From the Deutsche Musik Zeitung.

These peculiar compositons have in the course of time, experienced very different judgments, favorable and unfavorable. The Protestant North knows them only fragmentarily, under the form of German Cantatas, in which single numbers out of them have been employed. The questionable propriety of this transplanting of such products from the mother soil of a special cullus, has already been alluded to by Otto Jahn, and by Mendelssohn in his Travelling Letters. The choir directors of Catholic Germany held these Masses, overflowing with fresh and genial originality, especially the smaller ones among them, in uncommonly high esteem, because they offered some alternation to their Sunday repertory, selected for the most part from dry, mechanical contrapuntists, while the other great masters wrote only Solemn Masses. The uneducated portion of the church public, choosing the better part, were wont on entering the church to put themselves at once in immediate relation with the good God. The degree of their edification was not at all dependent on the greater or less perfection of the church music, which, absolutely inaccessible to their understanding, made a mere ringing in their heads. Arc-loving visitors of churches—a smaller and smaller handful—took about the same delight in the Masses of Joseph and Michael Haydn, Mozart, Beethoven, &c , as in the church paintings, yielding passively and simply to their influence, and receiving more or less religious edification, though neither seeking nor avoiding it directly. This quiet circle has of late years found a harmless gratification much embittered. Critical knowledge, in its ceaseless and impartial progress, has at length got possession of it. In the plastic arts, the conflict (never quite intolerable) between the claims of religion and the laws and consistencies of Art on the one hand, and between these and the pretensions and encroachments of strong artistic individualities on the other, has at length yielded to at least a tolerable compromise; while in the domain of church music the most heterogeneous extremes of our time have come to such confusion of partics, that it all seems like a set-to in the dark, where you hear the blows, without seeing whether they fall on friend or foe In such B state of things it is dangerous even to venture upon this uncertain field; and doubly so to advocate a genius like Mozart, who just now has the current of the times somewhat against him, besides the existence of wide-spread and deep-rooted prejudices against his church compositions as such. It would seem most advisable to ignore the controversy about the genuine church style, and to consider these works of Mozart, in more than one respect so interesting, not so much from the strictly religious and church stand-point, but rather from the stand-point of humanity and Art. That this may remain as free aud unprejudiced as possiple, it is well to premise the following general considerations founded upon facts.

When Leopold Mozart became aware of the unexampled musical talents of his son, two principal ways stood open to him for the foundation of his future. He could educate him for the Opera, where so many a composer had won fame and money—even wealth, like Glnck; or for the music of the church, where he might find in one of the numerous chapels of that time a subsistence, modest indeed, but secure against the capricious moods of fashionable taste. Worldly wise as he was, the thoughtful father chose both; and while his gifted son, almost in his child shoes, was putting the Italians in raptures by his operas, he made him go through an uninterrupted course of the severest studies, even beyond his twentieth year, in the department of church music;—studies to which, and to his deeply grounded knowledge in this difficult department, Mozart himself could point with just pride in his applications to the Emperor Leopold and the Vienna potentates.

When Mozart wrote his Masses, he was—Jahn has collected incontestable proofs of it—not only a pure and spotless youth in body and in soul, but also, what must not be overlooked, a strictly believing, devout Catholic. In a letter to his father he almost indignantly repels the doubt whether he goes regularly to confession; and he writes from Paris, that, after the successful result of his concert, he had offered up to God the promised wreath of roses, and then could take an ice-cream in the Palais Royal with some satisfaction. Even in his ripened manhood he dismisses the remarks of his Leipsic friends about unsuitable Catholic church texts with evident ill-humor, and with the words: "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 better than their reputation; if he should find in them, at almost every step, a harmonic and contrapuntal art, astonishing considering at so youthful an age, depth of religious feeling and a grace in the expression of it, which remind one of Raphael, who in his heart and soul bore such affinity to Mozart. Even from a more rigorous church point of view, these Masses, in comparison with the Missce solemnes of his followers, down to the most modern, have far greater strictness and compactness. As with the older masters, so in them, even in the last ones, which otherwise are treated in it far freer manner, the whole power resides in the four vocal parts, and in the great art with which these are carried on together or contrasted. The single short solos, with the exception of the last Mass, which is also an exception in other respects, arc either con trapuntally absorbed by the accompaniment, or show an uncommon plainness

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, in spite of their sometimes very ingenious treatment, closely adhering to the vocal quartet, merely accompanying, filling it out, or serving as a relief to it by imitation or antithesis. The wind instruments are few, and, with the exception of the above named Moss, are employed only as Hpieno, never as concerted parts, as they were sometimes even by the severe Michael Haydn. How modestly Mozart dealt with the wind instruments is shown by the fact, that in two of the engraved Masses some instruments are added by the publishers, to bring out more effective tone-colours.

