The Musical World.


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SQUARE, Mr. LEONARD WALKER has the honour to announce that his
FIRST CONCERT will take place at the above Rooms on Monday evening,
August Ilth, to commence at Eight o'clock precisely.

Vocalists: Mad. GORDON, I Miss ALICE Dodd, Mile. GEORGI, the Misses HILES,




Conductors ; Mr. AGUILAR and Herr Emile Berger.

Stalls, 78.; reserved seats, 5s.; unreserved seats, 2s. 6. Tickets to be had at the Teresa

"* *"*


. MAD. LEMMENS.SHERRINGTON. I principal Musicseliers'; at the Hanover Square Rooms; and of Mr. LEONARD

... MAD. LEMMENS. SUPP Nita ...


WALKER, 5 Newman Street, Oxford Street, Mazeppa




vacant place in Durham Cathedral will be made on Monday the 29th day of

September next.. No.1.-Chorus.

The Trial will take place on the Thursday and Friday of the preceding week, 2.-Chorus. Female Voices,

immediately alter Morning Service. 3.-Recitative and Air-.“ Oh! she was fair."- The Count and Chorus.

All Applications and Testimonials must be sent in, addressed to Mr. EDWARD 4.-Air-" I dream'd I had a bow'r."- Teresa.

PEELE, Registrar to the Dean and Chapter of Durham, at his office, in the College,
Duet-"My faithful Nita." Teresa and Nita.

Durham, on or before Wednesday, the Tenth day of September next. 6.-Recitative and Air-" She walks in queen-like grace."- Mazeppa.

The travelling expenses of the Candidates who shall be summoned to the trial will 7.--Chorus.

be paid by the Dean and Chapter. 8.-Duet __"Ah! why that face so full of care ?"- Teresa and Mazeppa.

College, Durham, July 23, 1862. 9.Ballad_“Teresa ! we no more shall meet."- Mazeppa. 10.-Trio_“ Oh ! spare him."- Teresa, Nita and Count. 11.- Recitative and Song-"Despair atteod his footsteps."-Count.

UERR OBERTHUR will play his Transcription for 12.-Instrumental-Solo ( Mazeppa) and Chorus. 13.-" Long live Mazeppa.” Chorus.

I the_Harp, of Reichardt's popular Song, “ THOU ART SO NEAR, AND

YET SO FAR," at Mr. Leonard Walker's Concert, August ll.
CRAMER, BEALE & Wood, 201 Regent Street.

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Now ready, in 2 vols., with Portraits, 219.,

GRUNEISEN, ESQ.-Many inquiries having been made by Literary, Musical,
THIRTY YEARS' MUSICAL RECOLLECTIONS. and other Friends of the Secretary of the Conservative Land Society, whether the

subscription was restricted exclusively to the Members of the Sociсty. The By HENRY F. CHORLEY.

Committee beg to state that the Testimonial is open to all those persons who may “ An interesting, amusing, and instructive work, which is full of anecdote, and is wish to subscribe, and who are requested to signify their intention as early as possible. characterised by the highest critical acumen."-Post.

J. D'AETH, Esq., Hon, Sec., “ Every page of these volumes offers pleasant reminiscences. Whether as a

22 Surrey Street, Strand, London, 'w.C. conscientious history, a graceful series of portraits, or an anecdotical record, the author must be congratulated on the work he has accomplished." -Atheneum. MHE MUTUAL LIFE ASSURANCE SOCIETY « The value of this work to all of musical taste is unquestionable. They cannot fail

(A.D. 1834), 39 King Street, Cheapside, E.C., London, to derive from it considerable information as well as amusement."-Sun.

On January 1, 1862, Capital, from Premiums alone, £403,165.
HURST & BLACKETT, Publishers, 13 Great Marlborough Street,

Income upwards of £68,000. Assurances £1,634,755.
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Profits divided yearly, and begin on second premium.
M R. BRINLEY RICHARDS will return to London in

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Last Annual Report and Accounts may be had. 1 September.-Letters to be addressed to him at Tenby, South Wales,





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references in town. Returns to be inade at Midsummer and Christmas. No. 13.-Serenade from " Il Barbiere,”

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DLUMENTHAL'S “DAYS THAT ARE NO MORE." 18.-Romance from “Otello."

