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Translated | for this Journal.

Bach's Piano Compositions. LETTER TO A FRIEND. From the German of Rocatitz.

You ask if I will laugh at you, because, in spite of the best will, you cannot relish the piano works of Bach? Do not believe it, my dear A. Good things require time. No tree falls at the first stroke. Remember: there was a time, too, when we found much in Homer tedious; when we scarcely endured the mixture of the comic and the tragic in Shakspeare, and read Goethe’s “Tasso” only to copy out beautiful sentences. And we had as good a will about it as you have here, and possibly more zeal. But commonly

there is as little done with what is lightly termed | | good will, as there is with what is lightly called |

| sound human understanding. To such good will, various influences of the

there must be added

which is the result of moment on one’s mood, earnest, persevering and well-ordered effort. This is what I am now to write about. Side by side with your will I will place my patience, and when we have united this respectable but rather faint- hearted pair, I will call up, instead of the former, your sense or feeking for Art, and, with your leave, will introduce to him my experience. A more vigorous pair! Here we may hope a statelier marriage, which, with God’s blessing, shall not be without fruits.

In the first place let me repeat to you some propositions, in the way of marriage contract, which we all know and confess, but which, when it comes to the application, we are very apt to forget, like other marriage contracts.

Art is certainly a play, but no child’s play. It is meant for recreation, but not for frivolity ; its aim is to please, but not to please the low.

BOSTON,

; ‘ _ Cleveland, 0.

“SATURDAY, OCTOBER

Vou. XII. No. 1.

7 Diamonds do not lie in the streets; nor under | thin earth, like potatoes; but in deep mines. ; And when they are brought to light, and even polished, you must still examine them closely, to | distinguish them from Bohemian stones or British

| steel. Lessing says: No painter can draw a nobler head than his own; and, rightly understood, the

| statement is unobjectionable; we may add to it,

| and say: No one can understand and enjoy a nobler. one can really understand and enjoy works so

unique in their kind as the works of Bach. It | requires still more, if one belong to an age when | all are nourished upon works which seek the goal | There is no help for | | ward Bach’s works, as I have before related pub-

by the very opposite path. it; one must confess, I am not made for this branch of the beautiful, and cannot appreciate it ~—which is passing a severe sentence on his own love of Art—or he must form himself for it ; that is to say, he must carefully excite, faithfully nour- ish, and skilfully use, whatever in him lies for such an end.

How so? youask. There are two ways here: one leads from above down to the centre, the other from below up to it. The former is the theoretic, the latter the practical way. choose the first? No, you say; that is too long and dry for me. If I can reach it by the second, I'll take that.—I have no objection. We remain then on the practical way, as being the correct one and at the same time more pleasant. Only we are not to promenade at leisure through a garden of roses.

You smile, and intimate that my precautions are designed to hide my desperation in pointing out this way to you. It divides itself, to be sure, into many footpaths ; and who will dare maintain, that mine is the surest? Or must it necessarily suit you, as well as me? [ will describe to you | how I arrived at an understanding and reverence of the works of Bach; and I am certain, I shall remain my life long not less true to them, than to the quite heterogeneous works of other really great masters of the past and present time. You may then follow me, or turn occasionally from my path; only do not begin what you are not resolved to finish.

While a boy at school, I was obliged to help perform the eight-part motets of Bach: this pre- judiced me the more against the master; I was shy of him and of his works. Heaven knows, I only learned to read them firmly through fear of severe punishment; therefore I thought of noth- ing but to bring out correctly what I found there written; I felt no satisfaction in it, except joy when it was well over, and I often sighed for a new song, or that the Spirit’ would help me in my

It presupposes not a little, therefore, if

Will you |

in firmities. Only when I reached the years when anew world gradually opened upon me and closed up my voice for the soprano, was I at times car- Asa father pitieth his children, and: by the former with devout emotions, by the latter with lively enthu- siasm.* But as to closely analyzing what this influence was, or as to reflecting how it was pro- duced,—I was not moved to doit. Enough for me, as for almost all young persons, (and for most, all their lives long,) was the total impres- sion; I had no outward occasion to come nearer to Bach; I was contented with a timid reverence tor him.

Then Mozart came to Leipzig. I was often about him, and an eye-witness of his behavior to-

ried away by: Glory and honor;

licly.t....That inflamed me. I got together all of Bach’s compositions I could hunt up. With zeal I fell to work on them. It would all go at once, right off—as one thinks in his nineteeth year; but nothing went—as one finds by expe- rience in his nineteenth year. I set before me Bach’s Motets, and also some of his Cantatas; by far the greater part of it seemed to me like a fer- menting chaos, and I saw, in my haste, no more than one sees in the show-box of the hurdy-gurdy man at Rag Fair:

How all four elements

Are mingled and confused—

* “Sing to the Lord a new song,” and ‘The Spirit helpeth our infirmities,” are two of the most difficult of Bach’s motets. ‘Asa father pitieth his children,” is one of the most humbly pious, and “ Glory and honor” one of the sublimest movements among all Bach’s works of this kind.

+ Anecdotes from the Life of Mozart, in the first year of the Leipzig Musikalische Zeitung. The fol- lowing words refer to our present purpose. ‘ At the suggestion of the then cantor of the Thomas-Schule, Doles, the choir surprised Mozart with the execution of the eight-part motet: Singet dem Herrn ein neues Lied, by Sebastian Bach. Mozart knew this master more by hearsay, than by acquaintance with his works; at least, his Motets, then unprinted, were entirely unknown to him. The choir had scarcely sung a few bars, when Mozart started; a few bars more—when he cried out: What is that? And now his whole soul seemed in his ears. When the singing was over, he exclaimed, full of joy: That is some- thing once more from which something may be learn- ed! They told him that this school, in which Bach had been cantor, possessed and guarded asa sacred treasure the entire collection of his Motets. That is right! that is good! cried he. Show me them !— But they had no score of these vocal pieces; so he had the copied parts handed to him; and now it was a delight to the silent observer to see how eagerly Mozart sat down, placed the parts all around him, in both hands, on his knees, on the nearest seats, and, forgetting all else, did not get up till he had carefully looked through all there was there of Sebastian Bach. He begged a copy, which he prized extremely.”

210 That was vexatious. I tried to help the under- standing through the ear, and took out the piano pieces: I was not more fortunate. Modern piano-forte concertos I could play, but not such pieces for one pair of hands. That was still more vexatious; and what I brought out tolerably, would not sound at all well to me: that was the most vexatious of all. I threw away the whole collection, and exclaimed, like St. Jerome, when he had the same luck with Lycophron’s Cassandra as I had with Bach: Si non vis intelligi, non debes legi !—Not until several years later, when I was invited to work publicly for musie by editing a journal especially devoted to it, did I return to my collection, less from inclination than because I held it a duty to know the most excellent in every kind, before I undertook to speak about it. But, not to make another vain attempt, I be- thought me of a plan, as well for my study, as for my execution of that master’s works.

What was Bach’s main object in his labors ? I thought it best to understand that first of all. His leading purpose is not hard to discover, since scarcely any composer has ever pursued his pur- pose so strictly, putting all else aside. T found the following:

1. If you consider Bach’s works in themselves, in their internal structure, it is clear: The artist

will not only combine the greatest unity with the utmost possible variety, which every one should ; but he will rather sacrifice somewhat to the last than to the first. Look at his best works, my dear A.: for only by the best a man does, only by that in which his will expresses itself the clearest, and in which he comes the nearest to what he has willed, ought we to judge him—look at these works of Bach: for each one of his pieces he chooses only one main thought, with which he then associates one or more accessory ideas, which, however, correspond so perfectly with that, and attach themselves to it so naturally, that it seems for the first time to come fully out and perfectly express itself when in their com- pany. These ideas now he brings, with inex- haustible depth, into ever new and extremely various relations to one another; he separates, unites, turns and twists them in all conceivable ways, and even till they are exhausted ; so that one may maintain of many of his works, as of those old German church architects, that it would be impossible for the most practised eve of a fel- low artist to perceive all, until he had carefully examined every part, and made himself inti-

mately acquainted with it. Hence everything in

Bach’s most perfect works seems necessary, (as if

it could not have been otherwise without injury to the whole,) and yet at the same time all seems free, each part as it were only self-conditioned.* )

This obstinate economy, this tenacious and ex-

tremely sparing use of material, must seem like poverty, meagre monotony and dryness, to those who cannot keep hold of the ini form, but would fain be interested by multiplici v of masses

and varieties of outward forms and manners of expression.

* Both of these excellencies the t ter—strange to say—accomplished in the most different kinds of his art, from compositions with the greatest number of

real parts ever conceived by any artist, down to pieces

ble even to

for a single violin, to wh mposs vith melodies of his own invention, but with 0 ost difficult given

put a bass; nay, he did it

old chorals in his

melodies, as those of the

Cantatas, &e.

DWIGHT’S JOURNAL OF MUSIC.

2. If we consider Bach’s works with reference | to those who hear them and are to feel their | effect, it is clear: Our artist makes his appeal, as all true artists do, to the whole man; but he re- verses the order which the most mark out for themselves, or which they, following their indi- viduality, adopt instinctively. He is very seldom what we commonly call agreeable, or flattering to the outward sense and to what passes over unconsciously from sense into feeling. Least of all is he so in his best known compositions, in those for the piano and the organ, as well as in those for the voice alone. In the works for voices and orchestra he employs indeed for this end not unfrequently the peculiar charm of this or that instrument, and herein he is at times as tender, as peculiar, as strange and piquant, as he must have been (according to Hiller'’s testimony) in the use of the various stops when he played the organ. — Bach, then, gives little in the way of sensuous charm and excitation. He offers in- deed rich matter to the imagination, hut seldom by direct appeals to it, always rather through the medium of thinking. He often takes hold of the feelings, but for the most part ona side where most men are not very susceptible, and where even the most capable and best cannot at al hours follow him: namely, on the side of the sublime and grand. But when he has once taken hold of this feeling, he holds it power‘ully and unalterably up to the very climax. Dut mostly he excites and occupies the understanding; not the cold and dry, but the living. glowing and all- penetrating intellect. Hence to one. who cannot think during his artistic enjoyment, his works are very little ; such an one will never take heme to himself their most essential excellence, nor will he even find it out.