As these considerations explain the excellences of Mozart's Masses, so the following may, if not excuse, at least account for their faults. It is well known that Mozart wrote them under the cramping influence of the Archbishop Jerome. Of course it would be ridiculous to assume that the influence of this coarse patron, who knew not how to prize or recognize his own good fortune in commanding such a genius, extended also to their style and inward structure. Two small, though excellent Masses of Joseph Haydn show the greatest affinity with some of Mozart's, and even these, although they all originated under Jerome, pass gradually over from the severe style to the beautiful and finally to the "gallant;" but without this, the archbishop's contemptuous treatment of the aspiring youth, as well as his stupid fixing of a certain time, which was not to be exceeded in these church compositions, were clogging chains enough, since genius for its free unfolding needs above all two things: encouragement and an open path. A further difficulty, and none of the smallest, when Mozart entered upon church music, lay in his own nature! The question generally how such extraordinary artist natures, like Mozart and others, stand related to religion and religious Art, is one which, for reasons above indicated, can only be touched upon here in passing.

If on the one hand Art, for the very reason that it is divine, has always found the worthiest goal for its exertion and the full satisfaction of its ambition only in divine things; and if religion, heathen as well as Christian, has found its greatest glorification through the greatest minds; so on the other hand it cannot be denied that these overruling coryphteuses of Art, on entering the religious field, brought with them there not merely the manifold requirements of the fine arts, but also their own sharply marked artistic individuality ; so that in the work, which they produced on this field the religious criterion alone does not suffice to measure them correctly on all sides. Pious works strictly speaking, where no side influence disturbs the devotion, are not so much the production of these great original geniuses, as they are of less pretentious talents of the second rank; and therefore he who in art seeks merely edification or pursues hierarchical ends, will find more that is to his purpose in Michael Haydn than

iu his more gifted brother, or than in Mozart or Beethoven, more in the

paintings of Francis or Perugino than in those of Raphael, Titian or Michael Angelo. Finally, we must not overlook the fact, that these Masses are not sufficient to enable us to judge what Mozart could do in the province of church music, or to compare what he has done with the achievements of others. For while we recognise the depth and marvellous prematurity of his talent, it is yet clearly evident in these works, apart from their date—they were nearly all composed between his 15th and 20th year, and even the last two great Masses in C appeared before Idomeneo—that tbey were written by one who was becoming, not by one who had become, a finished artist.

While the first Masses show a decided leaning toward older masters and traditional forms, the later ones resemble bold, but dangerous, and by no means always successful attempts, quitting the common travelled paths—he returned to them again afterwards in a remarkable manner in his Requiem —to found for himself a new and peculiar church style, relying solely on his own artistic individuality, and guided by his instinct of the beautiful, which however does not seem in this field to have been a quite unquestionable guide. This change of artistic views, which took place so rapidly in the young master, lends a peculiar interest to the Masses, and at the same time furnishes a motive for the following classification of them, which appears the less forced, since it coincides for the most part with their progressive dates of origin.

A. ts Strict Style.
a. Missae breves.
Mass No. I. (Composed in 1772 ?)


Ky - ri - e, &c.

Leaving out those Masses which Mozart wrote in his boyhood, and which for the most part are only known by their first bars, as they are found among his remains in Andre's possession, wo commence the series of those which have acquired currency with this one, which, although its date cannot be precisely established, seems by its style to be one of the oldest. It goes under Mozart's name in the thematic catalogue of A. Fuchs; Jahn, on the contrary, denies that it is by him. There are reasons both for and against. A certain smallness of conception and timidity of execution; the want of that inward fire peculiar to Mozart, and here and there a too old-fashioned simple-heartedness and naivete, excite serious doubts. But on the other side, in the " Quoniam tu solus " and in the " Dona nobis," it shows so striking an analogy with the 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 John thinks, worked up in a_light and careless manner, but in technical respects is fully worthy of Mozart. The first eight introductory measures of the "Kyrie," the "Qui tollit," and particularly the difficult setting of the '' Credo" reveal the master. But above all the "Laudamut U," in the " Gloria" might decide the point. Who among the Austrian composers at that time, except Mozart, could have written this "Laudamut," which has to find its equal in purity of feeling and in gracious loveliness of expression.

