"A walk through Nottingham." Words and Music by

JAMES TONGUE. (James Tongue.) " The Curfew." Words by LONGFELLOW; Music by Mrs. CUNNINGHAM Here is poetry of another kind. Take a stanza for example:SMITH. (Paterson and Sons.)

“A lovely view of Nottingham is down from Wilford Hills, The following interesting communication, from Professor Long Then on the London Road to go unto the Railway Bridge, fellow himself, is as good and just a criticism as could be written

And on to Fishergate you go, and then to Carlton Hill, about Mrs. Cunningham Smith's very graceful and expressive

And there you'll see a lovely sight that you'll not forget; setting of his beautiful words :

Then on the Queen's Walk I love to go to view the meadows so gaily, oh!"

" Cambridge, Jan. 9, 1862. The music is composed of an uninterrupted succession of conse"DEAR MADAM, I hope you will pardon me for this long delay in cutive fifths and octaves. Take one instance : answering your friendly note, and in thanking you for the music you were so kind as to forward to me. Having no one in the house who could play it, or sing it to me, I have been obliged to wait a long while for a chance to hear it; and even now I have not heard it sung--only played ; so that it remains still a voiceless song to me. The music seems to me very sweet, with a solemn and pathetic toll in it, well | adapted to the subject. When you write to your sister, I beg you to tell her how much gratified I am by this mark of regard for anything I have written ; and, with my thanks, give her also my compliments on her success. I remain, dear Madam, yours very truly,

We presume this song was concocted for a joke. We cannot “ HENRY W. LONGFELLOW."

think it a funny one. What more need be added to so hearty and (as we have hinted) well-deserved a tribute ?


MARIO. • The Wanderer's Welcome.” Words by C. SMALLFIELD; Music by

(IUustrated Times.) JOSEPH McKewax. (W. Blagrove.)

Signor Mario has signed a contract for Paris, and will appear at the “The Fairy Exile’s Lament.” Words by Ibid ; Music by Ibid. (Ibid.) French Opera (" Théâtre de l'Opéra," as it is now called). The musicians Mr. McKewan is evidently a good musician. He has, moreover,

| and amateurs of the French capital are said to be delighted at the

thought of hearing once more the tenor who is still decidedly the greatest a laudable ambition ; and there is merit in both these songs,

of all tenors living, and who, for some years past, has never sung anybesides that of their being written with unimpeachable correctness. / where continuously, except in London. Judged by the standard of “The Wanderer's Welcome," a kind of scena, shows good knowledge absolute perfection, Signor Mario's voice certainly leaves much to be of accompanied recitative, and contains an allegretto in B major desired. But his manner of singing is admirable, and he has a natural (12-8 time), which is distinguished alike by melody and expression. manly tone which is quite wanting in most tenors-indeed, all other

The Fairy Exile's Lament,” as well as being intrinsically attractive, tenors of the present day, including even the accomplished Signor is set off with a showy obligato accompaniment, which may be Tamberlik of the powerful throat and tremulous voice. We are glad entrusted either to oboe or violin. For ourselves we should vote

that Signor Mario has been engaged for rather a long term at Paris, for the latter. Both songs are extremely well harmonised.

where it will be seen that he will obtain a triumphant success, because the habitual grumblers of London are fond of saying that this unrivalled

singer is over-appreciated by the English public, that he “ would not · The Viceroy of Egypt's March." Composed by ELLEN L. GLASEOCK.

do abroad," &c. The question that ought to be considered is, not (Metzler & Co.)

whether Signor Mario is the best of all possible tenors, past and future,

but simply whether he is not decidedly the best tenor on the stage. A very spirited march, and appropiately inscribed to the illustri Perhaps the people of Berlin prefer Herr Wachtel? If so (which we ous African potentate, whose name it bears, and whose portrait is doubt), they have Herr Wachtel, and are welcome to him. But we on the title-page.

are quite sure that the people of Vienna do not prefer their tenor of the coming season, Signor Giuglini, nor the people of St. Petersburg

theirs, Signor Tamberlik, to the tenor whom all candid and unpre"O Stars of Silence.” Words by SHIRLEY Brooks; Music by - judiced persons in London and Paris, whether musicians or not, delight CAROLINE ADELAIDE DANCE. (Rob. W. Ollivier.)

to hear and to applaud. Let us put one inquiry to our musical grum“The Syren River." Words by GERALD MASSEY; Music by blers. If there are tenors hidden somewhere in Italy, who are superior CAROLINE ADELAIDE DANCE. (Same publisher.)

to Mario, or to Tamberlik and Giuglini, why are they not discovered Miss Dance-who writes gracefully and with excellent taste, as

and brought into general European notice? A speculator could make usual-is fortunate in her poets. We should like to quote both

a little fortune by engaging an unknown tenor in Italy, on his own

account, at a very small salary, and re-engaging him to an operatio songs, but space only permitting of one being absorbed into our

manager in London, Paris, or St. Petersburg, at a very large one. columns, we must select that of Mr Shirley Brooks :

Moreover, English, French, and Russian agents are constantly employed "Stars, 0 Stars of silence !

in visiting the land of tenors, to see whether a new Mario can be found. O Gems in crystal blue,

Hitherto the search has not been successful. Mario is to make his first Is it vainly, is it vainly

appearance (or rather reappearance) at the Théâtre de l'Opéra on the That love looks upon you ?

