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N MEMORIAM-His late Royal Highness the PRINCE

Consort. Elegy for Piano, with appropriate illustration. By BRINLEY

✓ No. 2, SOUTH WALES, By BRINLEY RICHARDS. Each 41,_"Mr. Brinley Richards, the Welsh Pianist, par exellence, gave bis two Fantasias on Welsh Airs, introduced by him at the Great National Festival, held at Denbigh (N. Wales) and Aberdare (S. Wales). He played them con amore, and was encored." -- MUSICAL WORLD.



W ANTED, by a Young Man, who is a First-class Piano

DRINLEY RICHARDS-MINUET by DUPORT, arforte Player, a Situation in a House of Business in London, where his D r anged by Mozart, edited by Brinley RICHARDS, 38,, being No. 33 of “The acquirements could be made available.

Student's Practice." Address (prepaid) A. P'., care of Mr. George Nichols, Printer, Earl's Court, Lei N.B.-- Thematic Index of f The Student's Praotice" and “ Classical Pianist " cester Square.

gratis and postage free.

MALOP, written by request of H. R. H. THE PRINCE W ESTBOURNE HALL, Westbourne Grove, Bays U OF WALES, during his visit to Canada, by W. Carey, Bandmaster, Royal

anadian Rifles. 2s. 6d. water. – Mad. ALBERT's First Evening Concert, Wednesday, the 5th February, 1862. To commence at 8 o'clock,

Vocalists:-Mad, SAINTON-DOLBY, Mr. Wileye Cooper. Instrumentalists:-Vio. MTAZURKA-CAPRICE pour Piano, par THEODOR lin, Mr. EDWARD W. THOMAS; Violoncello, Mr. Petrit; Piano, Mad. ALBERT.

Kullak, Op. 100. 45, Accompanist--Mr. W. DORRELL. Tickets to be obtained at the Hall, and at Messrs. COPLEY & Co., music-warehouse. SOUVENIR DES INDES ORIENTALES. Mélodie pour

Piano, par W, VINCENT WALLACE. 38. ASHDOWN and PARRY (successors to Wessel and Co.)

London : ROBERT Cocks and Co. I heg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.

MHE QUEEN'S CONCERT ROOMS, Hanover Square. Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application).

1 - The following ENGAGEMENTS will take place at the above Rooms: Feb,

10, French Benevolent Society's Ball ; 12th, Mr. Henry Leslie's Choir, 2nd CouLondon : 18 Hanover Square.

cert; 14th, The Shoeblack's Festival ; 20th, Messrs. Cusden and Fenn's Dress Ball ; 26th, St. George's Rifle Ball ; March 10, The First Philharmonic Concerts ; Ilth,

Messrs. Klind worth and Blagrove's Evening Concert; 17th, Caledonian Society's MHE CECILIAN PITCH PIPE (a new invention), for Ball. the waistcoat pocket, is superior to all others, being much more powerful in

ROBERT COCKS, Proprietor. tone than any other at present in use the pitch does not vary, whether sounded Piano No. 4 Hanover Square, January 30, 1862. or Forte-is easily repaired, or the pitch altered if required. Price (any note) 28. 6d. Post-free.

TOCKE'S MACBETH.-SIXPENCE.--Published this BoosEy and CHING, 24 Holles Street, W.

I Day, Boosey and Sons' complete Edition of Locke's Music to MACBETH

in Vocal Score, with Pianoforte accompaniment, Price Sixpence, MR. HENRY LESLIE'S CHOIR. - Next Concert,

BoosEY and SONS, Holles Street,
L Hanover Square Rooms, WEDNESDAY EVENING, Feb. 12. Stalls, 5s, ;
Area, 2s, 6d.


1 1 DICT's Erin, 4s. BENEDICT's Caledonia, 48. BenedICT'S Albion, As. Liszt's

Rigoletto, 5s, IIATTIN's Blue Beils of Scotland, 4s. All performed by Miss ARABELLA DRINCE ALBERT'S SONGS AND BALLADS.


