the duty, the religious duty of all to whom God has given a talent for music to employ it in his service. Every church embracing a hundred families ought to have a choir of 40 to 50 voices, and employ a musi-a lover of sacred music and not a mere pianocian forte teacher - to instruct and lead it. 6. Hence, too, (to attain the second object), there should be a selection of simple melodies, good music for the congregation to sing. These melodies must be slow, and of dignified and grand movement- -as these alone are possible where the number of singers is large. This is proved by the experience, not of church congregations, but the more valuable experience of choral societies and operatic choruses. 8. If a really grand organ -not one with all kinds of fancy stops by any means-- is played by an organist and not by a pianist; and if a choir of two or three dozen voices-trained as they would be if engaged to sing at a shilling concert, and not as if they had only to sing praises to the Most High, which is generally not thought to require much skill-sing two or three devotional anthems, and the congregation unite and sing old "York," or 'Barby," or some such solid grand tune, which moves of itself like a tide then I find an approach to what I call true music for the church. For this end I labor. Concerts. ORPHEUS GLEE CLUB. The concerts of our German Männerchor have left some of the pleasantest impressions of the winter. They seemed too quickly over, and the announcement of another, a Sacred Concert, for last Sunday evening, was hailed by many with great pleasure. The Lowell Institute hall proved just the place for an "Orpheus" concert, light, cheerful, commodious and excellent for sound. The audience was but moderately large, owing in part perhaps to the fact that many persons who are much interested in the "Orpheus," have other engagements upon Sunday evenings. Could not the concert be repeated on some other evening? It was every way worthy of it; the programme very choice and rare, the singing excellent, and Mr. DRESEL'S piano accompaniments perfect, always rightly suggestive, meeting the intentions of the music, and never too prominent. As we run over our programme we find a pleasant reminder in every number. nately, a full pause between, the effect was grand and solemn :- worth cords of our common psalmody! 2. Ave verum corpus. Mozart. mony. A rich, full, serene, and satisfying strain of harSung by voices so well blended, and with such well graduated force, it seemed like the spontaneous and perfect product of a religious moment. We can well believe Mozart's own account of his manner of composing, where he says his works came to him as wholes. It sounds still better as we have lately heard it by mixed voices. 3. Duet: Tibi omnes Angeli. By Giordani. In the chaste style of Italian melody of the last century, and very pleasing. Beautifully sung by Miss DOANE and her teacher, the accomplished conductor of the Orpheus, Mr. KREISSMANN. 4. Ciaconna: For the Violin. By Bach. Mr. JULIUS EICHBERG, a grave and thoughtful looking young man, from New York, recently from Germany, who took the first violin prize at Brussels, proved himself a solid classical musician, by the selection of such a piece, and by his firm, pure, expressive rendering. The Ciaconna, or Chaconne, like most of the old musical forms, was a dance, an Italian dance in 3-4 measure. Here we have a quaint theme, logically pursued and treated at great length, the violin of itself playing several real parts, and exhibiting many of the modern feats, arpeggios, &c. of the inIt is no mere show piece, but has meaning and consistency. We found it more interesting than the concert fantasias of the Paganini school. How lovely the cantabile melody into which the movement melts towards the end! Mendelssohn's piano accompaniments are just enough reverent and sparing. strument. 5. Kyrie. By Hasslinger. Beethoven's old friend and publisher, Tobias Hasslinger. A fine, impressive Kyrie for male voices. 6. Aria for Soprano: "My heart ever faithful,"—with violoncello accompaniment, by Bach. This was charming; -a wholesome, hearty, sunshiny gush of melody, like a brook running out of the woods in May. Can any thing be fresher than some of these old things by Bach? Miss Doane's bright voice and style just suited it, and Mr. JUNGNICKEL played the 'cello part with great taste. 7. Prayer, by Weber. Körner's "Prayer before Battle; " a solemn and inspiring part-song. Part Second. 1. Psalm xxIII. "The Lord is my Shepherd." Schubert. Exceedingly beautiful. Full of marvellously fine modulations, in the true vein of Schubert; and finely sung. 2. The Chapel (Das Kirchlein). Becker. An ingenious part song, in which the low basses imitate the booming of a bell, answered in the fifth above by others, while the musing melody proceeds in the upper parts. 3. Recitative and Quintet, from 42d Psalm. Mendelssohn. Another fine selection, only less interesting than the Schubert. 