15th of next month, either in Le Comte Ory, or Les Huguenots. It was Since bearts have learned to throb,

at this theatre (called at that time the Académie Royale) that he Since hearts have learned to pine,

commenced his operatic career, in 1838. “It was on the 30th of O Stars, O Stars of silence !

November, 1838," says the French theatrical journal the Entr'acte, in Love has worshipped at your shrine.

noticing the event, " that the young and brilliant Viscount di Candia * Through your mystic dances,

made his first appearance on the stage under the name of Mario.” O'er the vault on high,

Two years before he had become attached to the Opera as a pupil. Stray the lover's fancies,

His success as a singer had attracted the attention of M. Duponchel, Breathes the lover's sigh.

then the director of the Opera, who was eager to attach him to the But more sweetly glistens

theatre, and allowed a pension of 1500f. a month all the time he Your soft beam the while,

followed the classes of Penchard and Bordoni at the Conservatoire. He Yonder dear one listens

made his debut in Robert le Diable. Meyerbeer had added an air in the With her star-bright smile."

second act expressly for him. His success was complete. Mario did

not agree with the director, M. Pilet, and quitted the Opera in 1841. Miss Dance has been peculiarly happy in her setting of these At his farewell representation he sang the second act of William Tell, unaffectedly beautiful lines; nor has she failed to do justice to the

and the third and fourth act of Les Huguenots. He was engaged imverses of Mr. Gerald Massey. We can unreservedly commend both mediately afterwards at the Salle Ventadour (Italian Opera), and every songs,

one knows how rapid and brilliant his sucess was in the Italian | repertory


the musical art affords no parallel. Nearly 40 years have elapsed since it was The Monday Popular Concerts have commenced this autumn a month earlier

first tried in Berlin, at the house where Mendelssohn's family resided; and the than usual, for reasons not difficult to guess. The director-Mr. S. Arthur

universal esteem in which it is now held by musicians and cultivated amateurs in Chappell --no doubt in an amiable spirit of philanthrophy, wishes to afford our

a proof that its merits are genuine-independent, in short, of the extraordinare foreign and country visitors, still attracted by the inexaustible riches of the

incidents connected with its production. The first allegro exhibits the lones International Exhibition, an idea of what kind of quartet and sonata playing

aspiration and powerful grasp of Beethoven himself; the slow movement, the may be heard in London. He could not have begun his fifth season under

romantic feeling, and the scherzo the bright and sparkling fancy so peculiarly luckier auspices. Herr Joseph Joachim being still in England, Mr. Chappell

the attributes of Mendelssohn; the finale, the skilful contrivance and contri. has secured the assistance of the greatest artist of the day. Signor Piatti, too,

puntal freedom of Mozart. Nothing, indeed, but a certain diffuseness—the the violoncellist without peer, was at hand; and with those excellent English

Offspring chiefly of what a German critic might denominate "a genial striving players, Messrs. Carrodus and H. Webb, for second violin and viola, a quartet

upwards,” impelled, too, by an inordinately rich invention-proclaims it the work sans tache (unbefleckt) might be relied upon. Then, for the pianoforte sonata

of a young and comparatively inexperienced musician; and such is the charın there was M. Charles Hallé, one of Beethoven's most eager and redoubted

which genius has thrown over every part, that even this very diffuseness exercises champions. Such a company of instrumental players has rarely (perhaps

a potent spell, no lover of Mendelssohn's music being at all disposed to see a never) been brought togther at this season of the year ; but zeal, with good

single bar curtailed. This was not the first time of the Ottetto being heard at management, sets obstacles at naught; and our musical readers need not be

the Monday Popular Concerts ; but it was the first time with Herr Joachim as told that more uniformly well-conducted entertainments than the Monday

leader ; a circumstance which invested the performance with twofold attraction. Popular Concerts were never devised for the gratification of London amateurs.

Never did the Hungarian violinist play with greater fire and enthusiasm, never The first concert (the 103d since the institution, in 1859) took place in St.

with greater judgment and expression (witness the exquisite reading of the James's Hall, on Monday night, in presence of an audience quite as attentive

andante), never (the fairy-like scherzo, for example) with greater delicacy. The and able to appreciate as it was crowded. The programme, including master

quartet of performers already named were supported in the Ottetto by MM. pieces by Haydn, Mozart, Beethoven, and Mendelssohn, was one of the best on

Wiener, Watson, Hann, and Paque. The execution—with a trifling exception or record-s0 judiciously made out, indeed, and in all respects so interesting, that

so, to signalise which would be hypercritical—was the finest we remember. Her we are induced to quote it :

Joachim and Signor Piatti, on their respective instruments, constituted the

" Alpha and Omega" of musical excellence. The pedestal was worthy of the PART I.

statue. From first to last the performance was listened to with breathless Quartet in D minor (first time at the Monday Popular Concerts) ... Haydn. interest, and movement after movement rapturously applauded. The success Cradle-song, “ Sleep thou infant angel"

Glinka. Song “ Paga fui"

was, in a word, “ colossal." It is only in the non-operatic season that the

Winter. Sonata in D major, pianoforte solo


director of these entertainments is enabled to assemble together so many comPART II.

petent executants as are required for pieces demanding such exceptional means; Grand Ottet, in E flat, Op. 20, for four Violins, two Violas, and two

and the announcement of others of the same kind during the autumn series Violoncellos

Mendelssohn. (including one of Spohr's double-quartets, the Septets of Beethoven and Songs, " Who is Sylvia p" “ Hark, hark, the lark" ...