Mass No. II. (Comp. 1774).


(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 contrapuntal 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 master (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. Ill, becomes the test of a good choir (Capclle). In the " Credo" admirable in its way Mozart's favorite theme:—


—which he often used, and finally in the C major* Symphony, as one of the four leading subjects of the Finale—runs through the whole piece, giving it unity; while the continual recurrence of the words " Credo" " Credo" set to the above four notes, lends it the expression of firm faith in a very ingenious manner. The rest of this Mass, composed so evidently eon amore in the first three numbers, is much more briefly executed, as if under a pressure to get to 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 tho " Agnus" impress upon the piece a peculiar stamp of dreary hopelessness, of a repentance which almost despairs. The "Dona nobis" has the noble simplicity of the "Kyrie" without its grandeur; but through the crescendo and decrescendo of the voice parts, which, although not marked, lies in the movement of the melody, it has on admirable .expression of longing prayer for peace, entirely suited to the words—supposing the allegro to be taken in the true church tempo (which was much slower than these things are usually sung in our day). What a pity that some trivial ornaments disturb the effect so much towards the close !

(To be Continued.) \

THALBERG AND SPARK. (From the Leeds Mercury, Oct. 1C.) The great pianist and composer having expressed a wish to hear the grand organ in our Town Hall, Dr. Spark attended yesterday morning, and gave a private performance of six pieces to M. Thalberg and a select company of connoisseurs. M. Thalberg applauded each of the pieces, and expressed to the Town Clerk, Mr. John Hopkinson, and others who were present, his great delight with the organ and the performance. At the conclusion, we are informed, he publicly stated to Dr. Spark that he had never heard any other performer, excepting Adolphe Hesse, the great German organist, who had so gratified him on the King of Instruments, and he then spontaneously wrote the following, which he gave to the Town Clerk :—

"I have been exceedingly pleased with the organ at Leeds, and consider it one of the best I ever heard. I may add that it is beautifully played by Dr. Spark.

"Leeds, Oct. 15 18G2. "S. Tiialbero."

M. Thalberg afterwards played some time on the organ himself, expressing his pleasure at the tone, as he tried the stops separately and in combination. He also said that the full power of the organ was " all music—nothing noisy—but a grand tone." Weare quite sure that these sentiments by such a musician as Thalberg will afford great satisfaction to the Town Council and our townspeople generally.




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.

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
To his home brightly goes j
And when the last ray lingers faint in the deep,
The Fisherman's boat will again softly creep,
O'er the still wavelets, gently 'tis bourne,
Seeking the treasures left from the mom.

E. Willis Fletches,

Modern English Drama--" It isU6eless," says The Literary Budgttfiay longer to lament the decay of English drama. Jeremiads w ill not revive it. Our dramatists are either plagiarists or mere punsters—our actors of necessity are reduced to a similar level. This is an unfortunate state of affairs in the country where drama once reached its culminating point. Literature varies with society: it would be wholly vain to attempt to revive the glory and power of the Elizabethan drama—or even the easy wit of that which was commenced with Wycherley and ended with Sheridan. Still, our theatres are susceptible of some slight improvement; and some visits which we have lately made to one ortwo 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 plenty of novelty in the theatrical world. Mr. Barry Sullivan, the tragedian, who lately arrived, has made his appearance at the Royal, in LJamlet, Richlieu, and Richard III. He has been far from successful, partially owing, no doubt, to the wretchedly insufficient company with which he has been supported, mainly to the injudicious manner in which he has been be-puffed. The company which had been got to-