4. Elegy at a Graveyard, for violoncello. Lindner. A somewhat sentimental melody, played very feelingly by Mr. Jungnickel, who drew his sweetest tones. 5. Part-Song: "This is the Lord's own day." Kreutzer. 6. Violin Sonata (composed in 1713). Tartini. We must thank Mr. Eichberg for making us acquainted, by his masterly rendering, with two such fine old works. The Sonata of Tartini's time had not the modern Sonata structure (of the first movement). It is more like a Suite, or succession of well contrasted pieces. There was beauty and quaintness in this, and room for a plenty of execution. It is the identical "Devil's Sonata," of which the story runs, that the old master dreamed one night that Satan came into his room and played a wonderful trill, which he has here reproduced. But if this Sonata be 'Satanic," whall shall we say of the whole modern school? 7. Das Felsenkreutz. Kreutzer. A part-song, the sounds whereof have faded out in our remembrance of too many good things. Other Concerts during the week we have not been able to attend. There has been one by Miss ABBY FAY, the brilliant singer, for the benefit of an invalid; one by the GERMAN TRIO, the programme of which consisted of three Violin Quartets, by Beethoven, Mozart, and Haydn; and the Wednesday Afternoon Concert of the ORCHESTRAL UNION, of which the leading feature was Mozart's "Jupiter" Symphony. Musical Review. ROBERT FRANZ.-The growing interest in the Songs of this gifted German,—a composer of genius, if we have one in our day, and a thorough bred musician-is one of the good signs about us. Introduced here one or two at a time in small concerts and in private circles a few years since, by one of our resident artists, who would deserve our gratitude if but for this alone, they won a very few very deep admirers. But their beauty has gone on conquering. They figure now quite often in the lists of new reprints. A half dozen of them were ventured, and found favor, some three years ago. During the past year a set of Six Songs for Mixed Voices-part-songs ---were reprinted, with English and German words, by Ditson & Co. They were of the freshest productions of Franz. What could be finer for little Clubs, that love music of a refined character, to sing? Each is truly a song, setting free the heart melody of a little poem, but a song moving in four-part harmony fine enough for Bach. One is a happy, buoyant "May Song"; one a minor ballad, or people's song, a quaint, sad plea for pity in the cold, for love in isolation: Es ist ein Schnee gefallen. "At Parting is equally sweet and tender. One sings of the mystical awakening of life in Spring. One sings some hearty verses by Martin Luther, whose pious heart takes a cheerful hint from the singing of the birds; and the sixth invites you to a "Morning Walk." As to the Songs for single voice, each with its exquisite and rare piano accompaniment, Franz bids fair to rival Schubert in productiveness. Already we have Opus 30, and each opus contains at least six songs. And the wonder is, they are all good; each with a charming individuality, a genuine little poetic flower of melody. He always chooses verses that have poetry in them, and he always seizes the essence of the poem in his music. Twelve of these songstwelve of the simplest and loveliest-have just been selected and published, with German and English words, by Russell & Richardson. As specimens of musical engraving, with their re-production of the graceful German vignette, we have had no nearer approach to European excellence. But the songs themselves will reward any pains to learn them, and can never lose their interest. We can only name their titles: 1. "On a thorn bush blooms a rosebud." 2. "Parting." 3. The Woods." 4. "Evening." 5. "Summer." 6. "Spring of Love." 7. "Now the Shades are falling." 8. "O welcome, fair wood." 9. "The Churchyard.” 10. “ Forth from the depths of sadness." 11." Hungarian Song." 12. "Mother, oh sing me to rest" (Mrs. Hemans). NOVELLO'S PUBLICATIONS.-Messrs. Webb & Allen, successors in New York to J. A. Novello, send us beautiful and cheap octavo editions of RoSSINI'S Stabat Mater, and of SPOHR's Oratorio: "The Last Judgment," uniform with Novello's other oratorios. The scarlet cloth, gilt binding is exceedingly tasteful. Of the musical contents there is no need to speak. They send us also in the same form, blue and gold, and in large music type, "Eighty-One Part-Songs and Choruses, in progressive order for the cultivation of Partsinging, with Instructions, &c. by NAEGELI & PFEIFTranslated from the German by SABILLA NOVELLO. These songs are of a simple, popular character, yet not hacknied. The authors have done a great work in Germany for music among the FER. masses. METHOD FOR THE PIANO-FORTE. One is more frightened than encouraged by the multitude of musical instruction books in these times. When we see the hosts of them that crowd the shelves and catalogues of our own publishers (Ditson & Co.) alone, not to speak of the others, we can only wonder what can be the need of a tenth part of them. But now and then there is a sterling book among them, a "Method" which is a method, which sums up all that needs be known, and marks out a course of practice philosophically sure to lead one in the right direction, by such steps that each step gives new power to take another. Such is a book of which we have before expressed our high appreciation: "MUELLER'S Method for the Piano-Forte, revised by JULIUS KNORR," translated from the German by G. A. SCHMITT. Knorr, who is perhaps the most sound and thorough of all method-writers, using Müller's work as a foundation, has in fact made it his own book, and enriched it with all that is needful for the mastery of the new resources of the instrument. Musical Chit-Chat. In the confusion of making up a first number, we have miscalculated our space, and are obliged to cut off several articles with the odious "to be continued," to omit many letters, and after all leave ourselves almost no room for items of news and smaller matters. Very reluctantly we must leave over a summary of the Dramatic Season, which has been prepared for us. We have quite a number of communications, too, upon the Brooklyn "Congregational Singing" controversy, which we shall examine at earliest leisure. The Handel and Haydn Society have definitely announced their programme of four nights of Oratorio, with the aid of FORMES, Madame D'ANGRI, and Mr. PERRING, of the Ullman operatic troupe. Tonight the feast commences with "Elijah," in which every one who heard Formes in the sublime part of the prophet some weeks since, will wish to hear him again. The choruses and orchestral accompaniments have been re-rehearsed and will go even better than before. To-morrow evening will come the "Mes-siah;" it will be worth while to hear Formes in the great bass songs, and D'Angri's rich contralto in: "He was despised." Next Saturday, April 10th, Mendelssohn's "Hymn of Praise" will be given for the first time in Boston, followed by a miscellaneous selection, in which Formes will sing; and for the fourth night, "The Creation.". Of our own singers, Mrs. LONG, Mrs. WENTWORTH, and Mrs. HARWOOD are to take prominent part. For the better appreciation of the "Hymn of Praise we have commenced copying an interesting analysis upon another page, and hope to complete it next Saturday, in season for the performance. Formes is not to appear here in Opera, nor shall we have the company with which he has been connected. MARETZEK's troupe are expected at the Boston Theatre in a few weeks. . . . . 64 The ST. CECILIA CHORAL SOCIETY will give another concert at the Tremont Temple on the evening of Easter Monday, (April 5), Mr. J. FALKENSTEIN conductor. The programme contains Weber's "Jubilee" overture; Chorals by Bach and Mendelssohn; a Hymn by Mozart in praise of St. Cecilia; a tenor solo from Elijah"; several part-songs by Mendelssohn, &c. Part second is made up of lighter varieties. The MENDELSSOHN QUINTETTE CLUB have their Annual Benefit Concert next Tuesday evening. It will be the last public opportunity of hearing them this season, and the lovers of the fine Chamber Music of Mozart, Beethoven, Mendelssohn, &c., must not miss it. Mrs. LONG will sing "Ah, perfido!" For most that passes musically in New York one has only to consult one of Mr. Manager Ullman's operatic advertisements. From one this week we learn, that after "fulfilling the pleasing duty imposed on him by the charter of the institution" in bringing out an American opera (Fry's "Leonora "), the season at the Academy would positively close last Thursday night with the "Huguenots; " that Mme. LAGRANGE, after a brilliant career of three years in America, will now return to Europe; that Herr FORMES would make his last appearance in the "Messiah' last Tuesday night; that MUSARD'S concerts will commence next Wednesday (for which are: "Wanted, thirty colored waiters, to wear livery dresses and pass round ice-creams, twenty young ladies of prepossessing appearance to pour tea and coffee, and twenty boys in fancy uniforms to sell the evening papers at the concerts Musard"!);-that THALBERG has returned from the South, and will give a Matinée this day (in the Academy) with Miss MILNER, Mr. COOPER, the violinist, and an orchestra. -PAUL JULIEN has been giving a farewell concert before leaving for Brazil. We hear that the Ninth Symphony is to be played as a first part in one of the Musard concerts! The New Orleans Picayune, remarking upon the "Now, so far from its being the truth that the "Huguenots" has been twenty years crossing the Atlantic,' the fact is that this opera, produced by Meyerbeer, in Paris, in the year 1836, was brought out at the Theatre d'Orleans, the French opera house in this city, in 1839, with Calvé, Hemann, Bailly and Curto in the four leading parts, and has been performed, on the boards of that theatre. as a