Schubert. Hummel, &c.), shows that Mr. Chappell intends to let his patrons profit by the Song, “ The Savoyard's Song"

Mendelssohn. Duet, “ Puro ciel"


advantages just now at his disposal. Sonata, in G, Op. 30, for Pianoforte and Violin ...

Beethoven. The last instrumental piece—the sonata in G (Op. 30), by Beethoven, for Conductor -Mr. Lindsay Sloper.

pianoforte and violin-a particular favorite at the Monday Popular Concerts Some German critic is reported to have said that when the name of Haydn

-was given with wonderful “ brio" by MM. Hallé and Joachim, and kept the ceased to be exhibited in the programmes of classical concerts he would take

interest of the great majority of the audience alive to the end. The Focal up his pen and write “The Epitaph of Music.” This enthusiastic gentleman

music afforded a pleasing variety. The plaintive cradle-song of Glinka (ex. need be under no apprehension, however, about the continued popularity of a

tremely well sung by Miss Banks) was a welcome novelty-a step, too, in the man capable of writing such a quartet as the one introduced by Herr Joachim

right direction. The vocal music of the Russian Mozart" is a mine wel on the occasion under notice. In this work (belonging to the famous set which

worth exploring. Miss Banks was no less successful in Schubert's beautiful contains the quartet with variations on the “ Austrian Hymn,") and in some

settings of Shakspeare—the last of which (“ Hark, hark, the lark") was en. others, while strongly influenced by the later music of Mozart, Haydn seems

cored; while the rich contralto voice of Miss Lascelles was favourably displayed to have foreshadowed one peculiarity of the many-sided Beethoven--that

in the canzonet of Winter (who, more than any other composer, knew how to playful fancy which, in the composer of the Pastoral Symphony, so frequently

imitate, while diluting, Mozart), and in the quaint "Savoyard's Song" of assumes the character of absolute caprice, without venturing upon the domain

Mendelssohn. The graceful notturno of Paer-Rossini's predecessor, as manof eccentricity. This is visible in the trio of the minuet-the minuet itself,

ager of the Opera Italien, and Cherubini's as "principal" of the Conservatoire, a "canon on the octave," belonging, like the first allegro, more essentially to

| in Paris-united the voices and talents of the two young ladies with pleasing the style of Mozart—and here and there in the final rondo. The graceful

effect. Mr. Lindsay Sloper, who in the absence of Mr. Benedict) occupied andante (with variations) shows Haydn most unreservedly himself, which by no

the post of conductor, accompanied the vocal pieces to perfection. At the next means renders it the least agreeable and charming feature of the quartet. A

Concert (October 20), Spohr's magnificent double-quartet, in E minor, is to be finer performance than that of MM. Joachim, Carrodus, Webb, and Piatti,

one of the principal attractions, and Mr. Sloper will play one of the sonatas of would scarcely have been possible. Herr Joachim seems to play Haydn with

Beethoven. a gusto not less hearty and genuine than the sympathy that distinguishes his readings of the masters of his especial predilection - J.S. Bach and Beethoven. | BERLIN.—The birthday of Queen Augusta was celebrated at the The quartet was heard throughout with intense satisfaction, every movement Royal Opera House by Weber's “ Jubel Overture," a prologue by being loudly applauded, and the andante redemanded, though the compliment | Adami, spoken by Herr Berndal, and Nurmahal, which last, on accou. was prudently declined. In this instance the “first time of performance has of the opportunity it affords for scenic display, is frequently selected for small chance of being the last.” The Quartet in D minor will unquestionably festival performances. The principal parts were ably represented by soon be heard of again. Mozart's sonata-clear and transparent, melodious Malles. Lucca, De Ahna, and Herr Woworsky. A young lady of the and full of ingenious contrivance-can hardly be cited as an advance upon the name of Moser has appeared as “ Matilda," in Guillaume Tell ; but, quartet of Haydn, which, on the whole, must be acknowledged a work of a though possessing a fine voice and a pleasing exterior, failed from want higher cast. Mr. Hallé's playing was artistic and masterley, as usual. The of a musical training. On the sixth inst., the centenary celebration of Sonata in D major, however, has been twice heard already at the Monday | the first performance of Gluck's Orpheus und Eurydice took place before Popular Concerts, and from the same expert hands ; it is enough, therefore, to a crowded house. The following is a chronological list of the perfor add that it was received with the accustomed favour. The fact of a piece of mances of this opera in Berlin :

inances of this opera in Berlin 1808, April 20th, first time; for the

1808, April such chaste and unobtrusive beauty depending for effect upon the unaided benefit of Mdme. Schick. 1808, three times. “Orpheus. efforts of a single performer, and producing, in a vast music hall, a lively impres “ Eurydice," Mdme. Schick; “ Amor,” Mdine. Schick (afterwards sion upon an audience of not far short of 2,000 persons, is one of those “ Frau von Schätzel.") 1818, three times. - Herr Stümer, Mdine. " signs of the tiines" unmistakably declaring the progress of taste among us. Miller, Malle. Eunike. 1819, once.- Herr Stümer, Mdme. Miller, True, the Music-master-like the "schoolmaster," when Lord Brougham first Malle. Eunike. 1821, twice, in Italian.—Mdme. Borgondio, Mame. addressed the multitude on the inestimable advantages of education-is now Seidler, Malle. Eunike. 1841, twice.-Malle. Hänel, Malle. Hedwig effectually " abroad."