[Conclusion next week.] <a

Disputed Points about Handel's Music.

(From the Atheneum, July 4)

Dr. Crysander, the German gentleman entrust- ed by the Halle Committee with the task of writ- ing the biography ot Handel, to be ready tor the centennary periormances of 1859, and to accom- pany the new German edition of Handel’s works advertised—is now in England in quest of mate- rials. The old sources. the old lives, and the old errors, lie, we know. within a small compass, and are ready at hand. It seems like offering a piece of Job’s comfort to a willing laborer to say. that the difficulties of clearing out new channels of information, and of really settling the disputed points which belong to the music of this greatest of musicians, demand the devotion of twenty rather than of two years if they are to be com- pletely met. Yet we must hope that they will not be lost sight of; since if sources of inquiry are only indicated, musical antiquaries of 1959 perhaps may be found willing to explore and to admit what is now left unsearched and unques- tioned. Tow loth the world is to receive testi- mony and to examine evidence, we are reminded by the new Preface written by Mr. Macfarren tor

it

the authorized work of “ Israel” put forth by the Sacred Harmonie Society. In this, we find the

puzzling discovery years ago announced and veri- fied by the Athenaum, of the identity of the Ker] Cunzona with the chorus “ Egypt was glad,” ac- knowledged jor the first time, by any writer un- connected with this journal. Along with this are other admissions and acceptances which are no less remarkable.

‘The First Part [of ‘Israel,’ writes Mr. Macfarren] contains two appropriations of inconsiderable impor- tance from the conposer’s ‘Six Fugues for the Harp-

! ; there are in it also four prominent ideas derived from an Italian ‘Serenata’ for three solo voices and orchestra of Alessandro Stradella, of which M. Schelcher possesses a manuscript, and, what is

sichord’

| della.

much the most remarkable, an adaptation of an organ fugue (or, as the author defines it, a Canzona), by Johann Caspar Kerl, with whose writings, as with those of all his eontemnporaries, Handel was familiar, and who, according to Sir John Hawkins, was at the height of his career as a writer for and performer upon the organ at the time of Handel’s infancy. The Sec- ond Part includes many more adaptations of very gerext importance from an unknown work of which it is here necessary to give some brief account. This is a ‘Maenificat’ with Latin words, of which a copy (most likely the original) in Handel’s handwriting is in the collection of his MSS. in Buckingham Palace. The copy is defective of the last three pieces; but there is a complete transcript of the work in the pos- session of the Sacred Harmonic Society, which sup- plies the deficiency. For the collation of the trans- cript with Handel’s MS., and the proof this affords of the work being Handel's composition, the musical world is indebted to the researches of M. Schelcher, whose biography of the composer affords most copious particulars upon this interesting subject.”

By the above we now have “ four prominent ideas” in the first pari of “ Israel” given to Stra- Yet the Magnificat, which is described in one manuscript as * by” Erba. is once again unhesitatingly attributed to Handel. because an incomplete copy of the work exists in the hand- writing of Handel. who was known to have copied music by “ Kerl. Frohberger,” &c. &e., and who is here futher admitted in * Israel” to have quoted four prominent subjects from another Italian mas- ter. Ours is not quibbling, under the notion of making a stir by keeping alive a paper war; but a sincere effort to encourage all who deal with a subject of its kind as difficult as Shakspeare’s text. to take some pains to get at the truth, whether it makes a concord or a discord with their own particular crotchets !— Meanwhile, to | turn from what is grave and tedious (however it be necessary), let us mention an illustration of Handel’s procedure at this moment trudging up and down London which is about as quaintly picturesque a thing to see (however bad to listen to) as we have been often treated with. This is the Zumpognatore, who plays on the Ital- ian bagpipe, with his comrades. We met him last under the trees in the Champs Elysées at Paris. Jn that fantastic place no curiosity nor exotie man, woman, or child looks misplaced. Here. beneath the leaden sky of London, these bright-faced, dirty, picturesque shepherd folk, who apparently wander about with a craving to find any creature that will endure their music | and Jook kindly on themselves, is a sight a little sad and strange. Suspicious and comforting pru- dence whispers that, after all, these Southern peasants may not be genuine—any more than were the Bohemians who, some twenty-five years ago. were got up in Whitechapel to rival * the original ‘Tyrolese” at the West-End of London. But experience replies that the music of our Zam- pognatore and his assistant pipers is as shocking and crude as if it came from the Campagna ; and thns. it may be feared, the party is a real thing. Nevertheless, this curious group, that emits such excruciating and droning sounds is linked with Handel's + Messiah” and Corelli's * Nativity Con- certo.”—sinee any one who, with cottoned ears and close-buttoned pocket. can have patience to fo!'ow them and endure the appeal of their mute vet * all manner of streets,” will hear, in its tarn. the Motivo of © The Pastoral

and the well-known phrase which was wroneht up for the orchestra by Cardinal Ottol oni’s eur st (the Roman violinist) in their fresh. if not pure, state. and played with a true piper’s et Never was the alchemical power of Genius to tran:mute and perfect. the rudest

streets,

merry taces, down

Symphony”

ware. more clearly brought before us than while we were al id ng the coarse. sear hing. screcs hi 4 indications of that which the world has been made to love as a strain of perfect and celestiak melody —under the blaze of a fierce noon, on a London causeway.

‘—— >

Dr. Marschner’s Music. From the London Athenxum.

The quality of the music by Dr. M wschner presented at the late concert claims a word of retro-pect,—due to one who gained a good » — more than a quarter of a century since, and who has continued to work indefatigably,—of later

eee

B

years, we suspect, more indefatigably than hope- fully. Three of Dr. Marschner’s operas, ‘* Der Vampyr,” “ Der Templer und die Judinn,” and “Hans Heiling,” have a place in the universal German repertory. The first two made it evi- dent that their author entered on his career with that instinct for the stage which no study can give. It is true that throughout * Der Vampyr” the influence of Weber is to be traced, as clearly as the influence of Signor Rossini in Signor Pa- eini’s * La Schiava in Bagdad”; and it is true that to this resemblance, possibly, the opera owed such popularity as it gained at once. a resolution to fling off Weber's influence are discernible throughout Dr. Marschner’s later and best opera,—that on the “ Ivanhoe” story: which may be called the “ Euryanthe” to his “ Der Freischiitz.”. There is a righ and real color— something oriental and Jewish—in the trial'scene. Friar Tuck’s song is jolly and English,—a ditty to be sung and chorused beneath the shade of oak trees; and the “ Templar’s March,” though built on curiously few notes, is a characteristic march,—as such to be classed with Weber's gipsy tune in * Preciosa.” But from this point in Dr. Marschner’s career, his vigor—not his willingness to produce—seems to have failed him; and with- out his having established a manner of his own, as Dr. Spohr did in is early works, our late guest has followed the law of a similar career, and has since thrown off much musie (if the truth must out) apparently without reality or enjoy- ment, or suceess in any respect commensurate with his industry. That the system of life estab- lishment for musicians has helped at producing such results, we cannot but think: observing that no such progress is to be traced among the second- rate composers of Germany, whatever be their fecundity, as marked the lives and operas of the Donizettis and Bellinis of Italy ;—men buffeted about, compelled to attempt here, to concede there, to educate themselves up to the conditions and requirements of the publics by whose enthu- siasm or condemnation they were to live or to starve. ‘Too many of the German composers who wrote subsequently to the great period of ereation—let us instance Lindpaintner, the Lach- ners, Gliiser, Lowe, that we may not be thought invidious towards one man alone—seem to have become languid, tame, undecided; and the ma- jority of them, we must add, (seduced by a few brilhant examples.) have fallen into their “solemn drowsyhead” without having won the right to sleep by previous academical labor. So far from this, as a body of opera-writers, they have been curiously unlearned. Because Beethoven de- spised his singers,—because Weber (natural mel- odist thongh he was) had never mastered the sci- ence of vocal writing,—these gentlemen, appeal- ing to such high precedents, produced operas so unpleasing for the voices, that they have done in paving the way for the men of the vio declare that a voice is only good not sing, but declaims. There is a De. Marschner’s “ Falkner’s Braut” recollection the most

i il piece for every singing crea-

sing in tune, and, of

their p i

en

i

in our as

1 in it to

that We ever ¢ mie tf

bby neart,

‘to redeem the uneraciousne e counterpoise to this vocal torture riteness of melody when a tune consider what manner of mel- nN? Ger san, et a ha 1: ™

m Germany since the days cones were unearthed after his

d Lieder by Wicken, Proch, Speyer—a or two by Conradin Kreutzer—and

pecimens as Mendelssohn has left us. It © observed as a universal fact in the career the estimable men—of whom Dr. Marsch- ner is one—that a time has come when grimness and mystery have been rated at their proper value, and at which the tune-chase has begun. The foregoing remarks are forced on us by the music given the other day ; which was not bad, hot ugly, not altogether ill made, but not new— and how flat! There was the overture to “ Hans Heiling,” which is an overture in a minor key and an agitated movement, such as could be turned out of a kaleidoscope, full of vapid phrases;

‘ h « Sach sp

eS

| |

Traces of |

OSTON, OCTOBER 3,

French nonsense, timed by a triangle, and vul- garized by the tune being scored for cornet-d- piston. There was a dancing duet for two soprani, which never came to an end—and heavy was the dance, and trite was the tune. There was a Lied about a “kiss” (encored), in which the tune was as common-place, but not so sweet, as the trans- action to which it was devoted. In Dr. Marsch- ner’s long piano-forte trio, again, the triteness of phrase, and the absence of interest and style, must have been felt by every listener as depress- ing. To ourselves, the other day's experience, conjointly with remembrance of other works from the same hand that we have encountered abroad (an Oriental cantata, * Kliinge aus Osten,” among the rest,) suggested the “ rottenness” in the state of German art and ambition, which has rendered such a maturity of mediocrity not merely possible, but a too, with persons whom modest study

(and a little struggle) might have ripened, and freshened. It is not pleasant to say this: but

having been obdurate to the sorceries of Herren Wagner and Liszt,—having spoken of them as delusions,—we cannot receive such an impression of such a cause of such an effeet,—not touch such a seed of such a fruit, as this concert made us do, —without pointing out how the present German frenzy is ascribable, partly to the former too facile acquiescence of the public,—partly to that Ger- man antagonism to a real and unwersal know- ledge of music, which may be dated from the moment when some mighty men began to set

1857.