Sether to support him is, perhaps, the worst ever assembled on a lelbourne stage, and everything has been carried out by the lessee, Mr J. H. Witton, in so miserly a manner, that his comparative failure wxi all but assured. Mr. Sullivan had not played for a week till the theatre was all but empty, and so disgusted was that gentleman with his reception that he, on one occasion, came before the foot-lights and accused the press with " calling" against him. Some newspapers, which did not bespatter the management with Bycopliantic and undeserved praise, were cut off the " free list ." Efforts are to be made, however, to re-infuse the company, otherwise nothing but a career of failure for Mr. Sullivan may be anticipated. At the Princess's " The Midsummer Night's Dream" has been revived with great scenic effects, and has proved so decided a success that frequently money has had to be refused at tho doors. In the course of another month the Haymarket, a new theatre, will be opened. Miss Aitken, a Scottish tragedienne, has arrived, and will make her debit to morrow evening.

Ph. Emanuel Bach often suffered from rheumatism. One day, being again subject to a severe attack, he wrote a fantasia, as the best means to forget the pain. He used to call this composition Fantasia in tomcmtis. There are a good many pieces of this class, by other authors, in existence, with this difference, that while Bach found relief in his music, theirs is only fit to torment others.

• For Music.



Some, Nov. 16, 1830. Dear Fanny—Day before yesterday no post went, and I could not talk with you ; and if I thought how the letter would have to remain by me a couple of days before it could go off, it was impossible for me to write. And so I have thought many times of you, have wished all happiness for you and Ub, and have rejoiced that you were born so and so many years ago; it is such a support to think what reasonable people there are in the world. But you are one of them; continue bright, and clear, and sound, and do not alter much; you do not need to grow much better; may your good luck be faithful to you ;—these are about my birthday wishes. 1 or that I Bhould wish you any sort of musical ideas, is not at all to be presumed by a man of my calibre. You are really insatiable, that you complain of the want of such; per Bacco, if you had the impulse, you would compose what you liave in you; and if you have not the impulse, why take on so terribly? If I had my child to fondle, I would write no score; and since I have composed "Aim Nobis" I cannot, 'unfortunately, carry my nephew round in my arms. Hut seriously,— the child is not yet half a year old, and you already would have other ideas, than of Sebastian' (not Bach !). Rejoice that you liave him; music only keeps away because there is actually no room for her, and I do not wonder that you are no unnatural mother (Rabenmutter). I wish you, though, for your birthday whatsoever your heart desires; so I will wish you also half a dozen melodies ; but my wishing will bo no help.

Here in Rome we have so celebrated the 14th of November, tliat the heavens put on their blue and festal garb, and sent us down a beautiful warm air. Then we went very comfortably to the Capitol to church,

and heard a wretched sermon by Herr who may be a right good

man, but who to me always preaches very grimly; and if any one can fret me in the church on such a day, on the Capitol, he must take special pains for it. Afterwards I went to Bunsen, who had just arrived, lie and his wife received me full of friendliness, and there was much that was fine, and there was politics, and regret that you had not come.

Apropos: my favorite work, which I am now studying, is "Lili's Menagerie," by Goethe; particularly three passages; "Kehr kh mkh «m, und brumm;" then "eh la menotte," &c.; and especially "die game Lufl ist warm, ist blulhevoll," where the clarinets would have to come in decidedly; I will make a scherzo for a symphony out of it.

Yesterday noon at Bunsen's there was among others a German musician; O God, O God, I wished I were a Frenchman! The musician ■aid to me : "One has to handle music every day." Why? answered I, and that took him all aback. Then he went on to talk of earnest striving ; and how, after all, Spohr had no earnest striving; but how he had clearly seen an earnest striving shine through my "Tu es J'ctrus". If there had been a liare on the table, I should have devoured it while he talked; as it was, I made maccaroni answer. But the fellow has a little estate at Frascati, and is just now thinking of giving up music; if one had only got as far as tliat! After dinner came Catel, Eggers, Senf, Wolf, another painter, two more painters, and still more. 1 had to play the piano too, and they wanted things by Sebastian Bach; these I played them in rich measure, and had much success in it. So too I had to give a distinct description of the entire performance of the "Passion" music, for they seemed to me scarcely to believe in it. Bunsen possesses the piano score; he has shown it to the singers of the Papal chapel, and they have declared, before witnesses, that such music is not to be executed by human voices. I believe the contrary.