Schulze, Malle. Tuezeck. 1854, four times.-Malle. Wagner, Mdme. Mendelssohn's Ottetto (with all deference to the illustrious names of Haydn, Köster, Malle. Tuezeck. 1855, three times.- Malle. Wagner, Mdme. Mozart, and Beethoven) was the conspicuous feature of the evening. It ap

Köster, Malle. Tuezeck. 1856, four times.- Malle. Wagner, Mdme. pears almost incredible that a work so large in design, so elaborately filled | Köster, Malle. Tuezeck. 1857, three times.—Mdlle. Wagner, Jak out, so ripe in scholarship, so crowded with ideas, as new as they are beautiful, Köster, Malle. Tuezeck. 1858, twice.-Malle. Wagner, Mdme. Köster, should have fallen from the unpractised pen of a youth of fifteen. This was, Malle. Tuezeck. 1859, four times.-Mdlle. Wagner, Mdme. Köster, nevertheless, the case. The Ottetto preceded the overture to A Midsummer Malle. Tuezeck. 1860, three times.-- Malle. Wagner, Mdme. Köster, Night's Dream by something like two years; and we have no hesitation in Malle. Tuezeck, 1861, twice.- Malle. Wagner, Mdme. Köster, Mdik. saying that its composition at so early an age is a feat to which the history of | Tuezeck.


and simplicity, disfigured by no coquetish ornaments. The violins (the viola

is found only in the B flat Mass, and there perhaps as a later edition) remain, From the Deutsche Musik Zeitung.

in spite of their sometimes very ingenious treatment, closely adhering to the These peculiar compositons have in the course of time experienced very vocal quartet, merely accompanying, filling it out, or serving as a relief to it by different judgments, favorable and unfavorable. The Protestant North knows imitation or antithesis. The wind instruments are few, and, with the exception them only fragmentarily, under the form of German Cantatas, in which single of the above named Mass, are employed only as ripieno, never as concerted numbers out of them have been employed. The questionable propriety of this parts, as they were sometimes even by the severe Michael Haydn. How transplanting of such products from the mother soil of a special cultus, has modestly Mozart dealt with the wind instruments is shown by the fact, that in already been alluded to by Otto Jahn, and by Mendelssohn in his Travelling two of the engraved Masses some instruments are added by the publishers, to Letters. The choir directors of Catholic Germany held these Masses, over- bring out more effective tone-colours. flowing with fresh and genial originality, especially the smaller ones among As these considerations explain the excellences of Mozart's Masses, so the them, in uncommonly high esteem, because they offered some alternation to following may, if not excuse, at least account for their faults. It is well their Sunday repertory, selected for the most part from dry, mechanical con- | known that Mozart wrote them under the cramping influence of the Archbishop trapuntists, while the other great masters wrote only Solemn Masses. The Jerome. Of course it would be ridiculous to assume that the influence of uneducated portion of the church public, choosing the better part, were wont this coarse patron, who knew not how to prize or recognize his own good on entering the church to put themselves at once in immediate relation with fortune in commanding such a genius, extended also to their style and inward the good God. The degree of their edification was not at all dependent on the structure. Two small, though excellent Masses of Joseph Haydn show the greater or less perfection of the church music, which, absolutely inaccessible greatest affinity with some of Mozart's, and even these, although they all to their understanding, made a mere ringing in their heads. Ari-loving visitors originated under Jerome, pass gradually over from the severe style to the of churches—a smaller and smaller handful---took about the same delight beautiful and finally to the "gallant;' but without this, the archbishop's contempin the Masses of Joseph and Michael Haydn, Mozart, Beethoven, &c, as in tuous treatment of the aspiring youth, as well as his stupid fixing of a certain the church paintings, yielding passively and simply to their influence, and time, which was not to be exceeded in these church compositions, were clogging receiving more or less religious edification, though neither seeking nor avoiding chains enough, since genius for its free unfolding needs above all two things : it directly. This quiet circle has of late years found a harınless gratification encouragement and an open path. A further difficulty, and none of the much embittered. Critical knowledge, in its ceaseless and impartial progress, smallest, when Mozart entered upon church music, lày in his own nature ! has at length got possesion of it. In the plastic arts, the conflict (never quite The question generally how such extraordinary artist natures, like Mozart and intolerable) between the claims of religion and the laws and consistencies of others, stand related to religion and religious Art, is one which, for reasons Art on the one hand, and between these and the pretensions and encroachments above indicated, can only be touched upon here in passing. of strong artistic individualities on the other. has at length yielded to If on the one hand Art, for the very reason that it is divine, has always found at least a tolerable compromise ; while in the domain of church music the the worthiest goal for its exertion and the full satisfaction of its ambition only most heterogeneous extremes of our time have come to such confusion of par in divine things ; and if religion, heathen as well as Christian, has found its ties, that it all seems like a set-to in the dark, where you hear the blows, | greatest glorification through the greatest minds ; so on the other hand it cannot without seeing whether they fall on friend or foe. In such a state of things be denied that these overruling coryphæuses of Art, on entering the religious field, it is dangerous even to venture upon this uncertain field; and doubly so to brought with them there not merely the manifold requirements of the fine arts, advocate a genius like Mozart, who just now has the current of the times but also their own sharply marked artistic individuality ; so that in the work, somewhat against him, besides the existence of wide-spread and deep-rooted which they produced on this field the religious criterion alone does not suffice prejudices against his church compositions as such. It would seem most to measure them correctly on all sides. Pious works strictly speaking, where advisable to ignore the controversy about the genuine church style, and to con- | no side influence disturbs the devotion, are not so much the production of these sider these works of Mozart, in more than one respect so interesting, not so great original geniuses, as they are of less pretentious talents of the second much from the strictly religious and church stand-point, but rather from the rank; and therefore he who in art seeks merely edification or pursues stand-point of humanity and Art. That this may remain as free aud unpre