stock piece every year since. Nor has it been only performed once in New York. In the year 1850, Salvi, Marini, Bosio and Steffanone appeared in it at the Astor Place Opera House; and in 1845, the French opera troupe from our Theatre d'Orleans, under the management of Mr. Davis, gave it, in handsome style, at the Park Theatre, in that city." New Orleans, it seems, is the only American city in which opera may be called a fixed institution. The same writer says: "During the last three months, there have been performed, and well performed, at our opera house, the following works: Rossini's Moise,' (Mosé in Egitto,') Meyerbeer's Prophète,' 'Huguenots,' Etoile du Nord,' and Robert le Diable'; Verdi's Jerusalem,' ('Lombardi,') Ernani,' and 'Trovatore'; Halévy's Juive' ('Jewess,') Charles VI.' and 'Reine de Chypre (Queen of Cyprus); Adolph Adam's Si j'etais roi' and Chalet; Grisar's Amours du Diable; Donizetti's Favorite, Lucia and Fille du Regiment '; Bellini's Norma and Sonnambula,' Auber's Crown Diamonds'; and What can others, making more than twenty grand and comic operas, and all of them first class, with the exception of one. the Philadelphia and New York Academies of Music show to compete with this programme? M. OULIBICHEFF, the celebrated Russian amateur and author of the Life and Works of Mozart, the History of Music before Mozart, (to which works the readers of this Journal in years past have been frequently indebted), and of a strangely unappreciative work on Beethoven, died on February 3d, at Nijni Novgorod, in Russia, where he for many years resided. Haydn's "Seasons" has been brought out in New York by the Liedertafel. . . . Handel's "Messiah " was performed a week or two ago in Gorham, Me., under the direction of Mr. A. S. Edwards. "I know that my Redeemer" was sung "in a style that would gratify any audience" by Mrs. Edwards. The Messiah was performed also in Springfield, Mass. on Friday evening, March 19th. . . . Mrs. EMMA A. WENTWORTH, Our sweet singer, is about to recreate herself during the summer months in Europe. We wish her joy. Italian Opera finds it quite as hard to effect a perspite of the great boasts and rejoicings over the openmanent lodgement in Philadelphia as elsewhere, in ing of their Academy last year. "Our Opera," as the Philadelphians called the Gazzaniga and Brignoli troupe, now on its return to its fond home, meets with but moderate encouragement, and one of the newspapers there confirms the private reports that the operatic furor in Philadelphia proves to be but a fashionable excitement" and a "sham." The bust of last year's favorite, Gazzaniga, adorns the foyer of the Academy, and La Favorita sings to anything but crowded houses. . . Mlle. VESTVALI, with her opera troupe, has been reaping laurels and dollars in Havana, and is expected soon in New Orleans. While Mme. FREZZOLINI is concertizing in New Orleans, the Parisian journals are lamenting her death and giving biographical sketches of her. Think of a tenor, 103 years old! That was the age of M. DARIUS, who died a few weeks since in Rouen. He sang the De Profundis at the funeral of Louis XV. ... The London Musical World copies an article with the following heading: "A Yankee Athenian View What a careful man must that editor be! Copying of Thalberg, (from Harper's Boston Weekly ')." from the "Journal of the Civilizers" and fastening the matter upon Boston shoulders! . . . Mr. SATTER, the pianist, seems resolved to make himself a hero, and such a man finds hero-worshippers. One of the papers says he has composed three operas, five symphonies, six piano sonatas, two (piano) quartets, three trios for piano, some string quartets (as many as Fry, we wonder ?), and about one hundred solos for the piano." It may be added, he has also written his own life, reviewed his own works, and defined his own position in the "Music of the Future," and he is still a very young man. . . . BERLIOZ is said to be busy over a grand serious opera, the libretto of which, written by himself, is derived from the Iliad. A NEW CHANT BOOK. -Messrs. Ditson & Co. have in press and nearly ready a Collection of Chants, selected chiefly from the choir books of the English Cathedrals. One of the leading features is the introduction of a new system of Chanting, whereby not only choirs, but Congregations, may readily learn to perform this part of the service. Competent judges have pronounced this Collection to be by far the best that has ever been prepared, and the publisher is desirous that all organists and leaders of choirs should examine the work. This work will also contain the Canticles of the English Prayer Book, so that it will be available in the Canadas and British Provinces in North America. Musical Correspondence. WILLIAM HENRY FRY'S "LEONORA." NEW YORK, MARCH 30.