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New Pianoforte Music.

Nel Vocal Music. DREAM DANCE. For the Pianoforte. By Emanuel

SI TU SAVAIS. Romance. Composée par M. W. TANTASIA ON AIRS FROM HOWARD GLOVER'S

RELOVED ONE, NAME THE DAY. Ballad. The

"ONCE TOO OFTEN.”

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D AGUILAR. 35.

D BALFR. 35. T OPERETTA, “ONCE TOO OFTEN." By EMILE BERGER. 38. TARANTELLA FOR THE PIANOFORTE. D Words by JOAN LAMB, Esq. The Music by ALFRED MELLON. 25. 6d. I By WALTER MACFARREN. 45. London: DUNCAN DAVISON & Co.

EMORY. Song. The Poetry by DESMOND Ryan. These are three morceaux de salon of the most elegant description. Mr.

The Music by ALEXANDER REICHARDT. 39, AGUILAR'S Dream Dance' is a graceful and imaginative movement, which would make a charming accompaniment to a dance of sylphs or fairies in a ballet. Mr. TTAST THOU NO TEAR FOR ME? Ballad. The Berger has selected as the themes of his fantasia the two most favourite airs, ' There's

I Words by M. Deigl. The Music by CIRO PINSUTI. 38. truth in woman still,' and 'A young and artless maiden,' in Mr. Howard Glover's pretty operetta ; working them, by adding a short introduction, and a brilliant coda in

SLEEP AND THE PAST. Canzonet. The Poetry tempo di valsa, into a masterly and animated pianoforte piece, in which the vocal melodies are embellished by a rich and varied accompaniment. Mr. Macfarren's by HARRIET POWER. The Music by J. P. KNIGHT. 33. Tarantella is of course in the time and measure of this Neapolitan dance, and preserves the rapidity of its breathless whirl. While, however, it is thus conventional Y GENTLE ELODIE. Romanza. The Poetry by in its form, it is new and original in its details. There occurs, in particular, in the

Mrs. CRAWFORD. The Music by EDWARD LAND. 38. inidst of it, a deliciously soft and flowing melody, played with the left hand, as if on the violoncello or bassoon, with a light and airy accompaniment in the upper part

London : DUNCAN DAVISOS and Co. which contrasts beautifully with the impetuous current of the rest of the movement." The Press.

" The above are a few of the prettiest vocal pieces that have appeared during the

past publishing season. They are all by well-known and popular composers, of THE AIRS, BALLADS, FANTASIAS, QUADRILLES, whoso talents they are agreeable specimens. Balfe's French romance is in his hap

piest vein. Our countryman has successfully contended with the Parisian composers WALTZES, &c. IN THE OPERETTA OF

on their own ground-witness the reception of his fine operas, Les Quatre Fils Aymon and Le Puits d'Amour, at the Opéra Comique: and in the little song before us he shows how entirely he is at home in the French style. It is tender and passionate,

with that infusion of graceful lightness and gaiety which gives the French poetry and COMPOSED BY HOWARD GLOVER.

music of this class their peculiar charm. Signor Gardoni has sung it in public with Performed with the greatest success at the Theatre Royal, Drury Lano. delicious effect; but it by no means requires the aid of such a singer to make it

charming. Mr. Alfred Mellon's ballad is worthy of that able and eminent musician.

The melody is simple and natural, without being trite or commonplace; and the "Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto

whole composition shows that new and striking effects of modulation and harmony ...

may be produced without setting at defiance (as is too often done) the established “ The Solemn Words his Lips have spoken." Grand Air. For Soprano ... 46

principles and rules of art.--Few vocal pieces of the present time have obtained greater “ The Love you've slighted still is true." Ballad. Sung by Mlle. JENNY BAUR

popularity than Herr Reichardt's song, “Thou art so near," not only in English, “ Stratagem is Woman's Power." Ballad. Sung by Miss Emma HsYWOOD...

but (by means of its German and French versions) all over the Continent. His new “Love is a gentle Thing." Ballad. Sung by Miss Emma HEYWOOD

production, Memory,' is of a similar character, and bids fair to have a similar sucHA young and artless Maiden." Romance. Sung by Herr REICHARDT

cess. Mr. Desmond Ryan's verses are elegant, and Reichardt has united them to a “ There's Truth in Woman stiin." Romance. Sung by Herr REICHARDT ...

melody at once pure, simple, and expressive. Signor Pinsuti's ballad, Hast thou “ The Monks were Jolly Boys." Ballad. Sung by Herr FORMES ...

no tear for me?' has been recommended to the attention of the public by the pleasing "In my Chateau of Pompernik." Aria Buffa. sung by Herr FORMES ...

performance of Mr. Tennant, for whom it was written, and by whom it has been sang

at many of the best concerts of the season. Signor Pipsuti, an Italian, has produced FANTASIAS, QUADRILLES AND WALTZES.

an air of Italian grace and beauty, while he has entirely avoided the faults into which Brinley Richards' Fantasia, on "Once too often"

foreign composers so often fall in setting English words to music. The melody not Emile Berger's Fantasia, on “Once too Often" .

3 0 | only expresses the sentiment conveyed by the poetry, but does not present a single " Fontainbleau Quadri110," by Strauss. (Handsomely Illustrated in Colours) 40 misplaced emphasis or accent-most important requisite in vocal music. Mr. "La Belle Blanche Waltz," ditto ... ... ... ... ... ... ...

Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano

or contralto voice. There is a flaw in one place which dims the clearness of the London : DUNCAN Davison & Co. 244 Regent Street, W.

harmony. In bar 8, page 2, G fiat in the melody is accompanied by E natural in the bass, creating a diminished third (or tenth) an interval very rarely allowed, and not, we think, in the present case. There is much that is masterly in Mr. Land's

romanza, and Mr. Santley, for whom it was composed, has sung it with deserved sucTHE FOLLOWING COMPOSITIONS (Copyrights),

cess. We could have wished it had been a little less elaborate that the flow of the

melody had been less disturbed by extraneous modulation ; and that the pianoforto I by this eminent Composer, are published by DUNCAN DAVISON & CO.:

accompaniment had been lighter and less loaded with notes. It is a fine song, VOCAL.

nevertheless, and not unworthy of the author's well-merited reputation."— The Press. " Friendship." (Freundschaft.) Quartet for 2 Tenors and 2 Basses ... ... “The merry hunters." (Dio Lustigen Jägersteut.) Chorus for Tenors and

NEW AND REVISED EDITION. Basses ... ...

.. ... . ... ... ... ... ..... ... " To thee, dear land, I sing" (à la Patrie), for 2 Tenors, 2 Basses, and Chorus 6. O " God save the Queen," 2 Tenors and 2 Basses, with Piano ad lib.

Price 12s. The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad ". This house to love is holy." Serenade for 8 Voices (without accompaniment) “ Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass “Here on the mountain," with Clarinet obbligato

* Violin or Violincello in lieu of "Clarinet, cach “ Near to thee," with Violincello obbligato ... ... " Tho Fishermaiden." (Das Fischermädchen) ... ... ... ... ... PIANOFORTE.

ADOLFO FERRARI. Royal Wedding March. Composed for the marriage of the Princess Royal of England with Prince Frederick William of Prussia

80 Ditto, as a duet ...

100

“The great and deserved success of this work has brought it, in no long time, to a London : DUNCAN DAVISON & Co. 244 Regent Street, W.

second edition, carefully revised, and enriched with a number of additional exercises, Just published, prico 38.

which greatly increase its value."--Illustrated News, MILLE. ADELINA PATTI'S NEW WALTZ, MI “DI GIOJA INSOLITA." Sang with distinguished success by Mlle.

LONDON : DUNCAN DAVISON & Co. 244 Regent Street, W.
ADELINA PATTI, in the operas of " 11 Barbiere di Seviglia, "\" Don Pasquale," &c. &c.
The Words by LORENZO MONTERASI, the Music by MAURICE STRAKOSCE.
London : DUNCAN DAVISON & Co. 244 Regent Street, W.

Just Published,
Just published, price 35. with a Portrait.
MILLE. ADELINA PATTI'S NEW BALLAD,

OPERATIO RECITALS for the PIANOFORTE, VI "THE OLD HOUSE BY THE LINDENS." The Poetry by LONGFELLOW.

BY Sung with the greatest success by Mlle. ADELINA PATTI, for whom it was expressly

IMMANUEL LIEBICI. composed by HOWARD GLOVER, London: DUNCAN DAVISON & Co. 244 Regent Street, W.

No. 1. “Freyschütz," dedicated to Miss Catherine M. Pfeil.

2. “ Freyschütz," dedicated to Miss Taylor ...

3. “ Norma," dedicated to Miss Katherine Greenhill THE HARP OF WALES. Ballad. Composed by

"Norma," dedicated to the pupils of Miss Gilbertson BRISLEY RICHARDS, sung with such distingnished smerou at the CARNARVON

b. "Oberon," dedicated to Miss Parkes ISSTIYAL, by Mr. Lewis Tuomas, is published, price 3s. by

6. “Martha,” dedicated to Miss Frances Gurney ... DUNCAN DAYI80X & Co. 244 Regent Street, W.

London: Duncan DAYISON & Co. 244 Regent Street, W.

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MEYERBEER.

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THE VOICE AND SINGING

(The Formation and Cultivation of the Voice for Singing).

MUSIC IN LONDON-A GERMAN VIEW OF IT. no claim to European reputation; Mr. Ella gocs still further; whoever

has not played in the Musical Union, is no authentic celebrity, no An interesting concert was organised by Joachim and Hallé for the star," to use Ella's favorite expression. This time Mr. Ella, as he benefit of the suffering Ernst. In this the elite of the artists now in himself assures us, has only admitted Schumann's Quintet into his proLondon cooperated, and among other things a manuscript Quartet by gramme at the express desire of Alfred Jaell, and he excuses himself Ernst was played, Joahim taking the first violin, Laub the second, for it before his noble patrons by saying, that this work has already Molique the viola, and Piatti the violincello part. Three hundred been successfully performed by Wilhelmina Clauss, Herr Pauer, pounds sterling were received. Ernst's composition is a very meritori- Madame Schumann, and Nicholis Rubinstein. “In Berlin, Dresden ous one, and an English publisher has paid £100 for the copyright and Paris," says the Analysis, “ this composition has frequently come