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poser at his Concert at the Marchioness of Downshire's residence, Belgrave Square, “ Among the hitherto unknown compositions were some selections is published, price 3s., by Duncan DAVISON & Co., 244 Regent Street, W.; where the from the · Art of Singing applied to the Piano,' . Transcriptions of

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ALICE was like a morn of spring.

I sought her love, with many sighs,

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I loved her for her loving cyes,

Bertha was as an autumn eve. BOOSEY & SONS, HOLLES STREET.

O her still ways, her low replies !

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Bitterly wept those loving eyes,
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YANKEE VERSION OF THE COSTA-BENNETT DIFFERENCE.—Have you heard anything of the war between Dr. Sterndale Bennett and “Costa, Esquire," as the French newspapers call him? Costa bas considerably injured himself in England by his treatment of Dr. Bennett and Verdi at the opening of the Exhibition. Do you know the origin of his quarrel with Dr. Bennett? I will tell you. Some years ago Costa was the leader of the orchestra of the Philharmonic Society. A symphony of Dr. Bennett was among the pieces on the programme. While the orchestra were executing it, Dr. Bennett wrote in pencil on his card these lines, and passed it to his friend Lucas, the first violoncellist of the orchestra –“For Heaven's sake beg Mr. Costa to change the time; show him, if necessary, what to do, for these Italians are the greatest ign ramuses on earth about symphonic music." Poor Mr. Lucas, seeing Mr. Costa's name written in large letters, imagined the card was destined for Costa, ard with great delicacy read no further, but forwarded the card to Costa. You know poets seem as insensible as the rhinoceros when they are compared with musicians-judge, then, of the scene which ensued! Costa vowed by all the patron saints of Italy that he would never more have anything to do with Dr. Bennett, except so far as to do everything in his power to injure Dr. Bennett; and Costa has kept his vow as we all keep our cvil promises. (!!!)-Correspondence of the New York Gazette.

HERR TichaTSCHECK. – On the 26th instant, Herr Tichatscheck celebrated his “ Silver Wedding.” This autumn, he will have been a member of the Royal Opera, as well as a “benedict," for five-andtwenty years.


D Score, with Accompaniment of Pianoforte cr Organ, demy 4to (size of " Musi. cal Cabinet"). Price Is.- Boosey & Sons have much pleasure in announcing their new Edition of the “ Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by G. F. HARRIS, from the celebrated Edition of Dr. JOUN CLARK. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of the universal patronage it will command at the approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and Musicsellers, Post free, Is, 4d. Au edition in cloth boards, gilt, 2s.

Boosey & Sons, Holles Street,

opinion of the constitution of natural influences. The one standard Reviews.

is formed from the impressions these influences produce on the physical or outward sense; the other from the effect they create upon a purely

mental test. The first gives the verdict of the senses; the second of The 3rd Duke of Lancaster's Own Regimental Quick science, and with reference to the eliciting of moral truth, the former

March.— JASPER NORWOOD (Preston J. Norwood : we compare to the human, the latter to the abstract process. Alluding London-Brewer & Co.)

to the natural world, it is well known that many very palpable effects

therein, have not by far such a complete external existence as appears; This is an effective pianoforte arrangement of an extremely but that, on the other hand, they almost exclusively exist in the structure, spirited march. Mr. Jasper Norwood is band-master to the character, and action of some organ or capacity in the observer. There regiment for which it was composed, and by whom (as well is a similar change which occurs in certain truths of the moral world, as by the 11th L. R. V. (Lancaster Royal Volunteers ?) it

accordingly as they are observed from a human or from an abstract

point of view. For example, the phenomena of Love and Admiration has been repeatedly performed. The first part (C)-allegro

| are accounted for, from the human point of view, by endowing them marziale - is original, and not less tuneful than brisk and with an almost solely external cause of existence, such as by imputing animated. The second part (F) is an adaptation of the | a remarkable beauty, virtue or excellence, to their object, whilst from popular air, “ Sally come up,” which serves famously as the abstract point of observation they are regarded by the Poet in the “trio," and makes a good contrast with the principal theme. |

following passage as springing almost solely out of the internal con

ditions of their conceiver:This last is subsequently repeated, with the addition of a

" Who loves raves 'tis youth's frenzy; but the cure short and vigorous “ coda” (C). In the fifth bar of line 4,

Is bitterer still; as charm by charm unwinds,

Which robed our idols, and we see, too sure, page 5, there is a misprint-three A's for three G's—which

Nor worth, nor beauty, dwells from out the mind's should be corrected in the second edition; for that “The 3rd