—The event of last evening at the New York Academy of Music cannot fail to interest every American musician and amateur. It was the first great movement of encouragement to American Art ever made by an operatic manager. It is reasonable to hope that the attention which has always been denied to our native music, may be bestowed upon it from this time forward. Leaving this consideration for the present, let us speak briefly, very briefly, of the performance, and of the work performed. "Leonora" is not a new opera. It was written in the early part of 1845, and was first produced at the Chestnut street Theatre, in Philadelphia, the composer's native city. The English version proved most successful. A few years after, Mr. Fry procured an Italian translation, in the hope of seeing it produced abroad, which hope was not realized, as foreign managers would not even look at it. It has remained in obscurity since the time of its original performance, known only to a few amateurs through the published piano-forte arrangement, which aroused no especial desire to become more intimately acquainted with it. In fact, the lack of melodic originality never failed at once to strike all who examined it. But its performance by artists of the highest talents, and the remarkable effects which the superior orchestral accompaniments reveal, show that it has been too hastily judged. "Leonora" cannot be pronounced a great work. It cannot rank with those of Weber, nor yet with those of Donizetti. And the undeniable resemblances between many of its passages and portions of Bellini's operas, make it impossible to say that it is superior to the lyrical dramas of that composer. On the other hand, it certainly rivals in interest any of Bellini's operas, and surpasses them all in wealth of instrumentation. Respecting the resemblances of melodic ideas, it must be admitted that they exist in profusion; but to charge the composer with intentional plagiarism would be unjustifiable. And there are not a few melodies, bright and beaming, for which Mr. Fry is nowhere indebted, except to his own invention, and which have a vitality and freshness delightful to hear. Compared with the three or four last operas of Verdi, Leonora" is most agreeable and pleasant to the ear on the whole, a work which may be enjoyed more than once, and which truly leaves a sunny, cheerful impression upon the artistic sense. The representation last night was excellent, in view of the few and hurried rehearsals. Mr. ANtiringly. The artists all played and sang with a SCHUTZ worked like a hero, enthusiastically and unwill. The audience, unhappily, owing to the customary abstinence from public amusements which is observed during Passion Week, was meagre. Still the triumph was most positive. The composer was five times called to the front of the stage, and induced to utter a few words of acknowledgment. The success would have justified a number of repetitions, but only one was given. Should "Leonora" be produced in Boston, you will hear a work teeming with flowing and graceful, if not novel, melody, marked by great dramatic expression-one to be regarded with genuine satisfaction as the first of American lyrical dramas. ROME, FEB. 13.-I am much perturbed in spirit about my hobby. I fear VERDI has fallen into a state of premature dotage. I base this fearful theory upon undeniable facts, and though I hope I am deceived, it is my duty as your correspondent to let you know the result of my observations, no matter how unfavorable they may be to my own cherished hobby. I know my duty and with Spartan resolution I fulfil it. In the first place, it is very certain that Verdi's late operas have been little else than failures. His Simone Boccanegra, which he wrote for Venice, was produced in Rome a few weeks ago, but was an utter fiasco, though it is said he had in it completely altered his style, quite cut the acquaintance of brass, and that of the fifteen melodies of the opera, he wrote fifteen in the minor key. The manager soon withdrew this work and produced another-Verdi's very latest — an opera called Aroldo, composed for the present carnival season at Parma, and now dragging its slow length along in that city, as well as in Rome. NEW YORK, MARCH 26.- We are overwhelmed with music just at present:-opera four times a week; concerts of all kinds and at all times of the day, and a similar prospect in view for some time to come. Yesterday I had the honor of "assisting" (in the French sense) at two interesting occasions of the kind. In the one case, Painting lent a friendly hand to her sister-Muse. There stands in one of our quiet side-streets, a large handsome building which is divided into studios for artists, and also contains, if I am not mistaken, dwelling accommodations for such of these sons and daughters of genius as wish to reside there. The studio are expressly built for such – spacious and lofty, with the light falling from above. Two of these are inhabited by a couple of sisterartists, who issued invitations for yesterday afternoon to a private matinée to be given by Mr. SATTER at their rooms. It