Such artists as Joachim, Piatti, Hallé, the Tietjens, the Patti, Tam- to 'performance, and at a time when our limited repertoire of piano berlik, &c., favorites with the public, as well as with the high nobility, concert music by the older masters has become so familiar to our public, who set the tone and spend the guineas, have to play several times we greet this Quintet as a welcome novelty. In this Quintet, so far as every day. But to our great joy we announce, that the high society we can judge without the aid of a score in this analysis, there is little in London is threatened by a revolution wholesome for the artist's persistence in experimental art, and nothing unusual in the form of the dignity, and that we owe this to our respected Joachim. He, and, if | whole work, to make the intentions of the composer unintelligible at a we are not mistaken, Hallé also, refuse to take part in soirées, where the single hearing." Mr. Ella possesses, moreover, the talent of trotting out artists to be sure are well paid, but are treated otherwise like wandering the high nobility, every time that an artist's proposal does not suit him. gypsies. They accept the invitations only of such friends of music as “What will the Duke of Leinster say?" "" The Duke of Beaufort receive the artists, like the other guests, as their own equals, in parties never will assent to that," or, “ I should never dare to propose that to where one does not have to wait till the commencement of the concert, the Earl of Dunraven." Meanwhile these lordships trouble themselves for the saloon babble to begin. Artists must respect themselves and as little as the Pacha about what Ella does.-We must, however, do feel their dignity, then the lords and ladies will condescend to treat the Musical Union the justice to admit, that it takes pains to secure for them with proper distinction. And apropos of this, we never yet could its concerts all the celebrities that come to London. comprehend how artists, who know how to appreciate their high call. Another celebrity is Mr. Davison, the cherub with the flaming sword ing, can consent to let themselves be heard in gambling places before a before the gates of Paradise for lady pianists. None but Arabella public of lorettes and chevaliers d'industrie. We have never read that Goddard can go in. ... Mr. Davison, who writes in the columns of Joachim, Mme. Szarvady, Schulhoff, Clara Schumann, or Hallé had the has two excellences, which we wish to notice; he writes appeared in Baden-Baden or in Wiesbaden.

well, and whomever he has once adopted, to him he remains faithful. If Joachim bears himself proudly toward English fashion, he is all Davison has done much for the diffusion of Mendesshon's music in the more amiable with his comrades on Parnassus, with artists and England--if he dared, he would put this above the works of Beethoven.. writers. At the house of Dr. Max Schlesinger, which has become the Davison is a glowing admirer of Meyerbeer. focus of the celebrities from all parts of the world, I have heard Joachim, Chorley, another of the knights of English criticism, who according and with still greater satisfaction if possible than in the concert hall. to circumstances wages war with Davison, or makes common cause He played among other things the Kreutzer Sonata with Jaell. It was with him snot often, we opine, and the latter might say : save us from a beautiful party, not so costly a one to be sure as you might see at our friends !), deserves also to be mentioned. His criticisms are less many a lord's or beer-brewer's, but therefore all the more select.distinguished by their accuracy, than by their brevity. He is as Among the guests were Freiligrath, Kinkel, Herzen, Hebbel; we monosyllabic as a Chinese. If the Athenæum writes: Herr X. has greeted too the excellent Moritz Hartmann, the German poet, honored played, that is considered as a sign of great effort. Madame N. has even in London (a fine three-leaved clover: Freiligrath, Hartmann and

sung well : is said perhaps of Madame Viardot Garcia, who stands in Kinkel! Three German poets on the soil of exile !); also the actor

especial favor with the severe gentleman, Lewinski, from Vienna, who gave a performance. .....

Our countryman Benedict has also become an English curiosity. But we are reminded that we have said nothing of the Great Exhi He is the ewige Jude of English conductorship. A public concert which bition. We shall not be expected to report upon the wonders of the | Benedict does not organise, a private concert which he does not European-Asiatic-American-Australian industry; but as there is no | arrange, or any sort of musical announcement on which his name does lack of instruments and concerts at Kensington, we will stop there not occur, is a thing utterly inconceivable. His annual monster conawhile. Sax's gigantic instrument, up which one must first climb as certs loom above the others, like Gulliver among the Lilliputians. he would a mat de cocagne, and which requires the lungs of an Æolus, How much we should have to tell, too, of Halle's “Beethoven's will be regarded as a monstrosity, but it has no more artistic significance | Recitals," in which all the three-and-thirty Sonatas, and in chronologi. than the gigantic teeth which you see hanging out before a dentist's

| cal order, s'il vous plait, are executed, while the works played each window. The same may be said of certain American fiddles and respective afternoon are to be purchased at the door. "Beethoven's pianos (!), which are constructed on a new principal. Shoemaker Ignaz Sonatas" (small print) "edited by Carl Hallé" (in gigantic letters). in Vienna petitioned for a patent for square dumplings, or knödeln, as The young piano-ladies buy with eagerness: for as they have the they say in Austria ; these might have tasted quite as good as round Sonata in their hands, they need not listen, and as they can listen, they ones; but the three-cornered violins of the Yankee cannot compare need not read. We would not, however, by any means depreciate the with the ordinary instruments}; they would come in play not at all

merits of Hallé. He plays like an excellent musician, as he is; many incongruously in a romance by Edgar Poe. Fortunately France has things, especially Mendelsshon, in a masterly way. His delivery is sent her Vuillaume. Many countries and cities have excellent piano- well thought out, his play is pure, his artistic striving a noble one ;forte makers to show; America its Stinway, England its Broadwood,

but we cannot say that he possesses charm, and his performances are France its Pleyel and its Herz; Vienna, Streicher, Bösendorfer and | more distinguished by clever industry, than by poetry. As the repreEhrbar; Pesth, Bereghozaszy: Berlin, Bechstein; Leipzig, Breitkopf sentative of German music in Manchester, as orchestra director, and as and Härtel; Zurich, Heinig and Hubert, and so on.