—less real and excellent than the flimsiest bit of | of the “ Messiah” out of “ Chamber Duets.”

themselves up in opposition to what Herr von |

Raumer has pertly called the “sing song” of Italy,—otherwise to the idea of beauty, omnipre- sent, if not paramount, in an art which is nothing if not poetical, symmetrical, harmonious. —_ —_ (From Scua@icner’s Life of Handel.) Perversions (‘‘ Adaptations”) of Handel’s Songs.

In spite of their reverence for Handel, the

English will only see in him the composer of |

sacred music; and, outside of a certain musical sphere, there are many persons who will be very much astonished to hear that Handel ever wrote an opera. They will go to the theatre to listen to such rubbish as PRigoletio, but no manager dares to risk such works as Otho, Admeius, Aleina, or Julius Casar. Meanwhile, they sing with admi- ration the religious air of “ Lord, remember Da- vid.” which, like the “ Holy, holy, Lord God Almighty,” is, after all, only a secular air disguised —nothing but “Rendi’l sereno al ciglo” of Sosarme ; “ He was eyes unto the blind,” is made out of “Non vi" piaeque” of Siroe; “He was brought as a lamb,” of * Nel riposo” of Deidamia ; “ Turn thee, O Lord,” of * Verdi prati,” a sublime air of Alcina; “He layeth the beams of’ his chamber,” of “ Nasci al bosco” of Hzi0; and “ Bow down thines ear, O Lord,” of * Vieni, o figlio” of Ottone.

I have only cited here the best known exam- ples of these transmutations, but there are a mul- titude of others, many of which have been printed aevain, while the original airs have remained buried in the old editions of Walsh, and are known only to amateurs. ‘The Italian repertoire of Handel has been sanctified (as it were) in this manner, and almost always fraudu- lently ; that is to say, the source has been con- cealed. The smallest vice in these pieces of scrap work is to render unnatural, and consequently to spoil the most beautiful things by putting them into dresses which were never made to fit them. Nothing can be said against a translation when it is executed with ability, and preserves the spirit by changing only the words of the original; but to adapt a cavatina of the theatre to a strophe from the Bible is almost invariably tantamount to an entire change of the composer's idea, since there is no analogy in the sentiments which it is made to express. Music is not “a horse for every saddle,” and although it is not a precise and de- termined Janguage—although it can frequently express diverse ideas, it can not adapt itself in- differently to every description of words. It is known that Handel himself wrote four choruses

over and over

|

211 He

has taken a phrase of a chorus in Acis, “ Behold the monster,” in which the expression of fear and horror is admirable, from another chamber duet, of which the sense was not at all analogous. “Let old Timotheus,” of * Alexander's Peast,” is perfectly similar to the first part of the chamber trio, * Quel fior che al alba ride.” Many similar examples might be quoted. But although an air which has been composed for one subject may sometimes be suitable for another, such is not always the case. Musie is an excessively delicate art; it is the most sensitive of all the arts; the slightest modification—even the alteration of a note—is perceptible; the acceleration, or the prolongation of the time often entirely changes the character of a song; and it is the composer only who has a right to effect such transforma- tions, for he alone can judge of their propriety. There may be different ways (and all excellent) of singing the same thing, and yet all ways may not be good. There are a hundred thousand plaintive melodies which will very well express I wish to die, and some of these may be very well applied to My gricf is great; but some of them would not agree with the latter phrase, and if you applied them to / wish to dance, the result would be horribly incongruous.

The acrobats who give themselves to this kind of trick are still more culpable, when they do not inform the public of the fact.. For example, in the * Holy, holy, Lord,” which is usually printed as “by Handel,” the word “ holy” occurs thirty-one times over. But it never falls together oftener than twice, althouch the text invokes God as thrive holy. Surely Handel would not have been so prodigal of this word, and he would not have altered the biblical text, which repeats three times, “Holy! holy! holy!” [le knew that the number three was a sacred number in the Bible, like the number seven. Still less would he have clothed the invocation of a praying people—* Holy! holy! holy! Lord God Almighty !” with the accents of a man who is calling upon his love, “ Dove sei amato bene,” “Where art thou, my beloved treasure ?”

And, besides, many of these adapters have not even respected the music which they have meddled with. Corte, in his substitution of “ Turn thee, O Lord!” for “ Verdi prati,” has not contented himself with transforming the Jtalian air into a duet, but he has found it useful to change certain passages of it. And what could be worse than to, apply a melody which breathes of “ Green meadows, lovely forest,” to “ Turn thee, O Lord ?” Arnold has, indeed, preserved in all its integrity the air of “ Verdi prati,” while he adapts it to “ Where is this stupendous Stranger ?” (/tedemp- tion.) But it is easy to imagine what would have been the anger of the choleric Handel, if he could have heard his ideas about green fields applied to any stranger. be he ever so stupendous.

The mania for putting every thing into their prayers has betrayed the English into some most unworthy actions. If Handel had written a “ Vive amour!” or a “ Here’s to wine!” they would have made a canticle of it. In 1765, they had the audacity to introduce into Israel in Kqypt a dozen such ‘things as “Great Jehovah, all adoring,” fitted to the music of “ Di Cupido impicgo i vanni” (“J borrow Cupid’s wings”), from Rodelinda ; thus daring to set Cupid's quiver upon the shoulders of Omnipotence itself—an act which seems to me monstrous, in an artist:

yoint of view, and I am astonished that the Eng- lish. generally so religious, do not regard it as positively blasphemous.

The Rev. Rowland Hill, when he was reproach- ed with similar practices, wittily replied: “ But the devil must not have all the good tunes.” A man of wit can always extricate himself by a joke; but that does not satisfy the question of propriety, and it is astonishing that churchmen do not regard this more seriously—for to sing a psalm to an air taken out of an opera seems like decorating the altar with the detested rags of the theatre, or dressing up a bishop in the costume of “ the comic man.”

Even those who have inherited Handel’s own books have left in them traces of similar profana-

_—_——-— -- —_—-- - — ——E——— ase ———

212

tion. Thus, in the copy of “ Deborah,” which Handel himself’ used for a long time, and which eontains a number of notes, and even entire pect in his own hand-writing, the original air of

ael, “ To joy he brightens my despair,” is folded down as if to be ty and is replaced by three new pages, with “ To joy he brightens” set to an air from Siroe, “ Sgombra dell anima”! Many other examples of this might be cited ; for really some persons seemed to think that they might take the most incredible liberties wit music. In the eighteenth century there were editors who had the barbarous audacity to correct Shakspeare, in order to “render him fit for the stage ;” but no one has dared, in imitation of these musical arrangers, to put the description of Queen Mab into Othelio’s mouth, or Hamlet's soliloquy into that of Falstaff.

Even while Handel was living, this adulteration of his compositions was practiced. All collections of songs about that date are full of things “ by Mr. Handel,” but of which he was certainly guiltless ; and these are always airs from his operas, and even from his oratorios, adapted to English rhymes. The Thesaurus Musicus, tor example, contains “* A baechanal— Baechus, god of mortal pleasures, by Mr. Handel;” which is oy, a gavot from the overture of Otho, out of which the adapter has manufactured a toper’s duet. And not only did they distort the great master’s music by marrying it to words which bore no sort of

express, but they even degraded it by coupling it with low comedy matters. In the British Mu- seum there is a song, “ On the Humours of the town,” a dialogue between Columbine and Punch, to a favorite air of Mr. Handel’s, “* O my pretty Punchinello!” Itis an air from Rodelinda, * Ben spesso in vago prato,” which is heré lent to Col-

their amenities. Harry Carey, the original pro- faner, had at least the good faith to point it out ; but Bickham inserted “ O my pretty Punchi- nello!” in his * Musical Entertainer,” merely observing, “ The musick by Mr. Handel.” !!!

* ¢ © “Comme avec irrévérence

Parle des dieux ce maraud !""—Amphytrion.

—-+

The Humble Confession of a Tenor. (From Dickens’s Household Words. )

I live in a suburban village, which fast begins to be a town. London bubbles up here and there all along our line of railway. We have improve- ment commissioners, gas-lamps always a-light when there is no moon, and postmen with red coats. We have our squabbles shou church-rates, and boast a newspaper, which, by the way, is quite able to boast for itself. In summer we have our ericket-club, (the match between little Toddle- combe and Ourselves is a marked era in the history of cricket ;) we have our boating, too, for we live near the river; now and then we have dancing and evening parties. Still, I required in the winter something more; when behold Hullah, like a ripe plum, jumped into my mouth; a music- class was formed A.D. eighteen hundred and fifty- five. 7

I am a shy man, and I understood, froma very reliable quarter, that ladies were about to join the class. I drew back. How was I to stand up and to be looked at, worst of all, to be heard by those fair creatures? However, I ventured. ‘In my first attempts at harmony, our master stood beside a large black-board—we were ranged on benches row behind row; and I contess that I ungallantly left the ladies to bear the brunt of his observations and corrections, myself shamefully retiring behind the tallest and stoutest of the lovely singers. Other gentlemen followed my example ; and, for some time, we were left to ourselves, although now and then alluded to, rather than addressed by our teacher. Often have I felt that his eye was upon me when I forgot for a moment my fears, and ventured a little way from my shelter. Sometimes he said that he could not hear the gentlemen's voices. This simple but too true observation filled me with trepidation. At last we were obliged to come forward, dragged into the light with all our false notes and bad time; and it is impossible to

umbine and Punchinello for the interchange of

relation to the ideas which he had intended it to |

describe the agony of our situation. Mr. Batten, (Mr. Hullah’s deputy,) our able and kind master, exhorted us to make mistakes, rather than not sing at all. “Gentlemen,” he said, “I wish that rou would make some mistakes.” In this respect i soon became his best pupil.