was a charming gathering, particularly so from its chief element consisting of ladies, the sterner sex being represented merely by an Artloving Reverend Father, and sundry amateur and artist followers of the two Muses. Mr. Satter showed himself in a variety of styles. The concert opened with the Tannhäuser Overture, of which his arrange-toninus, together with the arches of Titus and Septiment is even more astonishing than that of the "William Tell," which he gave us subsequently. Liszt's "Hungarian Rhapsody" was also splendidly rendered; but in a more delicate, dreamy composition, which was not familiar to me, and which was more like what every other virtuoso plays, Mr. Satter's orig-standing on the banks of the Tiber, almost opposite inality was lost for a while. In Weber's "Invitation to the Dance," too, he took too many liberties with time and the pianos and fortes. At the end, when only a few listeners remained, he acceded to their request for something by Chopin, by playing the second Ballade very finely. I learned on this occasion that Mr. Satter intends remaining in New York. Last evening a Musical Soirée (of annual recurrence) was given by "the Congregation of Grace Church" for the benefit of Mrs. BODSTEIN, formerly Miss JULIA NORTHALL, who has for years been the Soprano of the Church. It was a strictly private affair, not having been advertised at all, and all the tickets (at $2) having been disposed of by private distribution. It was quite a satisfactory concert highly so, indeed, in its vocal parts. Mrs. Bodstein, with her sweet, innocent face, looking not a whit older than she used to many years ago, sang as charmingly as ever, several pieces of various styles. They were an aria by E. Millet, a talented resident composer; an English Ballad by Bellchamber; and an Easter Anthem, composed expressly for her by Torrente. Besides these, she sang, with Madame D'ANGRI, the duet from the Stabat Mater, very finely. The great contralto also appeared to best advantage in the Rondo from Cenerentala and Handel's "He was despised." The instrumental perfor mers were Messrs. APPY and G. W. MORGAN, who played together a duet from Don Giovanni by Wolff and Vieuxtemps, and each a solo. Having heard the duet this winter from Thalberg and Vieuxtemps, I could not much enjoy an inferior rendering of it, nor were the soli particularly attractive. To-night Mr. Satter gives his second concert; the Huguenots" are also given for the last time, and apropos of that, I must give you the newest instance of Ullman's ingenuity. This performance is intended for FORMES' benefit; but as "artists generally sing or perform some extra piece at their benefit, and the length of the 'Huguenots' will not admit of this, 'Martha' is to be given as a Matinée Opera to-morrow, as a part of to-night's performance" and mark this"every one who buys a ticket (with or without reserved seat) for to-night, will also receive one for the Matinée." Unheard of generosity! So to-morrow we are to have Formes for the last time in opera and in one of his best parts. -t Immediately after having devoured St. Peters, and the Forum and the Coliseum, and the Temple of An mus Severus, and not a few obelisks, I found time to glance at the musical prospects offered to me in Rome. There I saw a placard announcing Aroldo to be performed at the Teatro Apollo; of course I went to the Teatro Apollo. It is a fine large building, Hadrian's tomb, alias the Castle of St. Angelo, and within sight of St. Peters. On entering, the visitor finds himself in a large square vestibule, adorned with marble busts, and furnished with a rusticated fountain of real water. From this a wide staircase leads into an elliptical Foyer, where over the door we read the names of Carolus and Alexander Torlonia, the well-known Roman bankers, to whom this theatre belongs. It is only opened for operatic performances and only for some two or three months of the year. The interior of the house is spacious and that is about all that can be said of it, for it certainly is far from handsome. The prevailing hue is a Quakerish-drab, and as the building is lighted by only one attenuated chandelier, the effect during a performance is rather depressing than otherwise. The opera was Avoldo, and I prepared myself for a treat; for the man that wrote Ernani, and my own namesake Trovatore, I thought could not but produce something good. The opera opened well. There is quite a lengthy overture, in which a sweet, delicate theme, performed by the cornet, is followed by a cabaletta; then there is a crescendo movement, the original subjects are repeated, and indeed the entire overture seems to be modelled after those of Rossini. In the first act, I remember but one thing that is striking an andante air, for tenor- - the same which is played by the cornet in the overture. In the second act is a curious rather than pleasing concerted piece, sung without accompaniment. In the third act a