Boosey and Sons, Holles Street.
I The Words in German and English ; set to Music for the Pianoforte. 42 pages
folio, 5s. (free by post).
HENRY G. Bonn, York Street, Covent Garden.

PEETHOVEN'S SEPTET. - Published this Day,

Beethoven's SEPTET, arranged for Pianoforte by IlUMMEL. Complete TO COMPOSERS AND MUSIC PUBLISHERS.

Edition, large size, price 2s. THE WRITER of 16 Elegiac Lines on the late Prince

B osey and Sons, Holles Street. 1 Consort, and of 24 Ballad Lines, “ America to Britain,” wishes to sell the Copy TS. BACH'S PASSIONS-MUSIK (according to the rights for Music of the words. Address VERAX, care of Mr. SWARD, Norfolk Street, Manchester.

do text of St. Matthew). Vocal Score, with Pianoforte Accompaniment, now published for the first time in England, under the Editorship of Prosessor STERN.

DALE BENNETT. The English text adapted by Miss F. H. JOHNSTON, Subscribers to TOHN FRANCIS BARNETT'S New Pianoforte Solo,

this great work are respectfully informed that it will be ready for delivery by the middle “MOUNTAIN ECHOES,” Price 4s.

of February. Also, lately published by the same Composer, “ Village Revels," " Grace," and " Early Subscription one guinea. Price to non-subscribers one guinea and a half. The Love," each 3s.

chorus parts will also be ready, price 5s, each. LAMBORN COCK, HUTCHINGs and Co., 63 New Bond Street.

LAMBORN, COCK, HUTCHINGS and Co., 62 and 63 New Bond Street,



effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which

might win favour for an opera from his pen. Each voice The monks were jolly boys”- ballad - sung by Herr | (tenor, basso, and soprano, in the order in which they enter,

Formes in the operetta Once too often ; The love you've has an effective solo, followed by an ensemble (or “tutti”) slighted still is true”- ballad - sung by Mlle. Jenny for the three voices in the major key (the trio begins in Bauer, ditto, ditto; “A young and artless maiden-1 C minor), the whole terminating with a coda, “sotto voce," romance-sung by Herr Reichardt, ditto, ditto ; Love the effect of which, if smoothly rendered by three good is a gentle thing"- ballad sung by Miss Emma Hey

singers, must be as charming as it is new. The more of wood, ditto, ditto — composed by HOWARD GLOVER such “terzettinos” the better. (Duncan Davison and Co.).

" Six Christmas or after dinner Songs - with pianoforte Mr. Glover's operetta is a decided, and, what is better, a

accompaniments (Boosey and Sons). legitimate, “hit." The songs before us have already attained a well-merited popularity. The monks were jolly boys.

The contents are, 1, “ The Roast Beef of Old England ;" is as racy as the best of the old English ditties, harmonised

2, “Christmas comes but once a year; ” 3, “Down among with equal quaintness and skill, and thoroughly well suited

the dead men;" 4, “The glasses sparkle on the board;” 5, to the voice of Herr Formes. The love you've slighted

“ The good old days ;” and 6,“ Christmas bells.” Here all still is true” (for Mlle. Jenny Bauer) has a melody of

tastes are conciliated. The lovers of old airs and reminiscences charming freshness, as a few bars may show :

of the past may sing till “the glasses ring again,” those time-honoured promoters of joviality, “Down among the dead men,” once as popular, at dinner, as the “Power of Love," and the “ Glasses sparkle on the board,” which we

remember to have heard roared when George the Third was The love you've slight . ed still is true, al . King. He who desires to rouse his patriotism and gain an

appetite without the labour of exercise may shout at the top of his barytone “ The Roast Beef of Old England,"

that fine old sirloin of a tune, done to all tastes. On the though its dear · est hopes are dead

other hand, the admirer of modern music may indulge his

fancy in Balfe's genial carol, “Christmas comes but once a Not less a model ballad in its way is " A young and artless

year," words by John Oxenford (a rare poet), or Hatton's maiden(for Herr Reichardt), which sets out with the sub

“Good old days,” which may be unreservedly commended joined elegantly melodious phrase :

for its vigour. In fine, if the “Six Christmas Songs ” do not satisfy the most exacting purchaser of “cheap music” we can hardly guess what will.