Trautwein is publishing the "Passion" according to St. John, in score; perhaps I will have made me for Paris some shirt buttons a la Back. To-day Bunsen is going to take me to Baini, whom he lias not seen for a whole year, because Baini never goes out, except to hear confession. I rejoice in him, and I propose to myself to get as closely acquainted with him as possible, since he can solve me many a riddle. The old Santini is still always obligingness itself. If I praise a piece in the evening in company, or do not know one, the next morning he knocks very gently and brings me the piece wrapped up in his little blue pocket-handkerchief; in return for which 1 accompany him home of evenings, and we are very fond of one another. He even brought me his eight-part " Te Deum " and begged me to correct some modulations in it; it keeps too uniformly in G major; I will see then if 1 can introduce a bit of A minor or E minor.

1 only wish now to become acquainted with a good many Italians; for a maestro of San Giovanni Latcrano, whose daughters are musical, but not pretty, and at whose house I liave been introduced, will tell 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 should like to move alx>ut in the evening in the Roman world. My friendly Englishmen from Venice have arrived; Lord Harrowby passes the winter here with his family; the Scliadows, Bunsens, Tippel

skirches receive every evening; in short I have no lack of acquaintances, only I should like also to know the Italians.

The present which 1 have prepared for you this time, dear Fanny, for your birthday, is a psalm for chorus and orchestra: "Non Nobis Domine "; you know the song already. An air occurs in it which has a good conclusion, and the last chorus will please you, I hope. Next week there will be an opportunity, I hear, and then I wiU send it to you along with much other new music. Now I will finish the Overture, and then, God willing, go at the Symphony. A Pianoforte Concerto too, which I should like to write for Paris, begins to haunt my head. God grant success and happy times, and we will yet enjoy them. Farewell and prosper. Felix.

Dresden.—The course of six Subscription Concerts given by the Hof-Capelle commence on the 28th inst. Among the novelties promised, are R. Schumann's Symphony in E flat; W. H. Weit's Symphony in E minor; Handel's Water Musk; A Comedy-overture by J. Rietz; A Concert-overture by A. Rubinstein; and the overture to Medea, by Bargiel. In addition to the foregoing compositions, the programme will include, Spohr's Double Symphony for two Orchestras: "Irdisches und GSttliches im Menschenleben," as well as two fragments: A " Love Scene," and " Queen Mab," from Berdoy's Romeo et Julklte. On the 28th inst., Gluck's Jphegenia in Aulis was given with the old and lower pitch; both singers and orchestra gained greatly by the change. Whether the same would be the case with modern operas composed for the higher pitch is a matter of doubt. Several conductors from other parts of Germany had accepted an invitation to attend. Among them were Herr Abt, of Brunswick; Herr Thiele, of Dessau; Herr Sehalz, of Hanover; Herr Reis, of Cassel; Herr Riccais, of Leipsic; and Herren Taubert and Door, of Berlin—A new one-act operetta: Das Rosenmadchen, by Herr Louia Schubert, has been produced with considerable success.

Berlin—(Extract from a letter.)—The Singacademie is rehearsing Willsing's psalm, "Dc Profundis." This work, composed ten years ago, is a curious example of earnest religious devotion and artistic elal>oration combined. Only a thorough artistic hand and the most arduous labor could have carried out so difficult an undertaking, the propositions of which, with the themes, and their contrapuntal development in sixteen parts (quadruple chorus and full band) are so extensive. Robert Schumann considered this superior to all modern sacred compositions, and called it a master piece, deserving to rank with the creations of J. S. Bach. (!) The Singacademie will execute in a becoming manner the difficult task it has undertaken. [Herr Wilsiug seems to be a sort of Teutonic 'Raimondi.—Ed.]

Coloone.—The new Stadttheater, although not absolutely larger than the old theatre, will contain a greater number of persons in the boxes and pit. It will now accomodate an audience of about 1,700. The part of the house before the curtain presents a very cheerful appearance, being decorated in white and gold, with a red hack-ground. The meclianical arrangements of the stage have been carried out under the direction of Herr Carl Brand, machinist of the Darmstadt Theatre. The scenery is painted by Herr Martin, of the Theatre Royal, Hanover, Herr Schwedler, of the Grand Ducal Theatre, Darmstadt, and Herr Hansmann, of Dusseldorf. The company engaged by Herr L'Arrange is very numerous, and contains several artists favorably known to fame.