Ideal shape of such." Duke of Lancaster's Own Regimental Quick Marchis

Thus we perceive that moral truth has often two presences, a human destined to reach a second edition, and that very speedily,

one and an abstract one, that it may vary like the colour of the we have not the slightest doubt. It is very appropriately

chameleon, according to the point from which it is regarded. This is

often the case with regard to the contemplation of moral phenomena inscribed to Colonel J. W. Patten, M.P. (Aide-de-Camp to involving deep and momentous truths. Change the point of view from the Queen), and the officers of the regiment.

the human to the abstract, and there is a metamorphosis in truth itself. Now, this fact, to a great extent, describes the difference between the

character, in contemplation, of a mind in the state, morbid, so called, MENTAL HISTORY OF POETRY.

and that of a mind in the normal condition. What is called the mor

bid character of contemplation is often only that which is taken from BY JOSEPH GODDARD.

the abstract point of view. But the mental unhealthiness implied in " To search through all I felt or saw,

this application of the term “morbid” to intellectual result, exists not The springs of life, the depths of awe,

so much in the mind itself as in the relationship of mind and body. And reach the law within the law.".

This natural relationship in these circumstances is broken. Through Tennyson,

some insufficiency relating to the health, the outward condition, or to (Continued from page 462.)

the heart, the being has no delight in the body, but takes up its The truth is, the morbid condition is not, as is frequently supposed, existence mainly in the mind. The mind thus lives in partially divested a consequence necessarily ensuing from the possession of remarkable state, and in its contemplative survey reviews things less in their direct mental scope-a penalty accruing to the tasting of the tree of knowledge; human relationship, and more in the clear, steady, and passionless light but, to a certain extent, it is the cause of an active and vigorous mind. | of abstraction. This is the true nature of that exceptional order of It is a condition favourable to mental development. That repletion of survey often improperly called morbid. Many instances of the exthe physical wants and emotional sympathies — that satisfaction of all pounding of moral truths might be given from the poets, in which what cravings, external and internal, conducing to the ideal repose of has been generally regarded as a morbid exposition is only in reality “happiness,” tends to lull the mind to quiescence - to round it by the the result of a certain phenomenon being surveyed from an abstract sleep of inert Nature, in which it first unfolds the dream of a limited, point of view. The passage recently quoted contains one instance. repeatitive, objective life. But let the heart be despoiled of its idol, So far from this abstract and divested character of contemplation leadthe breast of its hope, the general being of a portion of its customary ing to what is understood by morbid views of things, it can be shown wants and the mind will wake to energy and activity. Joy is that it may induce a very practical and equanimous survey of life. self-content, and cares not to review its origin. Sorrow is querulous, Thus that gloomy and disappointed cast of moral reflection which and requires to unravel its causes. The origin of all moral philosophy exudes into expression in the exclamation “vanitas vanitatum "-which ever lies in some corporeal or emotional insufficiency. It is ever the delights to pourtray the futility of “ Ambition," the unsatisfying nature phenomena evolved by the human mind in sceking either the cause, the of "Success" and "Fame," the fleeting character of “Happiness," and cure, or the reconciliation of some of the wounds or shortcomings thus the general insufficiency and deception of Life--which is decidedly attending the dispensation of life.

a morbid order of retrospect-results from a too individual and human As necessity has been stated to be the mother of “invention," so it order of survey. Fame no longer exhilarates, because the generous may be averred that disappointment is the author of philosophy. As senses which once glowed before her breath are failing. Love no longer the child pours its small sorrows into the lap of the mother, instinctively warms, because the heart is growing cold; and Happiness does not seeking a vague but sufficient relief in her sympathy, so the mind, in remain, because the faculties which it appeals to are departing. Yet its unrest, flies to the breast of nature, and gathers from the sublime, Love, Fame, Happiness are all ever bright, and in perennial bloom. the exalted, and the eternal-empyreal balm. The original cares of the They continually exist for those who possess the requisite conditions for child are not removed or turned aside; but they are unfelt because they their enjoyment. are shared and absorbed in the mother's large sympathy. The griefs Regarded from an abstract and not from a human point of view, it of the man may not be healed; they may remain, but, blent with the is not these things that are false and fleeting ; it is the individual who general and inevitable conditions of creation, they are absorbed into the is changeful and human. These qualities do not decline or depart. It deep sympathy of nature. They partake less of the nervous and is the moral unit which passes away and is no more seen. The prospect passionate spirit of humanity, and are invested, and lulled to placidity, does not fade nor the light darken as lifo wanes and the eye grows by nature's calm and majestic spirit of abstraction.