hierarchical ends, will find more that is to his purpose in Michael Haydn than judiced as possiple, it is well to premise the following general considerations iu his more gifted brother, or than in Mozart or Beethoven, more in the founded upon facts.

paintings of Francia or Perugino than in those of Raphael, Titian or Michael When Leopold Mozart became aware of the unexampled musical talents of Angelo. Finally, we must not overiook the fact, that these Masses are not · his son, two principal ways stood open to him for the foundation of his futnre. sufficient to enable us to judge what Mozart could do in the province of church He could educate him for the Opera, where so many a composer had won music, or to compare what he has done with the achievements of others. For fame and money_even wealth, like Gluck; or for the music of the church, where while we recognise the depth and marvellous prematurity of his talent, it is he might find in one of the numerous chapels of that time a subsistence, modest yet clearly evident in these works, apart from their date—they were nearly all indeed, but secure against the capricious moods of fashionable taste. Worldly composed between his 15th and 20th year, and even the last two great Masses wise as he was, the thoughtful father chose both; and while his gifted son, in C appeared before Idomeneo—that they were written by one who was bealmost in his child shoes, was putting the Italians in raptures by his operas, coming, not by one who had become, a finished artist. he made him go through an uninterrupted course of the severest studies, even While the first Masses show a decided leaning toward older masters and beyond his twentieth year, in the department of church music ;-studies to traditional forms, the later ones resemble bold, but dangerous, and by no means which, and to his deeply grounded knowledge in this difficult department, always successful attempts, quitting the common travelled paths—he returned Mozart himself could point with just pride in his applications to the Emperor to them again afterwards in a remarkable manner in his Requiem to found Leopold and the Vienna potentates.

for himself a new and peculiar church style, relying solely on his own artistic When Mozart wrote his Masses, he was—Jahn has collected incontestable individuality, and guided by his instinct of the beautiful, which however does proofs of it--not only a pure and spotless youth in body and in soul, but also, not seem in this field to have been a quite unquestionable guide. This change what must not be overlooked, a strictly believing, devout Catholic. In a letter of artistic views, which took place so rapidly in the young master, lends a to his father he almost indignantly repels the doubt whether he goes regularly peculiar interest to the Masses, and at the same time furnishes a motive for to confession; and he writes from Paris, that, after the successful result of his the following classification of them, which appears the less forced, since it Concert, he had offered up to God the promised wreath of roses, and then could coincides for the most part with their progressive dates of origin. take an ice-cream in the Palais Royal with some satisfaction. Even in his

A. IN STRICT STYLE. ripened manhood he dismisses the remarks of his Leipsic friends about un

a. Missae breves. suitable Catholic church texts with evident ill-humor, and with the words :

Mass No. I. (Composed in 1772 ?) "You Protestants have no conception what one feels in these things, having sucked in impressions with milk from childhood; you have no conception what I feel, when I write down : " Benedictus, qui venit," or “ Agnus Dei, miserere."

Whoever bears in mind such decisive moments as the above will not wonder if, on closer examination, he should find these much decried works to be far

Ky - ri - e, &c. better than their reputation ; if he should find in them, at almost every step, | Leaving out those Masses which Mozart wrote in his boyhood, and which a harmonic and contrapuntal art, astonishing considering at so youthful an age, for the most part are only known by their first bars, as they are found among depth of religious feeling and a grace in the expression of it, which remind his remains in André's possession, we commence the series of those which have one of Raphael, who in his heart and soul bore such affinity to Mozart. Even acquired currency with this one, which, although its date cannot be precisely from a more rigorous church point of view, these Masses, in comparison with established, seems by its style to be one of the oldest. It goes under Mozart's the Missæ solemnes of his followers, down to the most modern, have far greater name in the thematic catalogue of A. Fuchs ; Jahn, on the contrary, denies strictness and compactness. As with the older masters, so in them, even in that it is by him. There are reasons both for and against. A certain smallthe last ones, which otherwise are treated in a far freer manner, the whole ness of conception and timidity of execution; the want of that inward fire power resides in the four vocal parts, and in the great art with which these are peculiar to Mozart, and here and there a too old-fashioned simple-heartedness carried on together or contrasted. The single short solos, with the exception and naiveté, excite serious doubts. But on the other side, in the “ Quoniam of the last Mass, which is also an exception in other respects, arc either con tu solus" and in the “ Dona nobis," it shows so striking an analogy with the trapuntally absorbed by the accompaniment, or show an uncommon plainness | Mass in F which immediately follows, and which is certainly genuine, the



autograph existing at Gratz, that these doubts partially vanish again. . It certainly is not, as Jahn thinks, worked up in a light and careless manner, but in techuical respects is fully worthy of Mozart. The first eight introductory measures of the “ Kyrie," the «i Qui tollis," and particularly the difficult setting of the “ Credo" reveal the master. But above all the "Laudamus te," in the “ Gloria," might decide the point. Who among the Austrian composers at that time, except Mozart, could have written this “ Laudamus," which has to find its equal in purity of feeling and in gracious loveliness of expression,

Mass No. II. (Comp. 1774).