very weak imitation of the Miserere in the Trovatore, and the fourth act, a tolerable finale concerted piece. But with this pennyworth of bread there is a most intolerable deal of sack in the shape of unmelodious melodies, unmeaning concerted pieces, and dismal recitative. The first act is the best, and in addition to the tenor air above alluded to, contains a rather good duet for baritone and soprano; but the subsequent acts are very weak and the opera increases in heaviness as it draws near the close. This is some thing unusual for Verdi, who generally works his operas up to a suitable climax and preserves his best morceaux for the final act. The tenor part is by far most prominent, and the soprano has not a single air worth mentioning. The baritone has one good air, and the basso has none at all, good or bad. I do not give any account of this plot, for it is to me both a stumbling block and foolishness, especially in the scene where a tribe of Scottish warriors appear armed with huge Turkish yataghans; neither do I mention the names of the artists, for they were so mediocre as not to be worth mentioning. The audience was very cold indeed, and I was forced to confess that Aroldo from which I had anticipated so much, was a very poor affair, wholly unworthy of the author of Attila, Traviata, Trovatore or Rigoletto — and judging from the depreciatory opinions Dwight's Journal has expressed in regard to these (especially poor Rigoletto, on which it has poured out whole vials of condemnation and satire), its opinion of Aroldo will not be very exalted, when told that Rigoletto is to Aroldo what Don Giovanni is to Rigoletto! It seems as if Verdi had received an order to write an opera, and wrote one to order, but without putting his soul iuto the work; and when the heavy, spiritless affair was finished, he called it Aroldo, and sold it to the good folks of Parma, who have been most terribly taken in thereby. Another evening I attended the Teatro Valle, a theatre somewhat smaller and handsomer than the Apollo. The opera was the Sonnambula, with Madame GASSIER as Amina. This lady is a favorite in England, both in opera and in Jullien's concerts. She has excellent execution and a powerful but not melodious voice. In person she is large, unwieldy and Alboni-like, with Italian features and dark eyes, would do admirably for a Lucrezia Borgia or Semiramide, but is wholly unfitted for the character of Amina. Otherwise, the opera was execrably per formed. The chorus of about seven women and about a dozen men was forlorn, the basso so bad that the beautiful solo, Vi ravviso, was omitted; and the tenor, though much better, was not up to the mark. As is usual, the lovely duet, Son geloso del zeffiro, was omitted. This exquisite gem, one of the most beautiful morceaux in the opera, has been sung in America by Sontag and Pozzolini only. Even La Grange omits it, and this omission is the only thing that makes her Amina inferior to that of poor Sontag. But in Rome they sing another extract in Sonnambula that is invariably omitted in America; it is a very pretty little quartet in five flats, sung in the last act by the characters of Lisa, the Count, Teresa, and Elvino. On the whole, operatic music at Rome - where the most successful opera ever known, the Trovatore, was first produced-is at a very low ebb. The singers, with the exceptions of Madame Gassier at the Valle, and Signor GOLDONI (who does not take part in Aroldo) at the Apollo, are all very mediocre. The choruses and scenery are at both theatres shocking. At the same time the prices of admission are very high for Italy, being at the former theatre 35 cents, and at the latter 50 cents to the parquette; there are no elevated and democratic accommodations for the "gods." These prices are, however, much higher now, it being Carnival time, than in the other months; in other seasons the admittance to the Valle is but 20 cents. Both theatres are nightly crowded, and though Madame Gassier draws forth applause, the audience are generally so cold, that it is fair to presume that the music in Rome during the present season is not what the Romans are accustomed to, and their coldness is attributable to reminiscences of other days. Perhaps the only thing in which I am disappointed in Italy is in its music, and the musical cultivation of its inhabitants. It is true that even the smallest towns have opera-houses, but the style of performance is poor. Then, like many other people, I had expected that in Italy, music was in the domestic circle brought to almost professional perfection, and that every other young man was a Mario, and almost every young woman a Grisi. But I find myself much mistaken. As a general thing there appears to be no more real taste for music here than in the United States; certainly there are not half or a quarter as many piano fortes or hand organs in proportion to the population, if that is to be taken as any index. TROVATOR. |