dim ; it is the man only who dics. In the normal and ordinary condition of mind and body there is an We have thus far endeavoured to expose in this enquiry all the all-prevailing tendency to observe and account for the various principal circumstances, moral and material, out of which the maniphenomena in nature and life, from a human point of view. It should, festation of Poetry arises. We have endeavoured to discover, as nearly however, be remembered, this is not the only spot of observation as possible, its relationship to the other Fine Arts, to Nature, and Life, existent that there is, as well as a human, an abstract light, in which and to the human mind. It has been endeavoured to be demonstrated nature and life may be regarded. This variety in the scope of that it arises in one species of impulse, and in exuding into outward form, contemplation tends to produce different perceptions of the same employs one principle in common with all other art-demonstration. truth, and the two characters of observation may be compared to those All Art being evolved out of the action of one desire in the mind, two standards, by means of one or the other of which we form our the desire of expressing a decp emotion of admiration, and attaining expressional form through one principle—the principle of reproducing demonstrated that, just as the presence in the nature of certain faculties the objects, qualities or persons that evoked the above emotion.

favourable for developing effects of the art-materials, “ Colour” and It has been endeavonred to be demonstrated that, whilst the funda “ Sound," induces the original art-impulse — that determination of the mental impulse preceding all art-display is the same in nature and mind to reproduce, to create, to express - to put on palpable form tendency, whilst the same “motion of the soul,” pushing itself into arrayed in one or the other of the above mediums, revealing thus expression through the demonstrative faculties of Man, consummates the | respectively Music or Painting, that so, in other cases, the presence in general birth of Art-the modifications it endures through the rendering the nature of a vivid, deep, and broad mental perception, blent with the of these faculties, and from outward circumstances generally, divides it general circumstances inevitably attending the existence of the impulse into the different orders of art-display - and that thus the varied of Art, such as a broad emotional consciousness and a vivid imagination, branches of Fine Art arise.

draws all the fundamental impulse of Art into the direction of PoetryIt has been shown that the original art-impulse, in assuming an inspires its possessor to vent his admiration of beauty, not by reproducing expression belonging to certain of these outward forms of Art, such as it in the vivid reality of “Painting," or by expressing the emotion it the expression of “ Painting” and “Music," is joined by a new has aroused through the fine emotional language of Music,” but by influence the influence of that sensible material out of which the projecting it from the deep and solemn setting of philosophy, by effects of these Arts are immediately wrought; namely Colour and exhibiting it, not only in its intrinsic beauty and isolated reality, but Sound ; that thus the original art-impulse, in exuding to outward side by side as the image, exemplar, and illustration of its spiritual expression through either of these mediums, is surrounded by new likeness, of its correlative moral truth. conditions, such as the necessary faculties for moulding effects of Colour Lastly, it has been shown that Poetry may be evoked through a and Sound, which depend upon the natural endowment and the artistic process originating from a totally different source to the process which cultivation of the organs of eye and ear. It has been shown that the has just been detailed. That, instead of originating in admiration, and original art-impulse, in attaining manifestation in cither of the above | being self-prompted to exposition by a vivid mental perception, it may directions, is thus met by numerous conditions relating to the individual arise in disappointment, and be spurred to revelation through the --such as the favourable endowment, and the education of the above tendency the mind, thus circumstanced, instinctively exerts to seek ont mentioned faculties ; and to outward circumstances, as to the stage of in Nature or Life some image of its condition - to take refuge and developement in which the art-materials of Colour and Sound exist, consolation from the sharp individual inflictions of Providence in which depends upon the general state of Man—the progress of contemplating its dispensation upon the broad scale of Life and in enlightenment.

Nature. It has been explained that there is consolation and relief from On the other hand we have seen that the primary and general art. | personal sorrow to be found in generalising the action of its particular tendency, in seeking expression through the medium of “ Poetry," infliction with some grand and prevailing law in Life, or even in involves neither of the above circumstances, demands none of the associating it with some merely incidentally faithful likeness in Nature. above conditions ; and from this it has been assumed that Poetry must It has been pourtrayed that in these processes there is a scope opened have been the primeval Fine Art.

| for personal emotion to merge, soften, and subside into abstract emotion, In the course of seeking the above conclusions it has also appeared That, in the course of their action, the inind is naturally, and of itself, with reference to the general external relationship of Poetry to the induced to reflect upon the higher truths of Life, and is softened into other Fine Arts-that in Poetry there is no abstract effect. There is sensitiveness to the beauty and sublimity of Nature. That, from the no influence proceeding solely from art-material, as is the case in the first circumstance, its habit becomes contemplative and compensative; effect of the pure colour in “Painting" and in that of the pure sound in from the second — from its leaning upon the sympathetic breast of “ Music."