Locke's Music for Macbeth(BOOSEY and Son).*** A young and art .. less maid · eu holds

No one can grumble to pay sixpence for the whole of Locke's music to Macbeth, old as it is. Such a boon to theatrical managers was never before offered them, since,

although only a pianoforte arrangement, each of the princi. now my heart in chains. I

pal choristers may henceforth be provided, at a mere nominal Perhaps more to our liking, however, than any of the fore- charge, with his part. Unfortunately we have few now to going, excellent and genuine as they are, is “ Love is a play Macbeths or Hecates : nevertheless, Looke's music is gentle thing(for Miss Emma Heywood), which enters the exceedingly popular, and will always give pleasure on or off more refined regions of the ballad-school, and attains an ex- | the stage. In its present convenient form it will be doubly pression as true as it is graceful. The opening holds out a | tempting, promise which the sequel entirely fulfils :

Letters to the Editor.

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Sir,-Hearing they are lecturing at the Colosseum in London upon Love is a gen · tle thing, in touch · ing

the manufacture of paper clothes, can you oblige by making me acquainted, in your next impression, who is the patented and manufacturer of the same, if you know?

We are unable to answer the question. Will any better init beware, Lest it should soon take wing structed reader help our correspondent to the desired informaWe shall look with real interest for the remaining pieces of

of|tion ?-ED.] Once too often.

QUERIES. "I Naviganti-The Mariners"), terzettino- for mezzo- | An Amateur will feel obliged to the Editor of The MusicaL WORLD

soprano, tenore e basso-parole di GIUSEPPE RANDEGGER; to state, in its next number, how to use Maelzel's Metronome, so as to Musica di ALBERTO RANDEGGER (Duncan Davison and

ascertain the correct time in which to perform a given composition ; Co.).

also to be good enough to say which is the best means of studying

harmony without a master. In the composition of this unaffected and graceful trio

[With regard to the Metronome, the only means we can sug(which is inscribed to those excellent professors of the vocal

| gest as at all feasible, is to set it to the equivalent indicated by art, Sig. and Mad. Ferrari), Mr. Randegger has shown not the composer. With regard to learning harmony without a master, only the melodic gift, and the knowledge of how to write we should conscientiously advise an Amateur not to try.-Ed.]

THE FIFTIETH ANNIVERSARY OF THE ELBER. lieritance they received from their fathers, and have steadily progressed FELD GESANG-VEREIN.*

towards an ever-rising degree of perfection!

When a town like Elberfeld, which owes its prosperity and its im(Continued from page 54.)