Mozabt's Figaro.—It is said in Leipzig that the original manuscript score of Mozart's Figaro is now at Dresden, in the hands of a gentleman prepared to prove its pedigree. It has been examined, "they say," by more thaii one authority, competent to speak, who are disposed to admit its authenticity, and describe the variations from the text at present known as characteristic and interesting. The proprietor is disposed to part with it, placing on it, we hear, the same price as that given for the manuscript of Don Juan, by Madame Yiardot.*—Athenaeum.

Mozabt's Relations—There are still seven relatives of Mozart living; Josefa Lange, Mrs. von Forster, the brothers and sisters Pumpel, at Feldkirch in Tyrol, three girls (seamstresses), and two boys (one a watchman and the other a bookbinder journeyman). They are the children of Marie Anna Pumpel, born Mozart from Augsburg, a granddaughter of the brother of Leopold Mozart, father of the composer.

Unknown Works Of Scbilleb.—A little comedy by Schiller, the very existence of which had been carefully concealed by its owner— 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.

Stuttgart.—On the king's birthday, Herr Eckert's new opera, Wilhelm von Oranion was performed for the first time.

There are 28 singing clubs and three societies for instrumental purposes, with 1737 members, in Frankfurt on Maine, in Germany.

• The child's name.

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



MONDAY POPULAR CONCERTS. One Hundred and Fourth. Concert.


Aubcr. Glinka.







QUARTET, In B flat (No. 3, Op. M), for two Violins, Viola, and


MM. Joachim, Rice Webb, and Plattl.

BONO, " Young Agnes, beauteous flower." (Fra IHavoto)

Mr. Henry Haigh.

CRADLE-SOXO, "Sleep, thou infant Angel." (By desire)

Miss Banks.

SONATA, in E minor, Op. 90 (No. 27 of Mr. Halle's edition) for

Pianoforte solo Beethoven.

Mr. Lindsay Slopor.


DOUBLE QUARTET, in E minor, Op. 87, No. 3, for four Violins, ^

two Violas, and two Violoncellos Spohr.

First Quarter :—MM. Joachim, Watson, Webb, and Plattl.
Second Quartet:— MM. Ries, Wiener, Hann, and Paquc.

BONO, "Elly Mavourueon." {Lily of KUlarney) Benedict.

Mr. Henry Halgh.

PRELUDE AND FUGUE, in G minor, for Violin solo Bach.

Herr Joachim.

SONG, " O'er the bright flood" Schubert.

Miss Banks.

TRIO, in E flat, Op. 93, for Pianoforte, Violin, and Violoncello ... Hummel. Mr. Lindsay Slopcr, Herr Joachim, and Signor Plattl.

To commence at Eight o'clock precisely.


It If rospec tful ly suggested that such persons as are not desirous of remaining till the end of the performance can leavo either before the commencement of the last inetntmtntal piece, or between any tico of the mocemenU, so that those who wish to hear the whole may do so without Interruption.

Between the last vocal piece and the Trio for the Pianoforte, Violin, and Vlolln•ello, an interval of rivu snscTEs will be allowed.

The Concert will finish before half-past Ten o'clock.

Sola Stalls, 5s.; Balcony, M. ; Admission, Is. Tickets to be had of Mr. Adam, at the Hall, 28 Piccadilly; Messrs. Cuappbll * Co. 60 New Bond Street; and the principal Musicselleis.


Dantesque.—Our correspondent is almost, but not exactly right.
The couplet goes :—

"Ma ouella reverenza, cho s' indonna
Di tutto me, pur per Ba, e per lea."

It alludes of course to Bice or Beatrice Portinari.


To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244, Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o' Clock P.M., on Friday but no later. Payment on delivery.

... 2s. 6d.

To Publishers And Composers—All Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244, Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.

To Concert Givers.—Aro Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World,

Terms / "^wo ana* mder ...