Miss Sophia Lute was, from the commencement, a member of the Hullah class; taking her place at once among the soprano voices. I do not know why she joined us, for she knew music sufficiently well before. I believe that she did it out of pure good nature. Sometimes, when I made abortive attempts to reach G—a note to which I have a fixed dislike—the other ladies of the class smiled. One young lady even laughed, and I hated her. Two other tenors, who confided their dislike to me, also hated her; but Miss Sophia always looked at me in a manner so kind and encouraging, that, although I never properly reached G, I felt pleased with my mistakes for bringing out such a look. G, indeed, has never been attainable to me.

There is always more shyness among the gentle- men than among the ladies. Several gentlemen on the stock exchange, a lawyer, and a Greek merchant, have successively come to our class- room with the intention of joining us; but have never summoned sufficient courage ; Jones Smith (brother of Smith of the Admiralty, our best bass) actually rangaway one evening, after knocking at the door.

We have three facetious members; one of whom, instead of singing, imitates all the others, one by one, in a ludicrous and covert manner, between the pieces. They give us, in addition, puns, conundrums, and witty observations. Miss Sophia does not like this. She says that it interrupts the singing. ‘The humorous gentlemen were on the qui vive a few days ago in consequence of an observation made by a very sharp solicitor, who, seeing 6-8 at the beginning of a piece of music, (to indicate that there were six quavers in the bar,) could not imagine what it signified. He thought that he had seen the figures somewhere else, written in a line, but could not distinctly remember where. .

There have been several jealousies. Those who live on the common looked down on us whose houses are not so stylish. They were quite angry when we called them the common people; but harmony was soon restored.

We have formed a Hullah madrigal club. Simpkins is secretary, and the committee meet every month. Hence, several most delightful yarties. Besides, we have a Hullah picnic, and a Hullah boating association. And from the forma- tion of that society 1 date my present ecstatic state of happiness.

It was on a Thursday in June, eighteen hundred and fifty-five, (1 was brought up to be very careful about dates,) that we had our first picnic. Jones —the bass Jones—who sometimes comes to our practicings and riéunions, has a villa on the Thames, between Teddington and Twickenham ; a very pretty place it is, but more favorable to bass than to tenor voices in winter. I am told that a catarrh quite improves a bass voice; but, at the same time, Nature seems to have settled that the tenor requires more care, and, being scarcer, is the more valuable. So I could never live so very near the Thames as Jones.

It was arranged that there should be four boats —one respectively for the sopranos, altos, tenors, and basses. Of course the sopranos and altos did not row themselves—four gentlemen of the tenors rowed the soprano boat, four gentlemen of the basses the alto. 1 was stroke-oar of the sopranos, and sat just opposite to Miss Sophia. It was agreed as soon as we had made a little way, to sing “ Since first I saw your face,” a very pretty madrigal. But it all went wrong in consequence of my unhappy self-consciousness and my intract- able G. In the second verse, at

“No, no, no, my heart is fast, and can not disentangle,”

I broke down completely. The words were so true, and the notes so false, that there was no help for it—the madrigal was a failure through my mischance, and I felt such a tingling and blushing all over me, that I believe my very oar would have tingled and blushed if it could.

We arrived at our destination without any further misadventure, and found the hospitable Jones anxiously awaiting us with a large party of ladies and gentlemen, whom he had invited to his house for the day; and certainly we had come to a lovely spot. A smoother and greener lawn was never seen, very gradually sloping to the water's edge. Here and there a willow dipped its branches into the river, while at one end of our friend’s property was a little harbor into which our fleet was taken, and where it was safely moored. The house is a long building with verandahs; although glistening in the sunshine, still suggestive of coolness.

Either the sunshine, or the music, or something else, drew Miss Sophy and myself together, and “made us take great delight in one another that day. The words of each song had a new meaning. Then I did not fully know who the kind interpre- ter was; now I do know, and he has since made a translation of my whole life, turning the dark into the bright, the bitter into the sweet, the miserable into the happy, the silent into the chatty, the lonely into the sociable—in fine, the bachelor into the Benedict.

This small and ubiquitous dragoman was par- ticularly busy as we were singing Mondéhichas “ Winter, surly Winter.” I felt deeply the melancholy feelings intended to be conveyed by the first part, which is in a minor key—I was minimus ; but, when the words “ Summer, joyous summer,” burst forth in the major, I was maximus. I was something beyond mazimus when we came to “ Beside her daily I stray,” and “I press her close to my heart.”

We were ranged on the lawn in our usual order —Mr. Batten before us. I have heard since, that Captain Coppercap, R.N., was all the time making a caricature of us, which he did in his best style. There was Smith of the Admiralty, who looked as if he were a disconsolate widower trying to ery. There was Robinson, too; he wrote a celebrated pamphlet on the currency, (it was very kind of him to send me a copy, and I mean to read it.) He has a way while he is singing of staring up at the roof or the sky, as if he were looking out for an eclipse. There were three others, all of whom have contracted a habit of jerking out their hands at each note, not unlike hens pecking at a grain. These were represented with fatal fidelity. Cop- pereap caught also the expression of my face just as I was standing with my head somewhat aside, gazing sentimentally at Sophy.

What a delightful afternoon that was! Most especially delightful toward its close, when I won from the lips of Sophy herself the tenderest of all avowals in the sweetest of all tones. nificent cold collation, during which Jones pro-

posed the health of the tenors, and I answered in |

a manner which drew applause from everybody —tears of sympathy from some; the archery, all but fatal to a stout gentleman fishing from a punt in the middle of the river. Smith has always been suspected of having shot the poor man on purpose: as he is only one step above Smith at the naval department of the Cireumlocution Office. All

a

The mag-

faded from my memory—wholly concentrated on | , |

one blessed moment, a few precious words.

Our return home was by moonlight. “Mark the Merry Elves of Fairyland” was a signal success. To me every thing breathed enchantment. The moonlit river, the dark trees, the murmur of the distant weir, the measured

plash which marked our progress, the light drip of |

the suspended oar—nay, the appearance of a deputation from the elves in any impossible bark, from a nutshell to a leaf of the Victoria regia, would not have astonished me at all—nor did I

Calcott’s

astonish Mrs. Lute (what a mother-in-law she |

makes!) the next morning when I spoke to her about Sophy. She had seen it all from the beginning, and was sure that we were well suited to each other.

Our wedding was the most splendid that had been seen in the neighborhood for many a day. The whole Hullah class attended—Mr. Batten also gave us the pleasure of his company, and conducted us to church.

My dear wife and myself still continue mem- bers of that admirable conductor's class, and find

BOSTON, OCTOBER 3, 1857.

213

that our love for music increases steadily with our love for each other. It was only last week that Yawhaw, of the twentieth Dragoon Guards, to whom I had lent, in a moment of unsuspicious friendship, five pounds, repudiated the debt in the most audacious manner. I was very angry at first; but, on my return to Tottleton in the evening, Sophy asked Smith, Barker, Matilda Long, and May Burgoyne—and after two catches and a madrigal, I utterly forgot the existence of Yawhaw, the twentieth, and that such things as five pound notes ever existed.

What can I recommend better to the inhabit- ants of small towns and villages in general, than a Hullah singing-class. Although the case of the Parish of T'widdledum versus the Rector is very important in the eyes of the world; although the present beadle of Hoggleton-cum-Poggleton is an outrageous despot: although the curate of Talkum Parva does take snuff; although Mrs. Fitz Urse de Courey Vernon de Vere is much to be blamed as the daughter of Sir Augustus de Tadpole, while Mrs. Figgins is still more to be blamed as the daughter of old Bugginson—although all these matters ought to worry all our lives and make us all hate one another—I wish that a Hullah class

were established in each of these great centres of

thought and intelligence ; for peace and harmony are heavenly gifts. a ee -

Gorrur’s SMALLER Porems.— The singular facility with which Goethe’s poems were pro- duced, resembling improvisation or inspiration rather than composition, has contributed in some cases, no doubt, to enhance their peculiar charm.

| “I had come,” he says, “to regard the poetic

talent dwelling in me entirely as nature; the rather that I was directed to look upon external nature as its proper ‘subjecf® The exercise of this poetic gift might be stimulated and deter- mined by oceasion, but it flowed forth most joy- fully, most richly, when it came involuntarily, or even against my will.

“T was so accustomed to say over a song to myself without being able to collect it again, that I sometimes rushed to the desk, and, without taking time to adjust a sheet that was lying cross- wise, wrote the poem diagonally from beginning to end, without stirring from the spot. For the same reason I preferred to use a pencil which gives the characters more willingly; for it had sometimes happened that the scratching and spat- tering of the pen would wake me from my som- nambulistic poetizing, distract my attention, and stifle some small product in the birth. For such poetry I had a special reverence. My relation to it was something like a hen to the chickens, which, being fully hatched, she sees chirping about her. My former desire to communicate these things only by reading them aloud renewed itself again. To barter them for money seemed to me detestable.”

Dwight’s Journal of Music.

BOSTON, OCT. 3, 1857.