The morning breaks so cold and grey,
As gliding o'er the silvery spray,
Behind far leaving beach and bay,

The Fisherman's boat goes fast:
The morning breeze blows cold and bleak,
Wildly butting 'gainst crag and peak,
As the Fisherman with ruddy cheeks
His nets in the surging billows cast.

Watching his prey

'Neath the bright spray,
The Fisherman's life passes freely and gay.

(Originally set only for four voice parts, two violins and organ; the Prague edition containing instrumental additions by another hand).

This mass is known and celebrated, but not of equal worth in every number. Before all, the “ Kyrie" astonishes us, not by the coutrapuntal art, which here as in the whole Mass reveals itself in stern severity, but by a surprising grandeur of conception, by that surpassing certainty and repose of the complete inaster (incomprehensible in the youth of eighteen), under whose hands these stiff contrapuntal masses moulded themselves like soft wax into noble forms. The “ Gloria" and “ Credo" do not share this grand and dignified simplicity; but then they are worked with such refinement of art, bordering almost on ostentation, and therefore are so difficult to execute, that this Mass, like No. III, becomes the test of a good choir (Capelle). In the “ Credo," admirable in its way Mozart's favorite theme :

Good casting it is, now he hauls up the lot,
And, smiling, looks into the waves where he got
That goodly rich meal for his bairns in yon cot.

He stands on the rock where the wild winds roam;
Then casting his net, and hauling once more
Hurrah! here again is a fair golden store :
With bright eye and smiles he looks t'wards the shore,

And thinks of the dear ones anxious at home.


The day's fare's won,

And homeward he rows,

Till the red sun -which he often used, and finally in the C major* Symphony, as one of the four

To his home brightly goes ; leading subjects of the Finale-runs through the whole piece, giving it unity;

And when the last ray lingers faint in the deep, while the continual recurrence of the words Credo," Credo," set to the

The Fisherman's boat will again softly creep, above four notes, lends it the expression of firm faith in a very ingenious

O'er the still wavelets, gently 'tis bourne, manner. The rest of this Mass, composed so evidently con amore in the first

Seeking the treasures left from the morn. three numbers, is much more briefly executed, as if under a pressure to get to

E. WILLIS FLETCHER, the end quickly ; doubtless in consequence of the Archbishop's order, which shows itself in this distinguished work in all its stupidity. The accompanying violin figures in the “ Agnus " impress upon the piece a peculiar stamp of

MODENN ENGLISH DRAMA--" It is useless," says The Literary Budget any dreary hopelessness, of a repentance which almost despairs. The Dona

longer to lament the decay of English drama. Jeremiads will not revire nobis” has the noble simplicity of the “ Kyrie" without its grandeur; but

it. Our dramatists are either plagiarists or mere punsters_our actors through the crescendo and decrescendo of the voice parts, which, althongh not

| of necessity are reduced to a similar level. This is an unfortunate state marked, lies in the movement of the melody, it has an admirable.expression of

of affairs in the country where drama once reached its culminating point, longing prayer for peace, entirely suited to the words--supposing the allegro

Literature varies with society: it would be wholly vain to attempt to to be taken in the true church tempo (which was much slower than these

revive the glory and power of the Elizabethan drama-or even the easy things are usually sung in our day). What a pity that some trivial ornaments

wit of that which was commenced with Wycherley and ended with disturb the effect so inuch towards the close!

Sheridan. Still, our theatres are susceptible of some slight improve. (To be Continued.),

ment; and some visits which we have lately made to one or two of them prompt us to make a few suggestions." [We have no room for the “suggestions." ED.)

THE DRAMA IN AUSTRALIA (Melbourne, Aug. 26).-There has been THALBERG AND SPARK.

plenty of novelty in the theatrical world. Mr. Barry Sullivan, the tra. (From the Leeds Mercury, Oct. 16.)

gedian, who lately arrived, has made his appearance at the Royal, in

Hamlet, Richlicu, and Richard III. He has been far from successful. The great pianist and composer having expressed a wish to hear

partially owing, no doubt, to the wretchedly insufficient company with the grand organ in our Town Hall, Dr. Spark attended yesterday which he has been supported, mainly to the injudicious manner in morning, and gave a private performance of six pieces to M, Thal- which he has been be-puffed. The company which had been got toberg and a select company of connoisseurs. M. Thalberg applauded gether to support him is, perhaps, the worst ever assembled on a each of the pieces, and expressed to the Town Clerk, Mr. John Melbourne stage, and everything has been carried out by the lessee, Ur. Hopkinson, and others who were present, his great delight with the J. H. Witton, in so miserly a manner, that his comparative failure was organ and the performance. At the conclusion, we are informed, all but assured. Mr. Sullivan had not played for a week till the theatre he publicly stated to Dr. Spark that he had never heard any other

was all but empty, and so disgusted was that gentleman with his recepperformer, excepting Adolphe Hesse, the great German organist,

tion that he, on one occasion, came before the foot-lights and accused who had so gratified him on the King of Instruments, and he then

| the press with “ caballing" against him. Some newspapers, which did spontaneously wrote the following, which he gave to the Town

not bespatter the management with sycophantic and undeserved praise, Clerk:-.