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C(p Puskal Work


OUR readers will not have forgotten that a large number of Mendelssohn's compositions, including the Symphony in D (the "Reformation Symphony"), to which some interesting allusions are made in his recently published Travelling Letters, still exist in manuscript. They are now, we believe, in the possession of the family, and the majority of them in England. We have by no means altered the opinion we felt bound to express some years since—when the question was first discussed, and when the dilatory and apathetic proceedings of the four Leipsic professors * entrusted with the important charge of preparing them for publication were frequently dwelt upon—that these compositions, at the death of their author, should have been, as a matter of course, given to the world, with all the information as to dates of production, &c, indispensable to a proper understanding and appreciation of their value as stepping-stones, or stages, in the intellectual progress of a great genius. On the contrary, we adhere to it pertinaceously, and believe that the arguments adduced in favor of speedy, if not immediate, publication were unanswerable. Nevertheless, in deference to Mdme. Mendelssohn—who experienced, we have reason to believe, considerable annoyance on the part of a certain self-glorifying clique of juaii'-reviewers, y Man-musicians, in North Germany (the "Mutual Adoration Society," as an American composer happily christened them), and whose anxious tenderness for her immortal husband's fame was deserving of all sympathy—we, and others who share our opinion, refrained from further advocacy of a cause which, at the same time, we could not but regard as sacred; nor are we just at present—although the lamented death of Mdme. Mendelssohn has snatched from the hands of our opponents their only legitimate controversial weapon—about to resume it. On the other hand, we cannot forbear protesting against a paragraph contained in a recent impression of The Athenaeum, the musical editor of which literary journal has more than once reproved in unmeasured terras the desire of amateurs and musicians, more enthusiastic about Mendelssohn than himself, to see and become acquainted with all that Mendelssohn had left behind him. Not only was their very natural wish denounced as impertinent, but they were twitted with hankering after dead men's wares, with prying into dead men's secrets; and this in a tone of oracular authority, before which, although long familiar to readers of The Athenosum in particular, the musical world in general has not yet learned to quail. What, then, are we to think of the subjoined (Athenxum, Oct. llth) :—

Musical And Dramatic Gossip.—In the thematic catalogue of Mendelssohn's works, drawn out in his own beautiful handwriting, those who inspected it while in London might well be tantalised by the sight of > double pianoforte Concerto, if not two, figuring in the list of works never given by him to the press. Chance has enabled us to speak of one of these. Our admiration of Mendelssohn's tact and sagacity has been confirmed by the satis/action of a natural curiosity. Interesting though it be to trace a artist's mind and fancy through the stages of their progress, the work, considered without such a motive, is one the publication of which was discreetly withheld. It is discreetly written (for neither as boy nor as man could Mendelssohn be ever careless), but it shows not a sign of the author of the Midsummer Night's Dream music—not one of the writer of the Pianoforte Quartet in B minor) both of the above works of his youth. On the contrary, it is rather A la Mozart without Mozart's grace and spontaneous flow of melody; regular in its construction, with few touches of individuality—briefly, weak, and teduu.

* M- M. Moscheles, Biota, David, and Hauptmann,

It would appear from this piece of "gossip" that the critic of The Athenceum has actually done that which in others he would have condemned as sheer impertinence. He has availed himself of an advantage, which, in mere consistency, he should have disdained. He has obtained access to the MSS. of the dead composer, and indulged in the very "hankering" he formerly held up to reprobation. We need not inquire what was the " chance" that gave him admittance to these treasures. No doubt he asked to be allowed to see them, and was politely granted his request by those in whose custody they are kept. For this, however, we absolve him heartily, He has condoned the absurdity of his former arguments by gracefully eating his own words. In short, we envy him the privilege it has been his good fortune to enjoy. But here, however inclined to be charitable, we must stop. It was in questionable taste, having been allowed such a privilege (more especially taking the past into consideration), to boast of it in print; but this is by no means the worst part of the business. To boast of having seen these much coveted MSS. was merely to tell the readers of The Athenceum that The Athenceum had access everywhere. The lyre of that Orpheus was irresistible. It would be a passport even to the infernal regions, where, if its possessor wished to rummage over the unpublished songs of Nero or Domitian, he might accomplish his soul's desire. But granted the free entry of The Athenceum to all quarters—even to dead men's portfolios— the exercise of such a privilege imperatively demands a certain reticence, not to say discretion. In the instance under consideration, however, we regret to find this wholly unobserved. Questionable as the taste of informing ;his readers that he had been allowed to examine Mendelssohn's forbidden papers, it becomes venial, nay, almost amiable, by the side of the further use to which the critic of The Athenceum has turned his " chance."