The Want of Concert among Musicians.

No one of our social interests seems to suffer

| more from want of organization than what we | may call the musical interest. There is no unity, | except the most ephemeral and uncertain, among

the musical materials. chestra, or a good opera company, or a good church-choir, or a good oratorio, once, you have no certainty that you will find the same inspira- tion in the same place when you visit it again ; the rarest combination has all exploded or crum- bled away after the few first successes.

In no branch of activity do interests diverge more hopelessly than among the professors of this divine art. Devoted to the fairest type of

If you hear a good or-

spiritual and social harmony, to a science which is the most perfect actual illustration of the laws by which the Primal Love distributes itself in in- finite ascending and descending series of discreet, but yet harmonious varieties; devoted to Music, the all-reconciling, in whose universal utterances there can be no antagonisms, no opinions, sects, or parties,—these men, by some most cruel fatal- ity, seem thwarted in all their efforts to co-ope- rate as ministering priests of Beauty and of Or- der to the rest of us poor, anxious, jealous, irri- table members in the general dislocation of hu- manity.

A cruel thing it is, this universal necessity, this inverse providence, of competition. It upsets all harmonious designs, gives the lie to well-meaning instincts, balks the heavenly economy of means and forces, robs society of the best fruits of its choicest talents, tantalizes mankind with the sense of a possession never realized !

Surely, one of our most heavenly inheritances is Art, and especially Music. It is a dispensation not to be dispensed with; a revelation, far above sectarian constructions, of the Divine love and wisdom; a permanent awakener of the emotions that connect us consciously with the whole uni- verse and with its Source.

Such is Music. The passion and the talent for it are thickly strewn among the multitudes of civilization. Every city nowis full of skilful mu- sicians, many of them truly artists. It is aston- ishing how much talent can he counted up in Philadelphia, New York, Boston, Baltimore, and even smaller cities. Germany sends over colo- nies of her Bach-Beethoven-Mendelssohn-in- spired violinists and pianists; Italy of her opera singers; England of her organists, bred up in the school of Handel, with the “ Messiah” and “Tsrael in Egypt” at their fingers’ ends. Whole orchestras come over on the wave of revolution, excite their audiences to rapture, and soon dis- perse to seek out poor individual livelihoods by teaching and by drudging in theatres and balls, still multiplying copies of the “ Pegasus in har- ness.”

Thre is a plenty of this talent, but how una- vailable, either for its own material support, or for the gratification of the hunger for good mu- sic, which no doubt exists much more widely and

There has been too They too have had to

more deeply than appears! little union among artists.

compete for a livelihood. Each depends upon an individual reputation. He must be fhe star, eclipsing all the rest, or he is eclipsed in the pub- lic favor. The solo-playing virtuoso will not combine his talents with other talents on any

condition but that of making his own instrument”

at all times paramount and central. He stands between you and his music. Catch him, if you can, condescending, like a true artist, who stud- ies only how to bring out the soul and meaning of a composition of Beethoven or Mozart, to play the second violin, or anything of that sort! No—he must be first, be all in all; he knows that if he lose his prestige, he will never win an- other audience; for, with the public, the last comer is always the best, and all that came before are naught, are quite neglected and for- gotten.

Now Music is essentially the art that calls for combination. Its true effects are only known where numbers and varieties of talent are or- ganized to one end. The orchestra, the Sym-

phony, is the true type of harmony. But whata fatality has almost everywhere attended orches- tral experiments! The elements could never be kept for any length of time together; as soon as there got to be some unity of feeling and of pur- pose among them, some common consciousness of what they were expressing, some style and char- acter to their performance, they would break up; the ideal, once approached, could not be repro- duced a second season. The civilized necessities of trade and competition had sapped the little musical republic and disorganized it utterly ; and still the music-loving public, whose appetite had grown by what it fed on, complained of lack of music, when there were plenty of excellent ar- tists, drudging on and starving without concert, within a stone’s throw of each other.

One is tempted to the conclusion that there can be no genuine production of music, no steady, unadulterated supply of the musical want, no such thing as a good permanent orches- tra or choir, in the present phase of social pro- gress, where competition chokes all confluent vi- brations, and stuns all finer sensitiveness with profane clamor. We may have to wait till a true organization of all industry shall have worked out this crazing discord, this wolf, as the tuners call it, from the vexed strings of the social harp, and realized a peaceful, cordial unity of in- terests and occupations; till all persons shall be placed beyond physical want, all brought into their natural spheres of chosen and attractive labor, and all educated and refined ;—we may have to wait for this, before society can have the means, the organized economy of forces, for pro- ducing the great compositions of the masters, fre- quently enough and well enough, to make them really available for the delight and edification of mankind.

One who should go much among the low places of music, and look into the orchestras of theatres, where so many plod obscurely on, for the amusement of the sovereign people and a poor minimum of personal support, would be astonished at the amount of genuine musical feel- ing and even genius which has there shrunk into itself, living a dull and moody life of habit. Art is so poorly appreciated as Art, that hundreds of good artists are reduced to this servitude. The humbleness of their position somewhat. shelters while it disguises the artist soul within.

The reigning favorite, the star, that shines suc- cessfully until another star eclipses it, the solo- singer, the Sontag, Ole Bull or Thalberg, suffers quite as much by it. They have to prostitute their | higher nature in repeating old tricks to procure ap- plause. ‘Their sphere is always that of exhibition of individual prowess, before great crowds, pam- pered to excess with feeding upon novelties and prodigies that yield no sustenance. It is not so much their fault ; it is the tendency of the age. It is the form into which the musical genius of the age is forced. It is a form in which genius can- not thrive. It becomes necessarily dissipated. Its creations are restless, fragmentary, wildly aspiring, and without repose. It is the intense individualism of the times, as it affects the sphere of Music. It is indeed a sad time for all artists. In such a restless period of transition from an old exhausted life to an order of society that shall do more justice to man’s wants, genius of all kinds beats the air with random wing. like the eagle in a storm. Competition and Individualism have

214

done one good for Art as for all things: they per- fect and refine to the highest pitch the elements which are hereafter to form harmony. So in Music, this solo-playing is wonderfully developing the powers of voices, instruments and fingers. When shall we have them all combined in a true Is it not a strange anomaly

Unitary Concert ? that you can hardly get two great players to play together, to meet as equals, and merge themselves in any common effort to bring out the meaning and the glory of a great composition? On the contrary, each requires to stand alone, and dwarfs the rest to mere accompaniment. He had rather use the orchestra to set off his concerto with vari- ations, than loyally and heartily conspire with them in rendering justice to a symphony of Beet- hoven. The higher aspirations of artists can create only dissipated music in this sphere. When

worldly interests shall harmonize, when fit sphere

every inborn taste and talent in each member of

genius, and all this labor now expended in an

ill-requited drudgery or in vain show, will be in-

spired to work together con amore to the highest ends of Art and of Humanity. This is a hope

respecting Music which perhaps only the believers

entertaining. Musical Chit-Chat.

~The Twevrrn half-yearly volume of our It is

L> Journal commences with the present number. just the opening of the musical season, and we hope our friends will remember us and send us in the names of many new subscribers. We must also jog the memory of many subscribers who are still delin- quent in their payments. In times like these, a Jour- nal that lives by what true love of Art there in the community, needs a// the little that is pledged to it.

The concert for the benefit of Sig. Guip1 is neces- sarily postponed. Due notice will be given when it takes place.

Mr. James C. TD. Parker has been appointed organist and pianist to the Handel and Haydn Soci- ety, in the place of Mr. Muretver, who has gone to

Albany. We congratulate the Society and the lovers of Oratorio music on this appointment. Mr. Pisa young Bostonian, of liberal culture, in whom the | love of musi prevailed ov professi ynal tastes and intere ! T where he earnestly availed | is to make himself a sound ma \ ! s; very much at home in th Beethoven, Mendels- s0 ! ers, and especially in their « cd works. He is a qu sa musician, fall ot 1 fou mn} Wing himself in know! Su s to him and to the old Il | ! Carn ZeRRARN, the conductor, \ y sail ) Lurope on the Ist of this | month, and will doubtless be here in a couple of

weeks, when the rehearsals of Handel’s “ Israel in Egypt lovers should hail with jov) will be commenced in

(the oratorio of all others which our music-

earnest.... The Italian opera season at Paris com-

menced Sept. 15. Among the stars announced were Grisi, Mario, Alboui, Graziani and Lablache, who it Sh fives.” «.. sa Verdi’s Arolo has had what is called an “immense success” in Rimini, Italy. The composer was called out thirty times the After the performance, the whole theatre, avdience and all, with the orchestra at their head, and with flaming

appears

first night, and so was the librettist once.

shall be open to the education and ‘the use of

DWIGHT’S JOURNAL

the social body, when Unity shall be the law of | society, there will be orchestras and choirs of |

in a better Social Order have the privilege of |

|

torches, marched to Verdi’s hotel. and made a noisy glorious night of it On the Austrian emperor's birth-day a concert was given at the Imperial Lunatic SrauvieL, the great basso, made him there an

Asylum in Vienna. whose melancholy infirmity has inmate, attended. and gratified a party of friends after the concert with Schubert’s * Wanderer.” which he sang with “such a depth of fecling and expression that not a dry eye remained in the circle.”.... Bronze medals. of the size of a five shilling piece, have been distributed among the performers at the late Handel festival in London....WVieuxtemrs and THALBERG are still vibrating between New York, Brooklyn, Philadelphia, &c., and are expected here some time this month, stopping to give concerts by the way at Bridgeport, New Haven and Hartford.