teacher, he cannot be praised enough. This deserving artist has con

tributed most to the spread of Stephen Heller's works in England. Among the English curiosities we have yet to mention some, which These are exceedingly liked here; everybody knows and plays them. to be sure are not exhibited, although they certainly deserve to be, if Nor must Sigismund Thalberg go unnoticed. He has been giving singularity is any criterion. Mr. Ella, director of the “Musical concerts which were eagerly attended in London; and, with the excepUnion," may open the procession. The “ Musical Union," is a concert tion of an insignificant piano composition by Rossini, and a very society, which of course stands under the patronage of the Duke of Leinster | indifferent rendering of the “ Spring Song" by Mendelsshon, he has and other high' nobility, and which has for its object to bring classical played for the most part only older and newer compositions by himself. chamber music and sterling solo pieces before its public, which consists we have followed his playing with great interest; his beautiful tone, for the most part of ladies. This object the society fulfils completely, his perfectly elegant, fine, sure delivery, has affected us agreeably; which does not prevent the Director, Mr. Ella, from being an altogether, but presently weariness took the place of pleasure, and on the whole remarkable personage. A Russian court intendant, who at the same these achievements, in spite of all their perfection, leave the impression time of course is general or hetman of Cossacks, cannot have a higher of a thing that is outlived. notion of his own importance, than our Ella, Esq. In his opinion the We have also heard Madame Lind Goldschmidt, and although this musical works of the greatest masters first acquire their worth, when singer's voice becomes more and more veiled, yet her simple, noble they are performed at Ella's; and, in spite of their interpretation by delivery, her still incomparable style of singing, deserves all the admithe most excellent and famous artists, they are only understood after ration lavished on her by the English public. Fräulein Tietjens, too, they have been butchered in his “ Synoptical Analysis," which he has has long been a favorite of the English public, and we gladly accord distributed at every concert. The Parisians imagine that an artist, 1 to her splendid voice the tribute of our homage. who has not been recognised by the capitale de la civilisation, can make | The concert to which Mme. Goldschmidt lent her aid, was for the

• Translated for Dwight's Journal of Music (Boston, Massachusetts).

• Wo dare deny it. American Translator.

benefit of the people's schools established in Southern Italy at the From Mozart you turn reluctantly, as from an Olympian festival, suggestion of Garibaldi; and so we heard in it a succession of Italian in whose enthusiastic pitch of liberty, and love and joy, you feel celebrities: Bettini, Zucchini, Belletti, Giuglini, Armandi, Giraldoni, that your faculties and your emotions have all got out, and swim in Mlle. Barbara Marchisio, Mme. Guerrabella. Also Piatti, the faultless a willing and congenial element of life. Sense and soul are one. artist, let himself be heard twice. Jaell and N. Rubenstein performed.

The keenest sense of living, the perfected and full flower of sentiThe latter has rapidly won recognition by his extraordinary bravura

ment, the exaltation of the soul to a certain divine consciousness; and by his fiery playing; but it is justly remarked that he lacks that

the rising of the floods of the heart to overflow all things and blend smoothing of the graceful and the tender which distinguishes his brother's playing in so high a degree.

their harsh outlines into concord with itself; a tremulous recogSpace vanishes under our fingers, and we have not yet mentioned the nition of the near presence of the spiritual world to this our everylarger concert societies.—The oldest is the “ Philharmonic Society," day life; a sort of disembodied pure existence floating through all now under the direction of Sterndale Bennett. This, like the Paris things without resistance, as if matter had given up its impenetraConservatoire, adheres decidedly to the strictly classical programme, bility,—this you feel, and as if the breath of one, whose love was and would regard it as a sin against Art, should any master after your communion with the soul of all this, fell upon your cheek. Mendelsshon and Spohr intrude with his profane music into the From Haydn you go as from the sweet quiet happiness of home, hallowed halls. Of course an exception is made with the concert

or from the mild restorative of woods and fields, with cheerful works of soloists, and so we heard this time a new Concerto by Piatti, 1 heart, clear head, and temperate desires, with the sunny domes. the first violincellist of our time. Beethoven's triple Concerto, per

ticity of a good child or a wise father, and the buoyant self-possesformed by Joachim, Piatti and Cusins (piano), proved interesting in many ways. The Symphonies were Mendelsshon's in A major, the

sion of a well-ordered life. Childlike love of nature, and cheerful, second (in D) by Beethoven; and finally Sphor's Overture to Sessonda.

genial domesticity are his two dominant traits. The first is shown The orchestra is remarkably well trained, and Bennett is a quiet, sure

in that birdlike instinct by which he organized the orchestral forces conductor. Perhaps a little more impetus is to be desired.

into so fit a nest for his creative, uneventful life; in his proneness The rival of the old Philharmonic is the “ New Philharmonic to imitation of the sounds of nature, and in the prevailing character Society," under the directiorship fof Dr. Wylde. This gives its concerts of his great works, the “ Seasons" and the Creation." The in St. James's Hall, while the old society, which this year celebrates second displays itself in the cool temperament of all his happy its fiftieth birthday, has its performanes in Hanover Square Rooms, inspirations ; in the clearness, regularity and order which were the The new Philharmonic seeks to enliven its programme by greater style of his life, as well as of his compositions; and in the fact that variety; yet we do not believe that it would dare to commit the ex

he was most felicitous, most himself, most a model to all others, in travagance of playing a Symphony of Schumann. The performance of

that form called " Chamber Music, in the composition of Quartets the Pastoral Symphony at the concert we attended was a very meri. torious one, and proved that Dr. Wylde has made progress; at least

for stringed instruments, in which the various members of the there was not that wavering in the tempi to be observed which was

violin family hold fine discourse, both argumentative, pathetic, formerly objected to in this director.