Nature - creative and poetical, and that thus Poetry may be formed. It has also been inferred that the original art-impulse being at its Thus, whatever be ihe particular circumstances of its production, outset of one nature, character and tendency, whatever ultimately may Poetry of the high creative phase partakes always of one nature, and ever be the form of its palpable manifestation in tending towards the ex- contains the same specific attribute. It is ever the imperfect but pression of either * Painting" or " Music," as it is here met by the glorious pourtrayal of that tendency to moral equilibrium, that master demand for separate and exceptional faculties relating to the pure motion, continually prevailing in the world; of that progress of the materials of these Arts, and the due efficacy of which depends not only events, deeds, thoughts, passions, and feelings of humanity towards the upon long cultivation, but also upon natural endowment, mental and level of eternal justice and peace. The music of the occan is the physical conformation, that where this accident of creation or these music of rest. Its surface, ever rolling and upheaved, is ever tending general conditions are imperfect, this original art-impulse cannot to the level of calmness and repose. Poetry is the ocean-music of life. consummate its outward expressions in these directions. It has been It is the interpreter, in the modulations and melodies of natural beauty, inferred that in these circumstances it must of necessity revert to of the world's deep and eternal spirit of harmony. Its specific attribute Poetry as a medium of display-that consequently in Poetry the effects is the light of mental perception. The blent halo of palpable beauty, of these diverted and immatured tendencies of the mind towards the reflected from the Arts of Painting and Music, constitutes Poetry's form. expression of Painting and Music might be expected to be visible. The soul of Morality and Philosophy is its spirit. Truth is its vital

In considering, in the next place, the presence in Poetry of the spark. In the case of the arts of Painting and Music, the main art. musical and pictorial element of æsthetic demonstration, it has been idea, the virtue, beauty, or truth forming the theme of the art-display clearly shown that not only the outward features of these Arts are to be is irradiated with the both tangible and etherial beauty which effuses traced in poetical effect as in scenic and imagerial clusterings with from the physical material of these Arts. In the case of the Art of regard to " Painting," and in rhythmical arrangement and sentential Poetry, it is suffused in the chaste light of philosophy. In the former design with reference to “Music ;” but that also the inward spirit of circumstances the æsthctic idea shines through a glowing medinm of both these Arts is also distinctly to be discerned in the deeper con- abstract charm, as of colour or sound, and thus all its intrinsic features stitution of Poetry. For it has been shown that some of the deepest are vividly and minutely pourtrayed. In the latter circumstances it is principles regulating artistic effect, and on which high pictorial unbaptised anew in the sparkling waters of charm, it beams with no impressiveness depends, are exemplified in the poetical projections of collateral effect, and thus its individual uniqueness may not appear so natural scenery, and that the inmost spirit of Music (her ultimate intense, but it diffuses around a magic mental halo which has the mystic essence, her soul, her cause, meaning and purport)-the spirit of lofty property of glistening in the remotest distance wherever it falls upon and original sentiment which invests language with the “music" of the polished surface of sympathetic beauty and truth. Thus Poetry Eloquence ;-pulsates in Poetry in a degree of vividness only falling appears in a twofold presence, and its very effect, like that of Harmony, short of that palpable yet etherial form of radiance and beauty it reveals proceeds from this duality, this variety, in the elements of its constitution. in its unveiled reality of Music.