If the works are not fit for publication, they ought surely to be held exempt from public criticism,—and more emphatically so when that criticism is unfavorable. Yet not only is the musical community warned off from the precious documents, to sigh after which is impertinence, or something worse; they are absolutely bound to accept the verdict of a gentleman, who, by some means, has obtained the access denied to themselves, and to endorse a sentence which consigns the MSS. henceforth and for ever, to the index expurgatorium. Now we beg leave to say, in the name of the musical world (of England at all events), that the musical world is inclined to do nothing of the sort; that nobody would ever have dreamed of leaving the decision of so important a matter to the critic of The Athenceum, or indeed, to any other single gentleman, however large his professed "admiration for Mendelssohn's tact and sagacity." A much higher authority, an authority universally acknowledged competent, would alone satisfy those who know how much thought was expended by Mendelssohn, even upon his least ambitious works ; and were such an authority at hand, we still greatly doubt whether its judgment would meet with anything like unanimous acceptance. Besides, what proof have we that the critic of The Athenceum is able to read a full score with such facility as to help him to a sound opinion? Where are his credentials? Before we succumb to a decision, put forth with flippant self-sufficiency, in some half dozen sentences, and thereby virtually set at rest a question that interests, and must continue to interest, every lover of music, we have surely a right to ask for these. No credentials, no security. But seriously— whether the critic of The Athenceum can read a score or

not; whether he be right or wrong, about the "double pianoforte-concerto," as he styles it; whether the " double pianoforte concerto" be "discreetly written," or indiscreetly written, a la Mozart, or not a la Mozart, " briefly, weak, and tedious," or, (which is more likely to be the case), "briefly," neither weak nor tedious, the question remains precisely where it stood. One thing may be taken for granted :—it is not within the province of an Athenceum to settle it, either one way or the other.

THE Monday Popular Concerts are gradually rendering Beethoven's quartets as familiar to our musical amateurs as the plays of Shakspere to the lovers of theatrical entertainments. The first six, and even the three dedicated to Count, or Prince, Kasoumoffsky, are already so well known that preferences have begun to be established for one quartet over its immediate fellow—and vice versa. The time is equally at hand for the general appreciation of Nos. 10 and 11, and, as a natural sequence, for the so-called "Posthumous." The few observations we have to make at present, however, relate exclusively to the first and most widely appreciated set—the six quartets, Op. 18, inscribed by the illustrious musician to his friend and constant patron, Prince Lobkowitz, Duke of Baudwitz. .

The published order of these quartets is not that in which they were written; the one in F major, which stands first in the printed editions, being third according to the date of the manuscript; while the one in D major, which comes down to us as "No. 3," ranks "No. 1," according to the same authority. It is somewhat remarkable that two of the least pretending as to style, and least elaborate as to construction and detail, among these six masterpieces—viz., the A major (with the popular variations), and the B flat major— should have been last in the order of production—Nos. 5 and 6; nor is it less worthy of note, that the most admirable, beautiful, and thoroughly original of the set (original, notwithstanding that the spirit of Mozart is clearly reflected in the principal theme, and in certain other passages of the opening movement)—viz., the one in D major—should (not even excepting the quartet in F major, with its superb adagio) have preceded them all in the design of the composer. The first three quartets in Op. 18, (D major, G major, and F major) were engraved and printed before the others— about 1801, if the journals of the time may be credited (some years previous to the early Fidelio; or, according to the original German title, Eleonore, oder die eherliche Liebe) and therefore during the most fresh and vigorous period of Beethoven's productive career, just in the advance of that which gave the Eroica Symphony and the "Rasoumoffsky" Quartets to the world, when the composer, still young, entirely freed from the influence of his once favorite model, laid the solid foundation of what has been designated his "second manner," and of his future renown as the Colossus of instrumental music.

The " model," to whom allusion has been made was, of course, Mozart—the only composer with whose music even the earliest productions of Beethoven can be said to present any marked features in common. The Six Quartets, Op. 18, which belong exclusively to the so-styled "first manner," have often been compared with the set of six composed by Mozart, and dedicated to his illustrious friend and affectionate rival (his predecessor, contemporary, and survivor), Haydn. The comparison, whatever stipulations may be made, is not without good show of reason. Before Beethoven was entirely and unreservedly Beethoven, Mozart was not only his

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