portance to its unceasing activity in practical things, has, for already This did both the Association and its Director proceed bravely on their fifty years, fostered and cherished an Institution intended to promote artistic path, faithfully adhering to what was old and approved, but ideal aims, it has pursued a highly creditable course, proving that the giving a warm and lively welcome to every important novelty, by intro- busy occupations of commerce and trade have not caused its citizens to ducing it to the public, until, in the year 1853, this pleasing bond was neglect the cultivation of art, and thus the Festival in honour of the suddenly snapt asunder. The incomparable man, who, for forty-one | Fiftieth Anniversary of the Gesangverein, founded, in the year 1811, by years, had, with unexampled devotedness and sagacity, conducted the Johann Schornstein and his friends, was a pleasing proof of gratitude Association, and who, although in the sixty-fifth year of his age, still towards the founders, and of the elevated feeling which marks the minds retained the complete possession of all his mental faculties, was torn of the present generation, and inspires them with increased enthusiasm from us most unexpectedly, on the 2nd December. Never was mourn- | for art. ing deeper and more general! All the members of the Association, All those who were present at the Festival will cheerfully admit that followed by the other musical societies of the city, accompanied the the mode of its celebration was in perfect harmony with its purpose and remains of him they so truly loved to their last resting-place, while, on importance. When such works as Haydn's Creation and Beethoven's the 9th December, a touching funereal service was celebrated in the Ninth Symphony constitute the principal portion of a musical solemlarge room of the Casino. There was but one solace which softened nity, it is evident, from the very programme, what earnest and correct the heavy loss the public had sustained. Hermann, the deceased's taste has guided the man who has had the direction of all the arrangeeldest son, who had become an excellent artist, thanks to the instruction ments. The execution, also, of the programme, thanks to the comof the celebrated Hummel, had, for twenty-two years, conducted the bined musical resources of the town, was something grand, and-on Gesangverein and concerts in Barmen, quite in his father's spirit. No account of the capabilities and zeal of the executants, as well as of the one else could offer such certain guarantees for continuing to manage thoroughly excellent way in which they had been trained by Herr Herthe Association in accordance with the intentions of its founder, and, mann Schornstein, and the admirable manner in which that gentleman as he himself regarded the fact of thus continuing to manage in the conducted, -on the whole, very successful, while, in many pieces, it was light of a cherished legacy, which ought not to be refused, he joyfully more than ordinarily good and elevating. The splendid locale, also, the accepted his unanimous election, and returned to his native to:vn in the ball of the new Casino, with its organ and peculiarly fine acoustic qu&. beginning of 1854. In order to afford their new Director an oppor. litics, contributed greatly to the imposing effect produced by the music, tunity of at once displaying the full extent of his capabilities, the As. while the unexceptionably happy taste displayed by the Committee in sociation got up a musical festival in July. Haydn's Seusons was the selection of the soloists, formed the keystone of the magnificent performed on the first day. Mlle. Nathalie Eschborn, and the cele- monument of tone raised, on the last day of November and the first of brated oratorio-singers, Schneider and Kindermann, from Munich, un Deceinber, to celebrate the establishment of one of the most important dertook the solos. Such a performance had never before been heard in vocal institutions in the Rhenish provinces, and, also, its present proElberfeld.

sperity. In the autumn of 1854, the Subscription-Concerts began, as usual, I It was certainly gratifying and elevating to find that, on the first evenand it was speedily evident, from the programmes, and the manner in ing of the Festival, after the importance of the latter had been demonwhich they were carried out, that the new Director was fully capable of strated in a spirited prologue by Herr Emil Rittershaus, a deep impresrealising, in a brilliant manner, all the expectations entertained of him. sion was produced by the magnificence of the chorus, with its fresh and While speaking of the execution of new works of importance, we may vigorous voices, especially those of the ladies, in combination with the mention, Schumann's Sänger's Fluch, Rheinthaler's Jephta, Gade's Eri- full volume of sound emanating from the orchestra, assisted occasionally könig's Tochter, Vau Eyken's Lucifer, and others.

by the organ; but, such is the excellence of Rhenish choral singing, as In the midst of the preparations for Schumann's Faust, the Casino was a rule, that we have known a similar effect produced at many other burnt down, on new year's night, 1858, when the concert-room, un performances of the Creation. What, however, rendered the present equalled for its acoustic qualities, shared the same fate. Not only did performance more especially good, was the execution of the solos by the Association lose the building in which it had been accustomed to thrce artists — Mlle. Rohn, Herren Schlösser and Stepan, from the practise, but a great portion of its valuable library, which it had taken Theatre Royal, Mannheim-whose voices, fully equal, by their fulness forty years to collect. But the most cruel blow of all was the fact that, and steadiness to hold their own against the orchestra, besides being for two whole years, it was unable to give any public performance. It raised by artistic education to a high pitch of excellence, and mutually was not until last year that the works were sufficiently advanced for the setting each other off in consequence of having sung together for years, concert-room, which is considerably larger than the former one, to be | invested the whole with a rare brilliancy, and still rarer homogeneous. inaugurated, in March, by Mendelssohn's St. Paul. The concerts of ness. Mlle. Rohn, who possesses a genuine soprano, as clear as a bell, last winter were opened with the Elijah, and proved by their subse | and as fresh, cvcry evening, when she sang her last notc as when she quent programmes, and the way in which they were executed, that the sang her first, displays the unusual combination of a full-toned, strong Association had quite got over its loss, and once more attained its pre organ, with the greatest mechanical excellence in purling bravura and vious high excellence of exccution.