grave, and frolicsome. This is eminently domestic music. The The : Monday Popular Concerts" are distinguished by the fact, that | Quartet is the best form in which art expresses and idealises that they bring the most important artists before the Londoners for little moral music of our lives, which wells up from the fountains of the money.*

sacred sphere of home. All of these great composers were great in The Theatres, too, vie with one another in preparing worthy enter all the forms of composition ; but Handel was most Handel in the tainment for the public streaming into London from all parts of the fugued chorus; Mozart's life welled forth clearest, fullest in the world. The palm belongs decidedly to Covent Garden. There we Opera ; Beethoven is the despair of all ambitions in his Symphoheard Don Juan and Robert le Diable, and we must confess that we have | nies; and Haydn best enforced the lesson of his life in his Quartets. seldom had experience of a finer representation, than that of Don Juan.

After Mozart a new fount of music was opened in a man. One The opera was given entire, without all those mutilations to which it is exposed in Germany, and Tamberlik sings the great aria of Don

has written, from whose thrill the earth is not soon likely to Ottavio, which is almost always sacrificed. Miss Patti 'has a most

recover; from whose music we carry away something that we lovely (allerliebste) voice, and is a charming child. She seems to us

should not have dreamed of in any effect the others could produce sometimes, to be sure, a little too minaudière, but as Zerlina she requires

| upon us. This music leaves us with roused souls, restless, urgel perhaps to have a trifle too much excused to her. N. Faure, from the by mighty aspirations, which never will be quieted, a lasting opera at Paris, is a mediocre Don Juan. In Robert le Diable Mme. influence like a new Promethean spark dropped into the breast Penco sung the part of Alice, and Mme. Miolan-Carvalho that of from heaven. The music of this day all owns its influence, al1. abella. As great a virtuoso as this singer is, and excellent as is her though resisting it. The sentiment and tone of thought and school, her dramatic rendering leaves much to be desired; the tragic feeling of this age is deeply affected by it. Whoever has heard is a foreign element to her. Formes was alike excellent as Bertram this music has grown deeper, or learned how deep he was, how and as Leporello. ....

deep and infinite the work of life. It wakes no passing mood; but (Concluded from page 613.)

takes possession of the hearer's soul, and becomes a surging ocean

under him, which lifts him till he seems to touch the sky, then CHARACTERISTICS OF COMPOSERS.

suddenly sinks down to night, yet only to climb higher with the

next full wave. It is pregnant with a mighty future, and like & The truest way to characterise the ruling tone of sentiment in

providential utterance of the great heaving, struggling breast of this any composer, is to note the state of mind in which his music leaves

prophetic era of humanity. Of course we mean Beethoven. you. There is some music which is all glitter and effect, which

Beethoven expresses the interior and divine side of the restlessness you hear with astonishment, and go home weary and without

of this age-that restlessness which in its more superficial workings capacity of emotion. An opera of Bellini bathes you in a delicious

begets all this music of effect, these wonderful feats of skill, these flood of tenderness ; rose-light everywhere, and tepid spring

strivings after the impossible in mere performance, miracles which warmth; you are sad and full of passive sympathetic sensibility,

come too often, which excite for a time and leave only the memory softened, melted, but not roused. A surfeit comes, and you are

of excitement, which drive the blood to the head and stir up glad to have a good wind sweep away the mild vague haziness from

strange sensations, but never unseal those interior fountains in us the world's face, and breathe a bracing atmosphere, feel your nerves

which bathe every sense and faculty with calm invigoration. There invigorated, and see by the clear literal light of day, until the time

is an intimate connexion and sympathy between the vital organs for twilight visions comes again. What could be more opposite to

and the skin. It would seem that what is profound interior moving this than the effect of Handel? Repose, such as your spirit gains

of the waters in Humanity's great sons, her artist-prophets, like in looking up into the illimitable sky; a fulness of awakened

Beethoven, were only irritation of the skin with the mass of men ; (nergy, serene as sleep ; a balanced universal activity, calm as the

the best response which they can give to that which genits . motion of Niagara, or of the planets; a healthy universal sympathy;

owns so deeply ; (since some response they must give, inasmuch as a fellow feeling with all humanity; a communion with the absolute,

Humanity is one, and there are none of its members unaffected by a sense of union with the whole, which can indulge many moods,

the thrill of whatsoever movements first announce themselves in but is the victim of no one; life flowing from the centre, and no

deepest hearts). morbid irritation in any single faculty.