were cut off the free list." Efforts are to be made, however, to re-in

fuse the company, otherwise nothing but a career of failure for Mr. “I have been exceedingly pleased with the organ at Leeds, and con

Sullivan may be anticipated. At the Princess's “ The Midsummer sider it one of the best I ever heard. I may add that it is beautifully

Night's Dream” has been revived with great scenic effects, and has played by Dr. Spark..

proved so decided a success that frequently money has had to be refused · Leeds, Oct. 15 1862.


at the doors. In the course of another month the Haymarket, a Dex M. Thalberg afterwards played some time on the organ himself. theatre, will be opened. Miss Aitken, a Scottish tragedienne, has expressing his pleasure at the tone, as he tried the stops separately

arrived, and will make her debut to morrow evening. and in combination. He also said that the full power of the organ

PH. EMANUEL Bach often suffered from rheumatism. One day, being was “ all music—nothing noisy-but a grand tone.” We are quite

again subject to a severe attack, he wrote a fantasia, as the best means sure that these sentiments by such a musician as Thalberg will

to forget the pain. He used to call this composition Fantasia in torse afford great satisfaction to the Town Council and our townspeople

tis. There are a good many pieces of this class, by other authors, in

existence, with this difference, that while Bach found relief in his musie, generally.

their's is only fit to torment others. * " Jupiter,"

• For Music.


skirches receive every evening ; in short I have no lack of acquaint(ADDRESSED TO HIS SISTER.)

ances, only I should like also to know the Italians.

The present which I have prepared for you this time, dear Fanny,

Rome, Nov. 16, 1830. for your birthday, is a psalm for chorus and orchestra : “ Non Nobis Dear Fanny-Day before yesterday no post went, and I could not talk Domine"; you know the song already. An air occurs in it which has a with you; and if I thought how the letter would have to remain by me

good conclusion, and the last chorus will please you, I hope. Next a couple of days before it could go off, it was impossible for me to write.

week there will be an opportunity, I hear, and then I will send it to And so I have thought many times of you, have wished all happiness

you along with much other new music. Now I will finish the Overfor you and us, and have rejoiced that you were born so and so many

ture, and then, God willing, go at the Symphony. A Pianoforte Conyears ago; it is such a support to think what reasonable people there are

certo too, which I should like to write for Paris, begins to haunt my in the world. But you are one of them; continue bright, and clear, and

head. God grant success and happy times, and we will yet enjoy sound, and do not alter much; you do not need to grow much Better;

them. Farewell and prosper.

Felix. may your good luck be faithful to you ;-these are about my birthday wishes. For that I should wish you any sort of musical ideas, is not at all to be presumed by a man of my calibre. You are really insatiable,

DRESDEN.–The course of six Subscription Concerts given by the that you complain of the want of such ; per Bacco, if you had the im

Hof-Capelle commence on the 28th inst. Among the novelties pro

mised, are R. Schumann's Symphony in E flat; pulse, you would compose what you have in you; and if you have not

W. H. Weit's the impulse, why take on so terribly? If I had my child to fondle, I

Symphony in E minor; Handel's Water Music; A Comedy-overture would write no score; and since I have composed “Non Nobis," I cannot,

| by J. Rietz; A Concert-overture by A. Rubinstein; and the overture 'unfortunately, carry my nephew round in my arms. But seriously,

to Medea, by Bargiel. In addition to the foregoing compositions, the the child is not yet half a year old, and you already would have other

programme will include, Spohr's Double Symphony for two Orchestras: ideas, than of Sebastian. (not Bach!). Rejoice that you have him ; music

* Irdisches und Göttliches im Menschenleben," as well as two fragonly keeps away because there is actually no room for her, and I do not

ments: A “Love Scene,” and “ Queen Mab," from Berdoy's Roméo et wonder that you are no unnatural mother (Rabenmutter). I wish you,

Juliette. On the 28th inst., Gluck's Iphegenia in Aulis was given with though, for your birthday whatsoever your heart desires; so I will wish

the old and lower pitch; both singers and orchestra gained greatly by you also half a dozen melodies ; but my wishing will be no help.

the change. Whether the same would be the case with modern operas Here in Rome we have so celebrated the 14th of November, that the

composed for the higher pitch is a matter of doubt. Several conductors heavens put on their blue and festal garb, and sent us down a beautiful

| from other parts of Germany had accepted an invitation to attend. warm air. Then we went very comfortably to the Capitol to church,

Among them were Herr Abt, of Brunswick; Herr Thiele, of Dessau; and heard a wretched sermon by Herr—

Herr Sehalz, of Hanover; Herr Reis, of Cassel; Herr Riccais, of

who may be a right good man, but who to me always preaches very grimly; and if any one can

Leipsic; and Herren Taubert and Door, of Berlin.-A new one-act fret me in the church on such a day, on the Capitol, he must take spe

operetta: Das Rosenmädchen, by Herr Louis Schubert, has been procial pains for it. Afterwards I went to Bunsen, who had just arrived.

duced with considerable success. He and his wife received me full of friendliness, and there was much

BERLIN-(Extract from a letter.)-The Singacademie is rehearsing that was fine, and there was politics, and regret that you had not come.