the most perfect shake. By her delivery of the grand air in F major, The Association, founded fifty years ago by twenty-one admirers of at the commencement of Part II., she elicited the most enthusiastic apthe noble art of singing, can now show a list of two hundred members, plause, in which even the sternest critics shared; and we confess that while Haydn's Creation--performed forty-four years since by one hun. we seldom ever before heard, in any other singer, such a fine union of dred and ten musical amateurs, who had to be hunted up from all the the two elements, namely, thc Heroic and the Pleasing, which distintowns in the Rhine provinces--was given, on the 30th November, by guish the motives of this air. In the A major trio, she gave the bra. \ more than two hundred and forty executants, all of whom belonged to | vura passage in such a fashion, that it resembled a brilliant rocket, the town of Elberfeld alone. In order to mark the Festival by a de soaring high up into the heavens, and completely eclipsed all the joyous cided act of progress, the Association had erected in the concert-room notes of both chorus and orchestra. The duct, also, with Herr Stepan a grand organ, with thirty-six stops, three manuals, and a free pedal, (Adam), was an expressive and beautiful performance. from the workshops of Ibach, Sons, in Barmen. The swelling tones of The second Festival-Concert took place on Sunday, the 1st December, this instrument were first heard in connection with the words, “ Und es on which occasion the principal feature in the programme was Beethward Light" (" And there was Light”).

oven's Ninth Symphony. During the last fifteen years, Herren F. Heyer, A. Wülfing, and J. H. There is always a risk in confiding the execution of this mighty comZapp, have, by the active support they have afforded the professional | position to performers who have not been accustomed, by long practice, Director, proved themselves entitled to the warmest thanks of the Asso to work together, or, at least, cannot, by frequent rehearsals, be taught ciation. Besides this, Herr Zapp has, also, at a considerable sacrifice, to do so. If, in addition to this, we recollect that the principal coincollected the materials for the present account.

ponent part of the Elberfeld orchestra, we refer to the Johannisberger May the Association thus enter, under happy auspices, the second half Band, has a great deal to do, and, moreover, generally plays quite dif. of its centenium, at the end of which may our descendants be able to ferent music to Beethoven's Symphonies, we shall make allowances for assert, with justifiable pride, that they have properly managed the in. such local disturbing causes, and readily admit that the execution of

this highly difficult work was, on the whole, one which produced a pro

found impression. The best played portion was the first movement, # From the Niederrheinische Musik-Zeitung. (Translated for the and then came the finale, in which the chorus and the solo voices most MUSICAL WORLD.)

contributed to the successful result.

The first grand allegro lost none of its peculiar character; there was had the happiness of belonging. In the name of that Institution, plenty of energy in the mode in which it was conducted and realised. therefore, as well as in the name of Herr Lachner, who had always Compared to the execution of the first movement, that of the scherzo proved a worthy guide for them, he begged to express his most heartfelt and adagio left much to be desired; in the adagio, for instance, the thanks." All honour to artists, who enhance their own professional chorus of wind-instruments did not appear to bear sufficiently in mind merit by such estimable modesty, and grateful regard for their that the conduct of the melody, in long, sustained notes, was principally | Director! entrusted to them, and thus the melody in question, especially as the

Dr. F. W. ARNOLD. middle parts sometimes drcwned the upper ones, did not stand out with sufficient clearness. Again, the difference between the tempo of the

THE MENTAL HISTORY OF POETRY. adagio molto and that of the andunte moderato, was not strongly enough marked, and yet there was a beautiful effect intended by the composer

Br Joseph GODDARD. on this change of the measure and movement. In the syncopated

“ To search through all I felt or saw, notes, also, the expression was frequently erroneous, from the fact of the