Apert D. ALLIN, a young man of musical pro- mise, and an occasional contributor to this Journal, died last week in Springfield, Mass. He was the only son of the Master Armorer at the U. S. Amory, and is deeply lamented by all who knew him. The Springfield Republican says :

Young Allin had just attained his majority, crowned with the fruit of an industrious and well-spent boy- hood. We all knew him, and loved him. He wasa genius. Since we have been connected with the press. he was the boy-publisher of a newspaper, and, in connection with other boys, wrote the articles, set the type, and engraved the cuts. Since he was ten years old, he has been passionately devoted to musie, and it would be hard to mention the number of instruments he conld play upon. For some time past, he has been the organist at Christ church IIe was a writer of little operas and oratorios. which were performed by chosen companions to delighted andi- ences. If music was to be arranged for an occasion, his was the ready and skilful hand to do it. For

some time past. he has been engaged in the work of

draftsman at the Armory. The last time we met him in the street, he said he was accumulating funds with which to visit Germany for the farther pursuit of his musical studies. In fact, life was opening upon him with the full flush of golden promise; and the eyes of many friends were fixed upon him with high hopes. He is gone, and the dream is over; but he went with the Christian’s character and the Chris- tian’s hope. The family which has been thus sorely bereaved have the sympathy of our whole com munity.

Our Boston School Committee did a good thing in passing the following Orders for the farther intro- duction of music into the public schools :

Ordered, That the study and practice of vocal music, as a part of the system of public instruction, be authorized by this Board; and that two half-hours each week in the Grammar Schools, and such time in the Primary Schools as shall be suflicient, be devoted to it. ‘

Ordered, That the pupils shall receive the same eredits for proficiency and undergo the same examin- ations in this as in other stadies pursued in the schools.

Ordered, That singing constitute a part of the opening and closing exercises of each session of the Primary Schools; and that in the Grammar Schools

: : .

the morning session be opened and the afternoon

session he clo ed with appro} rj t ruigy’ ; a ad that in addition to the instraction ly given bv the music teacher to the first and second classes, musi al notation, the si ring of the seaie, and exercises in reading simple music, be practiced twice a week by the lower classes, under the direction of the teachers.

Ordered, That it shall be the dutv of the Musie Teacher, for the ii being, at the Girls’ High and

Normal School, ti of that institution as may qualify them to teach vocal music in our Public Schools.

) give such instruetion to the pupils

A contemporary has the following tribute to one of our most accomplished native soprano singers:

Mrs. J. H. Lone, of Boston, has recently been taking a part in the State Musical Convention, held at Waterville, Me. The press and those present at the Convention speak of Mrs. Long’s delicious voice in the most enthusiastic terms. This reminds us that a gentleman of this city, who is considered the best authority, recently stated to us, in remarking upon music in England, that there was not a singer among the resident vocalists of England who possessed a more pleasing voice, or was a more acceptable vocalist, than Mrs Long. of Boston. The gentleman has just returned from England. and is familiar with musical matters in Europe.

OF MUSIC.

The Masonic Temple, that seat of the Muses, now occupied as Piano-forte warerooms by the Messrs. Chickering & Sons, and redolent of pleasant mem- ories of the best chamber concerts, has been purchased by the U.S. Government for a Court House! That is indeed a profanation The New York Pbil- harmonic Society announce their sixteenth season. The first day rehearsal, open to associate members, takes place on the 10th inst., Mr. ErsreLp conductor. The pieces will be Spohr’s descriptive Symphony : “The Consecration of Tones,’ Beethoven’s * Leon-

ora” overture and Schumann’s overture to “ Manfred.” The number of performers is now eighty-one, and of associate members eightcen hundred; five years ago

these numbers stood at 67 and about 500 respectively. The New York Courier § Enquirer has a quaint correspondont at Cape Ann, a dear lover of good

musie and good poetry, who has been put upon quite From a popular

country fare in the way of reading. book of Psalmody, which he found there, he extracts the following delightfully fresh and verdant bit of history, regretting that he cannot also give the music to which it appears as appendix :

History informs us that Wolfzang Mozart, the great German composer, died at Vienna in 1791. There is something strikingly tonching and beautiful in the circumstances of his death. Tlis sweetest song was the last he sung—the “ Requiem ” He had been employed on this exquisite piece for several weeks, his soul filled with inspiration of richest melody, and already claiming kindred with immortality. | After giving it his last touch. and breathing into it that undying spirit of song which was to conscerate it through all time as his evenian strain, he fell into a gentle and quiet slumber. At length the light foot- steps of his daughter Emelic awoke him. ‘Come hither, Emelie.” said he, “my task is done, the Requiem—my Reqficm—is finished!” © Say not so, dear father,” said the gentle girl, interrupting him as tears stood in her eyes, “ You must be better—vou look betier, for even now your check has a glow upon it. Tam sure we will nurse you well again. Let me bring vou something refreshing.” “Do not deceive yourself, my love!” said the dying father; ‘this wasted form can never be restored by human aid. From Heaven's merey alone do I look for aid in this, my dying hour. You spoke of refreshment, Emelie; take these. my last notes; sit down by my piano, here, sing with them the hymn of your sainted mother; let me once more hear those tones which have been my solace and delight” Emelie obeyed, and with tenderest emotion sang the following stanzas : |

| !

“ Spirit, thy labor is o'er, Thy term of probation is run,

Thy steps are pow bound for the untrodden shore, And the race of immortais begun,” &e., &e.

As she concluded, says an account before us, she’ | dwelt for a moment on the low notes of the piece, and then turning from the instrument, looked in vain for the approving smile of her father. It was the still, passionless smile which the wrapt and joyful spirit had left. with the seal of death upon those features.”’—From the “ American Vocalist’ Collection of Tunes, &e.

" Tlistoryv, it seems, (adds the letter-writer) kills

Mozart one vear sooner than biography. His wife and two sous outlived him. and he had no daughter and her name was not Emelie. The only thing tree about the above is the “suathin refreshing 3” “f Cyenian

strain” is not in my dictionary. But the sentiment!

The French Opera season in New Orleans promises as well as ever, to judge from the following list of artists engaged :

Messrs. Delagrave and Julian, first tenors grand opera; Junea. first basso grand opera; Villa, first basso comic opera; Maillet, second basso of comic and grand opera. Holtzern, first tenor comic opera ; Debrinay, second tenor comic opera; Rouche, first barytone; Venkel, second barytone. Mmes. Paola, soprano; Bourgeois, contralto; Colson, chanteuse legere; Latouche, dugazon, Mr. Roux, stage man- For drama and choristers. Messrs. Vankel and

ager. Maillet, Mrs. Vankel, Mme. Deligne, Miss Marie Leider. The new members of the troupe are now on

their way, having sailed from Havre on the 4th | September.— Picayune.

The opera, they say, goes on swimmingly in New

a : .

York ; great merchants, factories, banks “ suspend,

but that holds out; its notes are not protested. This

— —_- _ —

215

week they have had Ernani, with LAGRANGE, Mlle. Vestvaui (in the character of Charles the Fifth, baritone!) Sig. MaccarerRt, tenor, and GassiER; and J Puritani, by LAGRANGE, Brignoii1, AMODIO and CoLetTri, (the last three of the Philadelphia troupe.) To-night Mme. Frezzouini sings in Lu- cia, and on Monday in 1’ Flisir d’ Amore. So it goes on, the old story—not a word of Mozart yet, or Weber, or Beethoven. But they have had “ The Barber”’!....Last evening Frezzolini sang in con- cert, with THaLBerG, ViruxtTemps, &c. To-morrow (Sunday evening) under the same anspices, a * Grand Oratorio,” Rossini’s Stabat Mater, is announced at the Academy, when Lagrange breaks the ice in ora- torio, aided by Vestvali,. Mme. Strakosch, Labocetta, Gassier, Rocco, &c., with large orchestra and chorus. Beethoven’s ‘ Pastoral Symphony ” and the March from the “ Prophet” fill the programme. Itis stated that Messrs. Ullman & Co. have made arrangements with the Sacred Harmonic Society (conducted by Mr. Bristow), to unite the opera solos and orches- tra with their chorus, and give eight oratorio per- formances, including the “ Messiah,” “ Creation,” “Qlijah,” &e....Miss Jutiana May announces her second and last concert, before going to the South, for next Tuesday.

On Monday evening the Italian Opera suceeeds the Ronzani Ballet at the Philadelphia Academy. Mr. Marshall announces his stars, engaged for him by Maretzek, with much skill of rhetoric; the novel- ties are,—

Signor Roncont, acknowledged as the greatest Lyric Artist of the age.

Signor TaGuiarico, the great Basso, Theatre Royal, Covent Garden, London.

Signor Sreccur Borrarnt, favorite Tenor from her Majesty’s Theatre, London.

Signora Ramos, Prima Donna from Turin, and Signora TAGLIAFIco, from the Theatre Royal, London. Mme. Gazzanica, Signors Brignoit, Amop10, ASSONI and CoLerti ; with a gleam of coming glory beyond

from the

To which galaxy add the old favorites:

all, for the manager “is proud” to announce that TAMBERLIK, the tenor, is engaged to come after the termination of his engagement at St. Petersburg.— When will it be our turn? Next week, answers Rumor, but we know her not.

The London Committee, who managed the con- certs, readings, &e. given “In Remembrance of the late Mr. DouGias JERROLD,” address a statement of results to the Musical World. They say:

They have considered their personal responsibility a sufficient refutation of any untrue and preposterous statements that have obtained circulation as to property asserted to have been left by Mr. Jerrold, and they now merely add, that unless they had thoroughly known, and beyond all doubt assured themselves that their exertions were needed by the dearest objects of Mr. Jerrold’s love, those exertions would never have been heard of.

The audited accounts show that the various per- formances, readings, and lectures have realized, after the payment of all expenses, a clear profit of £2,000. This sum is to be expended in the purchase (threugh trustees) of a Government annuity for Mrs. Jerrold

and bh unmarried daughter, with remainder to the

survivor

We are happy to add, in conclusion, that, although V hav he« most generousiv ussisted on many hands, and especially by members of the musical profession, we have never consciously accepted a sverifice that could wor he afforded, and have furnished ge ‘ 1 just remancration to many deserving ] ons. We are, sir, vour faithfal) ser- Vants Cuar.ks Dickens, Chairman.