Thus Poetry is Music — music, adorned by the melodies of Nature's It has appeared that whatever abstract effect the Art of Poetry may beauties. Music of the mind evolved out of the concord of Creation possibly exercise, is not original, but is borrowed from that purely | built upon the harmonies of the World. abstraci influence indigenous to the arts of Music and Painting. But with reference to the general nature of poetical effect, it has also been

JOSEPH GODDARD. further demonstrated that this does not by far partake solely of the blent, but subdued, influence of the above Arts of the high strains, the glowing colours of their resplendent midday-sobered to soft echoes, to NEUSTADT-EBERSWALDE. — The tenth “Märkisches " National waning tints-sobered into the grey and breathing mass of mingled object | Musical Festival was held on the 29th and 30th ult., under the and sound — the twilight of Poetry; but that in Poetry is a further direction of Herr Franz Mücke. It was a great success. Fifty-six and an original nature, in which the distant stars of moral truth are associations, numbering about two thousand singers, took part in it, visible, shining in intense, etherial, and eternal brightness. It has been | Berlin alone being represented by thirty-two choruses.


The first of the three (No. 6 of the First Set) is a sustained (From " Dwight's Boston Journal of Music.")

andante, in six-eight measure. The accompaniment, by a very simple

figure, gives the rocking sensation of a gondola, while the “oars keep We have received various applications of late for copies of a certain time." The gentle key, G minor, indicates soft moonlight, or starlight; descriptive analysis, “translation," or what not, of a Gondel-lied, and presently the song floats off, in loving thirds and sixths, full of tenreferred to in Miss Prescott's interesting account of the authoress of | derness and musing sadness, which has more of longing in it than of “ Charles Auchester," in the June number of the Atlantic, as having regret for actual suffering. It rises higher and louder at times, but been written by us. For some time the allusion puzzled us. We had a never breaks through the gentle spell, always sinks back into the dreamidim recollection of something of the sort, but nothing more— someness of the hour. The sentiment is so pure, that one might dream calm day of leafy solitude in the country, many years ago, when our himself in heaven - only the sadness makes it human. Far off in piano served us for communion with the masters, in the pause of con- the smooth stream, the boat for a time seems fixed, suspended, certs and the absence of better interpreters than our own clumsy fingers and the voice alone, amid its natural accompaniments, informs - aided by eyes and ears, and memory, and guess, or fancy, or what the distance. Again the motion is resumed, but fainter and more not—and when perhaps we did sketch for our own amusement, and remote, and as the sounds die away in the smooth shining distance, had 'the andacity to print, and speedily forgot, some poor effort to how magical the effect of those soft high octaves, ever and anon express or hint in words the feelings, images, &c., which one, perhaps twice struck, as if to assure us that beyond it is as beautiful as more, of the “ Gondola Songs ” awakened in us. And whatever we

here ; and finally all the harmonies converge into a single note, just may have done in that way, then or at any other time, about any other as broad spaces on the farthest verge and boundary of sight are represubject, was of course done more for the sake of bearing some grateful sented by a single fine line! At the introduction, after the rocking testimony to the beauty, the imaginative truth to nature, of the com

accompaniment, so soft and dreamy, has proceeded a few measures, you position in question, than with any such impracticable thought as

seem suddenly to touch the water, and have a cold thrill of reality for that of translating the music into words. For (with all deference to the

a moment, as the harmonies brighten into the relative major of the key. gifted and lamented writer of “Charles Auchester," and to her scarcely

The predominating expression of the air, however, is more that of less gifted admirer, who has only now disclosed the real author to us) tranquil, child-like harmony and peace, than of any restless passion ; we have always known, as every really musical person knows, that

an innocent delight, just slightly tempered with the " still sad music of words can never take the place of music and stand for it ; that music humanity." The coolness of the buoyant element allays all inward supersedes words, beginning properly where these leave off. Words heat. In the next one (Second Set, No. 6), which is a quicker movecannot go where music goes, except in the humble capacity of vehicles

ment, marked allegretto tranquillo, and in the key of F sharp minor, to bear the tones proceeding from the human voice ; in which case, of there is a more stirring and exquisite delight. It rises to a higher course, there must be a certain correspondence, chime, agreement between pitch of enthusiasm, as if the heart in its still joy overflowed. The carrier and carried ; but horse cannot commule for rider.

beauty of nature seems almost too much for the soul, the harmony of Well, so much by way of caution. We have hunted up the story, all things too complete. Fancy's images rise thicker than before. The and we know no way by which to furnish copies to the extent requested, hills, the clouds, the gleaming waters seem more living than before, and except by reproducing (vulgarly, copying) the old thing here. We ore |

the soul stretches out its arms to them. Listen to that high trill, which pleased to find that, on reading it over, it does recall the music to us

seems to carry the thoughts up and afar, as if they had left the body to much more truly than we should have expected. To us — but whether play with the fleecy, pearly clouds about the moon, while the boat glides it will do 80 to others is another question ! We may say, too, that on in its sleep unconsciously below; and then the rapture of that bold when, for the first time, we were so blessed as to be in Venice, a little delicious cadence, with which the reverie is ended, as if the skies came more than a year ago, these Gondel-lieder sang themselves inevitably in down with us to earth! The memory of that acrial excursion haunts our mind, and we felt more than ever how near they were to nature.