Listen to any symphony of his-that in C minor especially. Is that all? Ed. M. W.

| there is no mistaking his leading characteristics. The most remarkable is the wild, pleading earnestness of his music-his im

TIIE PHILOSOPHY OF MUSIC. petuosity and fire--the glorious frenzy of a giant or a God-yet

(From The Literary Budget.) not ungovernable, and never weak. There is in him the strength,

There are few writers on music, though there are many writers about the conscious inspiration, the truth, the well-balanced energy, music—that is to say, persons who write concerning what surround it, which can afford to abandon itself to its bold impulse, disdaining or is more or less distantly connected with it. Any one can write about mere conventional restraint. Beethoven's music travels on like music who can describe a concert-room or the dress and appearance of a rushing flame. And yet oftener it is the sullen surging of the singer, or who can narrate the plot of an opera or tell an anecdote of its restless, boundless ocean; something of gloom, to be sure, yet composer. In the same way any one can write about painting who is exalting the spirit to that pitch, that it becomes prophecy and able to give an account of the opening of an exibition, to relate and glorious hope. Such unutterable yearning, such irrepressible con

explain the story illustrated by a figure-picture, or to give biographical stant aspiration, such intense striving, such heroic energy of ex

particulars respecting some eminent artist. Indeed, a certain German

critic is said to have asked, in a paper “ about " Rembrandt's Ecce Ilomo, pression ; such gathering of massive clouds, which only measure,

An Deus homo esse potest ?" and having answerd this question at pronot conceal the illimitable depths of clear sky and stars beyond,

digious length in the affirmative, to have next inquired “ Cur Deus gleaming all the more sweetly through the rifts and chasms; such

| Homo ?” and thereupon to have broken out into an elaborate essay on sadness deepening such faith, is found in scarcely any other music, the divine incarnation. and could have found expression in no other day of the world but Nevertheless, numbers of critics have discussed, and do in the present this. The heart of Humanity, the whole bosom of society is just day discuss, painting as an art and pictures as artistic results. “Music now heaving with the presentiment which prompted and which can does not readily admit of such treatment. One may form some idea of understand this music. The music of Beethoven was reputed what a picture is like from reading a description of it, but who can strange at first. No wonder ; since his soul, like a deep sounding possibly describe a symphony or sonata so as to convey the impression gallery, was among the first to catch the echoes of the approaching

which the music itself would convey? A critic who has a true feeling footfall of the mighty Future. Beethoven is to be interpreted by

for pictorial art, and at the same time possesses great descriptive power, the glorious changes which are about commencing in society, and

may reproduce a picture in written language so that to a reader who

has the eye of an artist it shall be almost visible. A critic who would so are destined to bring forth Order out of Chaos. I hear the pro

wish to reproduce a musical work would have to resort to the more phetic murmur of the hearts of down-trodden millions, new-born material expedient of transcribing the notes. If he attempts regular to consciousness of their own great destiny, in his music. I feel descripton he falls more or less into the ingenious absurdities of the the murky gloom and sadness of the Past vainly stifling the true Russian critic, M. Lenz, who in the sonatas of Beethoven sees gad-flies, grandeur of the universal heart of man, now for the first time torrents, volcanoes, and many other wonderful things not visible to the feeling all its strength, in those dark chords resolving themselves naked eye nor audible to the unassisted ear. into serene splendors. I see the smoky coverlid that has hung In fact, no one even endeavours to describe music except indirectly for ages over some old wicked city, lifted off by the swift scouring

by comparing it to something else, which it can only resemble in the tempest of his mighty Rhythm. I am more than ever a tender,

very vaguest manner. Those comparisons are by no means objectionloving, patient, believing child when his great thoughts gather

able in themselves when they simply proceed from an emotion which strength like a whirlwind, and go roaring on and shake the world.

the writer feels impelled somehow or other to express, but they are

ludicrous when they are employed as descriptive agents. In plain Their sound is like the wild winds before day-break, which bring

reality, no piece of music is like anything else except some other piece with them a certain exhilarating taste of coming day. And his

of music, and if a writer really wishes to describe a musical work all music is most tender in its strength, most hopeful in its billowy that he can do is to state what school it belongs to, and what particular sullenness, most believing in its startling, loud protests.

influence it exhibits, and to give such technical information as to its More or less in all his Symphonies, in all his music,- although construction and general form as will convey the same notion of the he has more perhaps than any composer of the manysidedness of music as one would have of the poetry of Tennyson's In Memoriam from Shakespeare-you feel one constant theme, as great and inex being told that the poem was written in stanzas of four octosyllabic haustible, and never wearisome, as it is essentially subjective; to

lines, the first rhyming with the fourth, and the second with the third. wit, the aspiration and the struggling of the soul with destiny;

A writer on the philosophy of music has the same sort of difficulties the ever renewed conflict of Good and Evil; the hopes, the ob

to contend with which form such serious obstacles in the path of the stacles, the onward movement of Humanity; the struggle and the

writer on music as an artistic result-obstacles which the latter, for tho

most part, knows very well how to avoid, and which, when he is writing victory, reaching at last, in the Ninth Symphony, the crowning

crowning for a newspaper, he must avoid, on pain of being stigmatised as a pedant word of Joy, and the embrace of all the myriads of beings! AC

if he does otherwise. The reason why the philosophy of music has cordingly a characteristic of his style, particularly in his quick been hitherto neglected is, according to Mr. Joseph Goddard, who has movements, is the nervous accent, the reiterated emphasis, the just published a very interesting work on the subject, that, " with bold attacking manner, and the irresistible crescendo, as if to carry regard to other ministrations of art it does the least with the palpable a stronghold by storm. The harmonies go pulsing, surging, dash- forms and influences of nature, and is the only one without the faculty ing and urging their way onward, like a mighty freshet. Master of representing them in their natural aspect. Consequently, in tracing as he is of means, of instruments, broad in harmonies and rich in its influence, in wandering amongst its array of expositions, we meet coloring, the strength resides intrinsically in the thought always.