Agtiuour Sviru, Hon. Secretary.

oe 8

Witat tiny Say ov us.—In entering upon a new

Volume, in these hard times, we do not see why we

may not do like others (though it has not been rkness)

hitherto our v and produce a few of the

good words of encour: and commendation

that have con

temporaries. Th

roment to ns spontaneously from our con- first is from the Worcester Pal-

Dwicut's Jourxnat or Music.—The twelfth half-yearly volume of this journal commences Oct, 3d. To those familiar with the manner in which it

has always been conducted, we need say nothing of |

its excellence ; but to those who have the misfortune to be strangers to its pages. we would say that it is the best musical paper published in this country, and probably bas few equals in the old world. This may seem high praise ; but it is the result of many vears’ close acquaintance with its columns, and will be echoed by all who have been its faithful readers. Its contribuiors are among the best musical writers, and its news items are always carefully made out. Its editorials are the productions of a deep thinking, earnest mind ; and the translations which it has given with lavish hand, have always been of rare worth.

We also feel honored in being associated with a journal as excellent as that of Vwight’s Journal of Music. From the first day we saw the journal we have read each issue with profit and constantly in- creasing admiratiqn, and the more experience shows us what is required in conducting a periodical, the more are we impressed with the taste, and judement, and literary ability with which this journal is edited. An increase in its circulation would be a matter of as much pleasure to us as en increase in that of our own journal.—Crayon, New York.

Mr. Dwight, the conductor of this excellent journal of music, announces iis sixth year. During its ex- istence, he says, it has never once failed to make its

appearance punctually every Saturday, and has earned, he thinks, a right nor only to continne to live, but to begin to romunerate, mueh better than it

has done, the incessant, ansious care and brain-work which have thus far kept it ap tu if first promise. It will live on, (suaws Mi

Dwicht.) if we live Lor life, say we, to both !—N. O. Picayune, April, 1857.

peu,

We know of no musical paper more deserving of

patronage than the Journal; it contvins all the news, foreign and domestic. liberal eriticistns on concerts

and operas, and a ereat variety of solid information, theoretical, biographiesl and eritical int celebrated composers of the past and present turies. We cordially recommend if to our musical readers as worthy their and atrenutive pe-

rusal —Fitzgeraid’s City Ttem, (Philu.)

ind ro the

cen

Patronace

Why don’t every one subscribe for (yeight's Journal of Music. which is full of usefal information and val- uahle news to the masiciin avd amateur, and we could not possibly do without it now... . Those who do not subseribe to Diriyht lose a fund of entertain. ing aud insteuactive reading.— Albany Tines.

Advertisements,

MUSICAL INSTRUCTION, _sr—

DR. GUSTAV SCHILLING.

CARD.

One of the first acientific musicians of Europe, and decidedly the ablest and most thorough teacher of music, Dr Gustavus Schilling, author of a number of most superior didsctie and other musical works, has arrived here to establish in the United States a Public Academy of Mus:e, similar to the Con- servatoires of Eurepe. [am anxious to recommend bin most urgently to all those who seck higher perfection in the science of musie. 8 TVALBERG,

New York, 1857.

Before realizing my project (already announced in Ameriean

Mu-ic Journals) of a Musical Conservatory. To prog ive

special instruction to Ladies and Gent emen cesireus ef coming accomplished arh ts or competent feweler Tustruce tion will be imparted in the tollowing branches. v2:

lst —Viano-torte, Organ, Singing, (to imei te heronfter, also,

every other instrument).

24—The general science of Musie—Harmnon:. Composition, Structure or Form, Theory of Instruments, Lostranientation Ilistory, Adstheties, Acoustics, Didactics

In the tormer of these departments instruction will be imn- parted to each pupil individually ; in the latter several pupils can participate jomtly. All these subject of seudy will follow in regular course, each pupil receiving instru tion daily. Any person, however, may devote himself either to o.e or several of the branches, at pleasure.

I also propose to perfect amateurs in either oue of the above studies.

For particulars, apply to

DR. G. SCHILLING, 179 West 15th Street, New York, Or, care of Mr. C. HARTMANN, 44 Franklin St.

A SUPERIOR SOPRANO SINGER Wishes a situation to sing in Church. Apply at Russell & Richurdson’s, 291 Washington St.

BOSTON, OCTOBER 38, 1857.

CHAMBER CONCERTS. HE MENDELSSOHN QUINTETTE CLUB intend on their arrival from Kurope giving their usual series of Concerts. Ail business matters for the services of the Club for public or private converts, can be arranged by addressing THOMAS RYAN, Secretary, 181 Harrison Avenue.

Mr. GUSTAVE SATTER

Has the honor of announcing to the citizens of Boston and vicinity his intention of giving a Seri~s of SIX CHAMBER CONCERTS, at the Rooms of Messrs. Cuickerine & Sons — The programmes will eunbrace only the VERY CHOICEST MUSIC. The Concerts will be given once a week, commencing Satur- day, Oct 17.

Mr Satter has the pleasure of stating that he has secured the valuable assistance of Miss JENNY TWICHELL, Messrs Wa. ScnuLtze, HENRY JUNGNICKEL and others.

Tickers for the Series of Six Concerts, $4. Single tickets $1. Subscription lists will be found at Messrs. Chickering & Sons’ Rooms and at the Music Stores.

REMOVAL.

R. MILLER has removed to Nu. 229 Washington St. eFe where he will keep a full supply of MUSICAL MER- CHANDISE of every descrip ion.

J. % MILLER is the New England Agent for the sale of MASON BROTHERS’ New York Musical Publications. Just Received : — THE JUBILEE, A New Collection of Church Music, by Wa. B. Brapbory. THE FESTIVAL GLEE BOOK, By Georee F. Roor. THE LIFE OF HANDEL, By Victor Scnum@ucner. J, R. MILLER, No, 229 Washington St, Boston.

For Sale by

OTTO DRESEL May be addressed at Russell & Richardson's Musie Store, 291 Washington St or at the Messrs) Chickering’s Ware-rooms. Tertus tor Music lessons, $50 per quarter of 24 lessons, two a week ; $80 per quarter of 12 lessons, one a week.

NEW WORKS IN PRESS.

( LIVER DITSON & CO. have in press, and will issue early in October:

THE CHURCH AND HOME. A Collection of Sacred Mu- sie, comprising Anthems, Motets, Extracts from Oratorios and Masses, Canticles, Chants, &e. Selected and adapted by Geroree Leacn

CONTINENTAL HARMONY A Collection of the most celebrated Psalin Tunes, Anthems, and Favorite Pieces, de- signed particularly for “*Otp FoLKs’ Concerts,” and the Social Circle

THE WESTERN BELL. Choruses, &e.

LUCREZIA BORGIA, by Donizetti. Piano Solo.

LUCIA D1] LAMMERMOOR. Piano Solo. (Sept. 26.)

Several other valuable works in preparation, of which due notice will be given.

Oliver Ditson & Co., 277 Washington St.

A Collection of Glees, Quartets,

Messrs. AUGUST & WULF FRIES, Teachers of Music, will return from Europe in season to re- ceive Pupils after Nov. Ist, and may be atdressed at Messrs. Rusaell & Richardson’s Music Store, 291 Washington street.

WILLIAM SCHULTZE, IVES Instruction on the VIOLIN, the PIANO-FORTE, ¥ and in the THEORY OF MUSIC. Address at his resi- dence, (U. 8. Hotel), or at the Musie Sto es.

] LLE. GABRIELLE DE LAMOTTE has the

N honor to announce that she will resume her Morning

and Afternoon Classes for the instruction of Young Dadies

and Misses on the Piano-Forte, on MONDAY, Sept. 14th. Applications to be made at 55 ancock Srreet.

SIGNOR AUGUSTO BENDELABI

8 now ready to receive pupils He may addressed at the |} Nooms of Messrs Chickering & Sons, at Russell & Rich- ardeon’s ard Ditson & Co’s Music Stores, or at his residence, No &6 Pinekney Street.

Sig Renpenant’s class of young ladies in singing, for begin- ners only, will commence on ‘Pur Oct Gh. at 4 o’elovk, P M. in the Messrs Chickerivg’s Saloon, where the exercises will be continued every Tuesday and Friday afternoon, at the

aay,

sane hour ;

For the benefit of those members of the class of last year, who may wish to continue their practice, the lessons will be resumed in the course of October,

AUGUST HAMANN, TEACHER OF THE PIANO-FORTE,

May be addressed at Messrs. Pussell & Richardson's Music Store, 291 Washington Street.

ATHENZUM EXHIBITION.

The Second Exhibition will open WEDNESDAY, July 15, with a new collection of Pictures, among which will he found, The Visitation, by Page; The First N. KE Thansgiving, hy Edwin White; additional pictures by Allston ; and other works by New York and Boston Artists.

ea - Le ow

216

FIRST. PREMIUM PIANO-FORTES.

CHICKERING & SONS

Have received the following awards for their exhibition of

PIANO-F'ORTES At the Fairs of 1856:

FROM THE Plassachusetts Charitable Mechanic Association FOR THE

BEST GRANDS, SEMI-GRANDS, and PARLOR GRANDS,

“ For most decided and meritorious Improvements,”

THE GOLD MEDAL.

FOR THE BEST SQUARE PIANOS, THE SILVER MEDAL.

FOR THE BEST PIANO-FORTE CASES, THE SILVER MEDAL.

FOR THE BEST PIANO-FORTE HARDWARE, BRONZE MEDAL.

FOR THE BEST SPECIMEN OF JIG-SAWING, BRONZE MEDAL.

FROM THE American Institute, New York, FOR THE BEST GRAND PIANO, THE GOLD MEDAL.