| Willsing's psalm, “De Profundis." This work, composed ten years ago, Apropos : my favorite work, which I am now studying, is “Lili's

is a curious example of earnest religious devotion and artistic elaboraMenagerie," by Goethe; particularly three passages; Kehr ich mich

tion combined. Only a thorough artistic hand and the most arduous labor um, und brumm ;" then i en la menotte," &c.; and especially “die

could have carried out so difficult an undertaking, the propositions of ganze Luft ist warm, ist blüthevoll,where the clarinets would have to

which, with the themes, and their contrapuntal development in sixteen come in decidedly; I will make a scherzo for a symphony out of it.

parts (quadruple chorus and full band) are so extensive. Robert Schumann Yesterday noon at Bunsen's there was among others a German

considered this superior to all modern sacred compositions, and called musician; O God, O God, I wished I were a Frenchman! The musician

it a master piece. deserving to rank with the creations of J. S. Bach. (!) said to me: "One has to handle music every day.” Why? answered I,

The Singacademie will execute in a becoming manner the difficult task and that took him all aback. Then he went on to talk of earnest striy

it has undertaken. (Herr Wilsing seems to be a sort of Teutonic ing; and how, after all, Spohr had no earnest striving; but how he had

Raimondi.-Ed.] clearly seen an earnest striving shine through my " Tu es Petrus". If COLOGNE.—The new Stadttheater, although not absolutely larger than there had been a hare on the table, I should have devoured it while he the old theatre, will contain a greater number of persons in the boxes talked; as it was, I made maccaroni answer. But the fellow has a little and pit. It will now accomodate an audience of about 1,700. The estate at Frascati, and is just now thinking of giving up music; if one had part of the house before the curtain presents a very cheerful appearance, only got as far as that! After dinner came Catel, Eggers, Senf, Wolf, | being decorated in white and gold, with a red back-ground. The another painter, two more painters, and still more. I had to play the mechanical arrangements of the stage have been carried out under the piano too, and they wanted things by Sebastian Bach; these I played | direction of Herr Carl Brand, machinist of the Darms

direction of Herr Carl Brand, machinist of the Darmstadt Theatre. them in rich measure, and had much success in it. So too I had to | The scenery is painted by Herr Martin, of the Theatre Royal, Hanover, give a distinct description of the entire performance of the Passion” | Herr Schwedler, of the Grand Ducal Theatre, Darmstadt, and Herr inusic, for they seemed to me scarcely to believe in it. Bunsen possesses Hansmann, of Dusseldorf. The company engaged by Herr L'Arrongo the piano score; he has shown it to the singers of the Papal chapel, and is very numerous, and contains several artists favorably known to they have declared, before witnesses, that such music is not to be exe

fame. cuted by human voices. I believe the contrary.

MOZART'S FIGAR9.-It is said in Leipzig that the original manuscript Trautwein is publishing the “ Passion " according to St. John, in score of Mozart's Figaro is now at Dresden, in the hands of a gentleman score; perhaps I will have made me for Paris some shirt buttons à la prepared to prove its pedigree. It has been examined, “they say," by Back. To-day Bunsen is going to take me to Baini, whom he has not more than one authority, competent to speak, who are disposed to seen for a whole year, because Baini never goes out, except to hear admit its authenticity, and describe the variations from the text at confession. I rejoice in him, and I propose to myself to get as closely present known as characteristic and interesting. The proprietor is acquainted with him as possible, since he can solve me many a riddle. disposed to part with it, placing on it, we hear, the same price as that The old Santini is still always obligingness itself. It'I praise a piece in given for the manuscript of Don Juan, by Madame Viardot..-Athendum. the evening in company, or do not know one, the next morning he Mozart's RELATIONS—There are still seven relatives of Mozart living; knocks very gently and brings me the piece wrapped up in his little Josefa Lange, Mrs. von Forster, the brothers and sisters Pumpel, at blue pocket-handkerchief; in return for which I accompany him home

Feldkirch in Tyrol, three girls (seamstresses), and two boys (one a of evenings, and we are very fond of one another. He even brought watchman and the other a bookbinder journeyman). They are the me his eight-part “ Te Deum" and begged me to correct some modu children of Marie Anna Pumpel, born Mozart from Augsburg, a grandlations in it; it keeps too uniformly in G major ; I will see then it I can

daughter of the brother of Leopold Mozart, father of the composer. introduce a bit of A minor or E minor. I only wish now to become acquainted with a good many Italians ;

UNKNOWN WORKS or SouiLLER.-A little comedy by Schiller, the for a mäestro of San Giovanni Laterano, whose daughters are musical, 1

| very existence of which had been carefully concealed by its ownerbut not pretty, and at whose house I have been introduced, will tell

hitherto unpublished_has come to light, and is in the hands of his

surviving daughter, with a view to its being given to the public. me nothing. If you can send me any letters, do so; for as I work in the morning, see and admire at noon, and so pass the day till sunset, I

STUTTGART.- On the king's birthday, Herr Eckert's new opera, should like to move about in the evening in the Roman world. My

Wilhelm von Oranion was performed for the first time. friendly Englishmen from Venice have arrived ; Lord Harrowby passes There are 28 singing clubs and three societies for instrumental purthe winter here with his family; the Schadows, Bunsens, Tippel. poses, with 1737 members, in Frankfurt on Maine, in Germany.

* The child's name.

• £200. Our British Museum authorities refused to entertain the purchase !

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