with no effect common to other branches of moral demonstration, and These thoughts demand the full expansion of an orchestra; that

with no object of external human interest. And thus the large sphere becomes his native element, in which he is most himself--Jove

of suggestiveness which these influences possess is lost in the contem

plation of music. Thus, the mind, in exploration of music, does not throned upon Olympus: even his Sonatas are full of orchestral

arrive at new starting points of thought, but traversing the ethereal suggestion ; the thoughts are large enough, and worthy of such

stream of sound, glides continuously on its emotional course, undiverted treatment. Yet so intrinsic is the greatness of his thought, that

into new channels by the external features of nature." even on the pianoforte his music is exceedingly effective and ex Mr. Goddard, in his endeavour to explain the nature and meaning of pressive, losing nothing of its characteristic, and suggesting, at musical effect in the mind, begins by considering the origin of music, least, its full force of meaning through such slender outline. But and finds that it is developed from the ordinary materials of language then it is such strong and manly music! Its very tenderness is | as the blossom is from the substance of the shrub;" that it is the lanmanly; and it takes the strength of manly hands, nerves strong as guage of passion and emotion in its highest expression, its most rarefied they are sensitive, as well as manly will and imaginative intellect,

form; or, to continue Mr. Goddard's image, is that it retains the finer to denote him truly; no more sentimental enthusiasm, no supera

attributes of speech as the flower still possesses in its roseate petals the 'ficial glittering virtuosity is competent to play Beethoven.-But

beautiful likeness of the green leaves; and that it loses the mixed and

dull sound of ordinary language, and wholly assumes the vesture of this is by no means all-J. S. Dwight, Boston (Massachusetts),

melody, as the flower relinquishes the opaque and neutral tints of tho Sep. 13.

plant and beams totally in the dazzling raiment of colour."

In the essay termed Relationship of Music to the other Fine Arts, the HELSTON CHORAL SOCIETY (CORNWALL). The members of the above

e above author seeks to explain the essential difference between music and the society gave their first Concert on Wednesday morning, September 24th, at

arts of painting, poetry, and the drama. The latter “convey the natural the Town Hall. In spite of the heavy rain the room was well filled, and

incentive of emotion first and then the emotion." Music imparts the every one appeared highly delighted with the excellent singing of the choir.

emotion at once and in a direct manner. This distinction is very marked The next concert will be in the second week in December. Conductor, Mr. J. H. Nunn (M.R.A.).

The Philosophy of Music. (Boosey and Sons.)

benefit of the people's schools established in Southern Italy at the From Mozart you turn reluctantly, as from an Olympian festival, suggestion of Garibaldi; and so we heard in it a succession of Italian in whose enthusiastic pitch of liberty, and love and joy, you feel celebrities : Bettini, Zucchini, Belletti, Giuglini, Armandi, Giraldoni, that your faculties and your emotions have all got out, and swim in Mlle. Barbara Marchisio, Mme. Guerrabella. Also Piatti, the faultless

a willing and congenial element of life. Sense and soul are one. artist, let himself be heard twice. Jaell and N. Rubenstein performed.

The keenest sense of living, the perfected and full flower of sentiThe latter has rapidly won recognition by his extraordinary bravura

ment, the exaltation of the soul to a certain divine consciousness; and by his fiery playing; but it is justly remarked that he lacks that smoothing of the graceful and the tender which distinguishes his

the rising of the floods of the heart to overflow all things and blend brother's playing in so high a degree.

their harsh outlines into concord with itself; a tremulous recogSpace vanishes under our fingers, and we have not yet mentioned the nition of the near presence of the spiritual world to this our everylarger concert societies. The oldest is the “ Philharmonic Society," day life ; a sort of disembodied pure existence floating through all now under the direction of Sterndale Bennett. This, like the Paris things without resistance, as if matter had given up its impenetraConservatoire, adheres decidedly to the strictly classical programme, bility,--this you feel, and as if the breath of one, whose love was and would regard it as a sin against Art, should any master after your communion with the soul of all this, fell upon your cheek. Mendelsshon and Spohr intrude with his profane music into the From Haydn you go as from the sweet quiet happiness of home, hallowed halls. Of course an exception is made with the concert or from the mild restorative of woods and fields, with cheerful works of soloists, and so we heard this time a new Concerto by Piatti, heart, clear head, and temperate desires, with the sunny domesthe first violincellist of our time. Beethoven's triple Concerto, per

ticity of a good child or a wise father, and the buoyant self-possesformed by Joachim, Piatti and Cusins (piano), proved interesting in many ways. The Symphonies were Mendelsshon's in A major, the

sion of a well-ordered life. Childlike love of nature, and cheerful, second (in D) by Beethoven; and finally Sphor's Overture to Šessonda.

genial domesticity are his two dominant traits. The first is shown The orchestra is remarkably well trained, and Bennett is a quiet, sure in that birdlike instinct by which he organized the orchestral forces conductor. Perhaps a little more impetus is to be desired.