FROM THE Pennsylvania State Agricultural Society, THE HIGHEST PREMIUM, A SILVER MEDAL.

ALSO, At the Illinois State Fair, THE HIGHEST PREMIUM, A SILVER MEDAL.

This House was established in 1823, by JONAS CHICKER- ING, and up to the present time has furnished 19,000 PIANOS. For the exhibition of these Pianos in the United States and in England, they have been awarded—

Eleven Gold Medals, Seventeen Silver Medals, Four Bronze Medals.

WAREROOMS, MASONIC TEMPI1IE, TREMONT STREEBT, BOSTON.

MRS. J. H. LONG,

VOCALIST (SOPRANO). Address at Winthrop House, Boston.

S65. BB. BALI, TEACHER OF MUSIC, Rooms at Rev. A. A. Miner’s Church. ., .School Street, Boston.

GEORGE WILLIAM WARREN, (Late at the Second Presb. Church), and again ORGANIST OF ST. PAUL'S CHURCH, ALBANY, N. Y.

G@. ANDRE & CO.,

Dépét of Foreign and American Music, 1104 CHESTNUT STREET, PHILADELPHIA, Agents of J. André, Offenbach, Publisher of th q tions of Beethoven's, Clementi’s, Haydn's and oe ety

CNL BP OARDQYL Ow’ ein intae

L. BALCH,

EDWARD

Novello’s Cheap MUSIC,

(Imported from England)

3 8 9; Broadway, N.Y.

To Choral Societies and Choirs.

OVELLO’S Catalogue, No. 3, contains a list of Music

for the use of Choral Societies, Church Choirs, and Singing Classes, printed in separate Vocal and Orchestral Parts. Containing Oratorios, Odes, Cantatas, Festival Hymns and Anthems; Operatic Music, Scngs, Duets, Trios, Quartets and Choruses; Overtures, Symphonies and Marches; Madrigals and Glees; Music with Latin words ; Masses, Motets, &e., &e., sent postage free for one cent.

The Vocal Parts are printed in full music size at the rate of

three cents per page.

Novello’s Octavo Editions of Oratorios, Of Handel, Haydn, Beethoven, Mendelssohn, &e , in Vocal Score, with Piano-forte accompaniment Handel’s Messiah, #1 63; Judas Maccabeens, $1 63; Haydn’s Creation, $1 25 All the Oratorios of these great masters have been published in this series at similarly low prices.

NOVELLO’S OCTAVO CHORUSES.

All the Choruses in the octavo editions of the Oratorios may be had distinct in Vocal Score, with Organ and Pianoforte accompaniment, at 3, 6, 9, or 13 cents each.

NOVELLO’S CHORAL HAND-BOOK.

A collection of music in separate vocal parts. In this work are published the whole of the chorus parts of the following Oratorios :

Handel's ‘ Messiah,” price 38 cents each part.

Handel's ‘Judas Maccabreus,’’ price 38 cents each part.

Handel's ‘*Samson,’’ price 88 cents each part.

These parts are printed in the octavo size with the Alto and Tenor parts in the Treble Cleff.

COLLECTION OF GLEES.

Novello’s Glee Hive, Part Song Book, and the Musical Times and Singing Class Circular. For particulars see Catalogue, No. 5, sent postage free for one cent.

NOVELLO’S MUSIC STORE, 389 Broadway, New York,

And at 69 Dean Street, Soho Square, and 24 Poultry, London.

BOSTON MUSIC SCHOOL. HE Fifth Term of the Boston Music School will commence on Monday, the 5th of October next, at Mercantile Hall. Instruction will be given in the following departments :— System of Notation, Harmony, Counterpoint and Fugue, Com- position with reference to Musical Form and Instrumentation, Vocalization, Practice in Chorus Singing, Piano-Forte, Violin, and any of the Orchestral Instruments. Price of Tuition $25 per term. Board of Instruction :—B. F. Baker, J. W. Apams, Levi P. Homer, J. C. D. Parken, a yh WILLIAM SCHULTZE. For particulars, address B. F. Baker, No 4 Rowe Place. WM. READ, Sec’y of the Corporation.

J. C. D. PARKER,

Enstructor of the Piano-Forte, Organ & Rarmong, 8 HAYWARD PLACE.

Piano-Forte Instruction. MLLE. GABRIELLE DE LAMOTTE, RESIDENCE, 55 HANCOCK STREET.

SCHARFENBERG & LUIS, IMPORTERS OF FOREIGN MUSIC,

No. 769 BROADWAY, corner of Ninth St. NEW YORK.

ADOLPH KIELBLOCK,

Crarher of the Piaun and Singing, U. Ss. HOTEL.

JOB PRINTING

OF EVERY DESCRIPTION NEATLY AND PROMPTLY EXECUTED AT THE OFFICE OF

EDWARD L. BALCH, NO. 21 SCHOOL STREET.

Cc. BREUSING, IMPORTER OF FOREIQN MUSIC, 701 BROADWAY, NEW YORK,

Dépét of Erard’s Grand Pianos. CIRCULATING MUSICAL LIBRARY. (G™ Constantly on hand a complete assortment of American Publications.

RUSSELL & RICHARDSON’S MONTHLY CATALOGUE OF NEW MUSIC.

SEPTEMBER.

VOCAL MUSIC. NEAR, Swedish Song (G) 4, Lindblad, ig 3 DS ee eT Or F. N. Crouch, DYING CHILD'S REQUEST, (EF flat) 3 FRIENDSHIP, (GQ) 4,.......cceccscscercves F. N. Crouch, PETE MORRIS’S MUSEUM, Comic, (A) 3,...Pete Morris, I LOVE TO THINK OF HAPPY HOME, (G) 4, L, Marshall,

INSTRUMENTAL MUSIC.

NORWICH CADETS’ POLKA, Lithograph, (E flat) 4,

P. 8. Gilmore, MIRRA VALSE BRILLANTE, (C) 5, A. Talexy, LA BELLE NUIT, Nocturne, (B) 4 G, A. Osborne, GRAND VALSE BRILLANTE, op. 28, (A flat) 6, I. Tedesco, 70 LIGHT GUARD SCHOTTISCHE, (F) 4, Franz Staab, FLOWERS OF THE FOREST, Fantaisie, (A) 5, F. Beyer, PETIT ENFANT, (E flat) 3, A, Quidant, LIGHT GUARD POLKA, (FH flat) 4, Franz Staab, INVITATION A LA CHASSE, (D) 4, Henri Cramer, KATHLEEN MAVOURNEEN, (FE flat) 4, Ferd. Beyer, 25 CAMPAIGN MARCH, (B flat) 3,........-..- F. W. Smith, 10 BELLE FANNIE POLKA, (F) 3 W. P. Howard, 25 MA CHERE VALSE, (E flat) 3, Ph. Jourdan, 20 MARIETTA POLKA MAZURKA, (D) 3,.......Ingraham, 10 SIGNS OF LOVE. Six beautiful Melodies with brilliant

Variations, by Charles Grobe,

No. 1—To the Cottage of my Mother, (G)4,........0505

No. 2—Kitty Clyde, (G)4,........ TYTTTIT

No. 8—Old Arm Chair, (E flat) 4,

No. 4—Lament of the Irish Emigrant, (C) 4,.......... .» 8

No. 5—RKosalie the Prairie Flower, (B flat) 4,..........

No. 6—He Doeth all Things Well, (K flat) 4,

HOWE’S NEW AMERICAN BANJO SCHOOL with-

ORE 0 TOs 6.5.65. 6r.0rscineteieereue eres wena heen vreves Do Abridged edition, 25 THE SCHOOL BELL, by Caartes Butter and L. H. Soura-

ARD, containing 260 pages of music, embracing some of the

most fascinating popular Songs, Hymns, Duets, Trlos, &c.,

for the school-room and family circle. Price 25c. $3 per doz.

20 25 25 25 25

40 20 50 25

EXPLANATION OF LETTERS AND FIGURES.

The letters after the name of each of the above pieces, signify the key in which the piece is written. To express the compa- rative difficulty of execution of different pieces, we have intro- duced a scale of figures, running from 1, [which represents very easy,] inclusive to 7, [which is applied to the most diffi- cult music. ]

The MUSICIAN'S GUIDE, a large Quarto of 80 pages, con- taining the Life of Thalberg, analysis of 4000 celebrated Musical works, Musical engravings, and two beautiful pieces of Music, &c.—a book of great value to all Musicians—sent to any ad- dress on the receipt of four cents in stamps, to defray postage. Direct your application to

RUSSELL & RICHARDSON,

WATEKINS & Co. += (Successors to Rezp & WATEINS,) Wholesale & Retail Dealers in JPIANO-FORTES td AND MELODEONS, From the most celebrated

Eastern Manufactories. WAREHOUSE and SHOWROOMS, No. 51 Randolph Street,........Chicago, Il.

HALLET, DAVIS & CO. MANUPACTURERS OF

Grand, Parlor Grand, and Square

SAO PUNO FORTES

WITH THEIR PATENT SUSPENSION BRIDGE AND GRAND ACTION.

409 Washington Street, Boston, (Near Boylston Market.)

WILLIAM A. JOHNSON,

ORGAN BUILDER, WESTFIELD, MASS.

J. TRENKLE, TEACHER GF THE PIANO-FORTE. Residence No. 56 Kneeland Street.

TERMS OF ADVERTISING. First insertion, per line. ...........cece+seeee-10 cts. Each subsequent insertion, per line...... voeee 5 Ct. For one column, (126 lines) first insertion. ..... $12.00 Do do each su uent. ...$6.00 Special notices (leaded), each insertion, per line 20 cts. Payments required in advance : for yearly advertisements,

JsiC AND JOB PRINTING OFFICE,

MUSIC

quarterly in advance. —-—veroos Of OOOOOOOWMD EA eae" No. 21 SCHOOL STREET.