the following melodies; the song floats in the middle between two Strange that, in Mendelssohn's letters from Venice, he talks only of

accompaniments, the waves below, and a faint prolonged vibration of Titian and Giorgione, and of the gay scenes by daylight, and says that same high note above, like a thin streak of skyey colour in a not a word about his feelings or sensations in a gondola! No, not picture. The last one, which is No. 5 of the Fifth Set, is perhaps the strange; he knew a finer language for confessions of such spiritual most beautiful of the three. It is in A minor, andante con moto, and depth and delicacy : ---Iusic, more private than any letter to the only still the same rocking six-eight measure. There is even more of the friend, and at the same time universal, bearing its message to all souls

physical sensation of the water in this. Ever and anon the stillness is alive to such vibrations, which, once set in motion, run along the spiritual startled by a loud stroke of the key-note, answered by the fifth below, atmosphere for ever. This message it was that we tried to interpret and sometimes in the lowest octave, which gives one an awed feeling of in the course of some articles, the drift of which was to find all the the depth of the dark element, as if a sounding line were dropped. essential traits of Mendelssohn's peculiar genius, apart from his mastery And again the mingled gurgling and laughing of the water, as it runs of musical means, in those six books of little pianoforte poems, called off the boat's sides, seems literally imitated in those strange chromatic “ Soogs without Words." Here is the part referred to.

appogiaturas which now and then form a hurried introduction to the

regular note. The whole tone and colouring of the picture is deeper Without words, and without names even ! It is music speaking for | than the others. It is a song of the depth of the waters. The chords itself, or rather speaking for the human heart, disdaining any other are richer, and the modulations, climbing towards their climax, are more interpreter. Each melody, with its accompaniment, is like a pure stream wild and awe-inspiring. By degrees the motion grows more gentle, and flowing through rich scenery. Thc stream is the soul's consciousness, the sea more smooth, and the strain melts away in a free liquid cadence, the scenery is the world of mingled associations through which it flows, in the major of the key, like closing the eyes in full assurance of most time's shadow on its surface. Sometimes, however, the accompaniment perfect bliss. suggests unearthly scenery, enchanted regions, and the song is like the You feel that no soul ever conversed more intimately with nature than life of a soul disembodied, or translated where it knows no more the did Mendelssohn when he composed this music. And music only could fretting bounds of time. Several of these pieces, however, have a title, reveal what is here revealed. If the above remarks shall prove enough indicating merely their general character : there is one styled á to satisfy the reader that we have a feeling about this music, and that “People's Song;” and there are three “ Venetian Gondola Songs.” Let it means more than words can express, they will have answered their us take these latter to begin with. After being rocked by this music till it end as far as we dared to hope. For in truth they are not, in any haunts your thoughts, you feel that you know Venice, though you may sense, a description, and perhaps deserve the penalty of a rash attempt never have been there.

to talk about what claims the privilege to be without words."
“My soul is an enchanted boat,
Which like a sleeping swan doth float

Upon the silvery waves of thy sweet singing."
The atmosphere, the limpid coolness of the water, the rhythm of its

STUTTGARDT. — Herr Eckert, who was at first engaged for a year motion, and the soft, sad, yet voluptuous colouring of all things in only, has been appointed Capellmeister for life. On the 27th September, short, the very volatile essence of all that life, is, as it were, caught and

the King's birthday, his opera, Wilhelm von Oranien, will be represented perpetuated in these subtle, accommodating forms of melody. What is

for the first time. the mcaning of Venice in history, is a question which might perhaps be HERR EMIL DEVRIENT, who was born in 1804, and, since 1820, has answered, if we could only tell what influence this music ministers to belonged to the German stage, has resolved to retire “altogether” at the mind. Hearing it, and losing yourself in it, you inhabit an ideal the end of 1863. During his professional career of three-and-forty Venice, the soul, as it were, of the real one, without its sins and years, he has earned not only laurels, but a fine landed cstate, and infirmities, its horrible suicidal contrasts.

about 100,000 thalers in hard cash.

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