into so fit a nest for his creative, uneventful life; in his proneness The rival of the old Philharmonic is the “ New Philharmonic to imitation of the sounds of nature, and in the prevailing character Society," under the directiorship fof Dr. Wylde. This gives its concerts of his great works, the “ Seasons" and the Creation." The in St. James's Hall, while the old society, which this year celebrates second displays itself in the cool temperament of all his happy its fiftieth birthday, has its performanes in Hanover Square Rooms. inspirations ; in the clearness, regularity and order which were the The new Philharmonic seeks to enliven its programme by greater style of his life, as well as of his compositions; and in the fact that variety; yet we do not believe that it would dare to commit the ex

he was most felicitous, most himself, most a model to all others, in travagance of playing a Symphony of Schumann. The performance of

that form called “ Chamber Music, i' in the composition of Quartets the Pastoral Symphony at the concert we attended was a very meritorious one, and proved that Dr. Wylde has made progress; at least

for stringed instruments, in which the various members of the there was not that wavering in the tempi to be observed which was

violin family hold fine discourse, both argumentative, pathetic, formerly objected to in this director.

grave, and frolicsome. This is eminently domestic music. The The i Monday Popular Concerts" are distinguished by the fact, that Quartet is the best form in which art expresses and idealises that they bring the most important artists before the Londoners for little moral music of our lives, which wells up from the fountains of the money.*

sacred sphere of home. All of these great composers were great in The Theatres, too, vie with one another in preparing worthy enter all the forms of composition ; but Handel was most Handel in the tainment for the public streaming into London from all parts of the fugued chorus; Mozart's life welled forth clearest, fullest in the world. The palm belongs decidedly to Covent Garden. There we Opera ; Beethoven is the despair of all ambitions in his Symphoheard Don Juan and Robert le Diable, and we must confess that we have nies; and Haydn best enforced the lesson of his life in his Quartets. seldom had experience of a finer representation, than that of Don Juan.

After Mozart a new fount of music was opened in a man. One The opera was given entire, without all those mutilations to which it is exposed in Germany, and Tamberlik sings the great aria of Don

has written, from whose thrill the earth is not soon likely to Ottavio, which is almost always sacrificed. Miss Patti has a most

recover; from whose music we carry away something that we lovely (allerliebste) voice, and is a charming child. She seems to us

should not have dreamed of in any effect the others could produce sometimes, to be sure, a little too minaudière, but as Zerlina she requires

upon us. This music leaves us with roused souls, restless, urged perhaps to have a trifle too much excused to her. N. Faure, from the by mighty aspirations, which never will be quieted, a lasting opera at Paris, is a mediocre Don Juan. In Robert le Diable Mme. ( influence like a new Promethean spark dropped into the breast Penco sung the part of Alice, and Mme. Miolan-Carvalho that of from heaven. The music of this day all owns its influence, al1. abella. As great a virtuoso as this singer is, and excellent as is her though 'resisting it. The sentiment and tone of thought and school, her dramatic rendering leaves much to be desired; the tragic feeling of this age is deeply affected by it. Whoever has heard is a foreign element to her. Formes was alike excellent as Bertram this music has grown deeper, or learned how deep he was, how and as Leporello. .....

deep and infinite the work of life. It wakes no passing mood; but (Concluded from page 613.)

takes possession of the hearer's soul, and becomes a surging ocean

under him, which lifts him till he seems to touch the sky, then CHARACTERISTICS OF COMPOSERS.

suddenly sinks down to night, yet only to climb higher with the

next full wave. It is pregnant with a mighty future, and like a The truest way to characterise the ruling tone of sentiment in

providential utterance of the great heaving, struggling breast of this any composer, is to note the state of mind in which his music leaves

prophetic era of humanity. Of course we mean Beethoven, you. There is some music which is all glitter and effect, which

Beethoven expresses the interior and divine side of the restlessness you hear with astonishment, and go home weary and without

of this age that restlessness which in its more superficial workings capacity of emotion. An opera of Bellini bathes you in a delicious

begets all this music of effect, these wonderful feats of skill, these flood of tenderness ; rose-light everywhere, and tepid spring st

21:18 strivings after the impossible in mere performance, miracles which warmth ; you are sad and full of passive sympathetic sensibility,

come too often, which excite for a time and leave only the memory sostened, melted, but not roused. A surfeit comes, and you are

of excitement, which drive the blood to the head and stir up glad to have a good wind sweep away the mild vague haziness from

strange sensations, but never unseal those interior fountains in us the world's face, and breathe a bracing atmosphere, feel your nerves

which bathe every sense and faculty with calm invigoration. There invigorated, and see by the clear literal light of day, until the time

is an intimate connexion and sympathy between the vital organs for twilight visions comes again. What could be more opposite to

and the skin. It would seem that what is profound interior moving this than the effect of Handel? Repose, such as your spirit gains

of the waters in Humanity's great sons, her artist-prophets, like in looking up into the illimitable sky; a fulness of awakened

Beethoven, were only irritation of the skin with the mass of men ; (nergy, serene as sleep; a balanced universal activity, calm as the

the best response which they can give to that which genius motion of Niagara, or of the planets; a healthy universal sympathy ; |

owns so deeply ; (since some response they must give, inasmuch as a fellow feeling with all humanity; a communion with the absolute,

Humanity is one, and there are none of its members unaffected by a sense of union with the whole, which can indulge many moods,

the thrill of whatsoever movements first announce themselves in but is the victim of no one; life flowing from the centre, and no zvorbid irritation in any single faculty.

deepest hearts).

Listen to any symphony of his that in C minor especiallyIs that all? Ed. M. W.

there is no mistaking his leading characteristics. The most re

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