The springs of life, the depths of awe,

And reach the law within the law." second note being again played, and the intended rhythmus of the

Tennyson. melody destroyed in consequence.

| What is Poetry ? This is a question which at first sighit appears The brilliant execution, on the contrary, of the finale," that splendid very easily and very definitely answerable. Of all those distinctive yet hymn to joy, corresponded to the execution of the first movement. Heir broad ideas which, reduced to some suggestive and familiar epithet, Stepan gave the difficult cadence, in the recitative commencement of the float continually before the eyes of the social and intellectual world, solo part, with marked certainty, and the chorus responded to his heroic passing at all times unchallenged for definition, and everywhere acchallenge by a fiery energy, which lost nothing of its force to the very end, cepted as representative of positive and explored facts, - this idea of Most especially laudable and worthy of imitation was the clearness with Poetry would seem to be one peculiarly adapted for such treatment, which the chorus pronounced the words. Would that all soloists and whilst at the same time it is one the most favourably endowed for chorus-singers would perceive that the clear pronunciation of the vowels meeting any inquiry or dispute as to the originality and specialty of and consonants is one of the best means for attaining purity and beauty its nature, and to its claim, in general, of being associated, as it is of tone, distinct from the declamatory portion, which becomes a mere | always understood to be, with some of the most clevated mental offspring empty jingle, when the words are unintelligible. After what we have of humanity. said concerning them in the Creation, the reader will easily believe that For does it not at once identify itself with that long and sustained strain Mlle. Rohn and Herr Schlösser acquitted themselves most adınirably. of song which resounds from the dawn of history, and through all history,

The second part of the concert was devoted more especially to solo permeating all circumstances and conditions of man, speaking where all performances. After so gigantic a work as the Ninth Symphony, car- | else is dumb, and living where all beside is dead ; which, echoing richly ried out with all the musical resources at the conductor's command, from the past through the vaults of time, rings clearly in the present solo performances, it is true, stood but a bad chance. For the magical epoch and blends itself with the din of passing existence. Does it tones which Herr August Kömpel knows how to extract from the not at once identify itself with that fervent expressional influence violin was it reserved, however, to overpower the impression of what which, although now most frequently associated with an advanced had preceded, and, by his rendering of Spohr's “ Gesangscenc," to ex- | and polished literature, is equally indigenous to the mind in all its cite the admiration of the audience. Each solo was followed by stormy stages, blending itself indissolubly with the demonstrative phenomena applause, which, at the conclusion, burst forth into a tempest of enthu arising out of all social, political, physical, or moral conditions of man? siasm and repeated recalls. It was perfectly just, morcover, that the Does not the idea of Poetry seem to be one thus constituting, in fact, modest artist should receive this ovation, for we never heard the mag to the human world what the streams and rivers are in nature; nificent composition so perfectly rendered. The way in which it was flowing unbrokenly out of the remote to the present; watering with executed exhibited all the best qualities of sterling, noble, song-like, freshness, wheresoever it has run, the vast and shadowy field of the and manually-perfect violin-playing, which conjured up before us, once | past; silvering in shining furrows that devoted area wherconsoever more, the master, Spohr himself, when, in the prime of his powers, he humanity has left its chequered trace; at all times and everywhere brought back with him, over the Alps, this concerto, which he had com. revealing in its breast the azure of the human mind, and throwing posed in Italy, and, for years and years, entranced with it Germany, continually from its clear surface the mirrowed picture of all that is France and England.

highest, purest, and most glorious in man? With the violin thus artistically handled, the human voice alone This sketch pourtrays undoubtedly the general character of that idca could compete. It was, therefore, exceedingly right that, with the ex which is called up in the mind at the name of Poetry. This is what it ception of a second work (Spohr's “Fantasia on Themes from Mo | is generally. But what is it particularly ? For it is one of those effects zart"), performed by Herr Kömpel, only vocal pieces were set down in | which though nevertheless, innately and at their corc, unique, — can at the programme. The trio (“ Euch lohne Dank"), from Fidelio, was, it | the same time (and especially in their ordinary manifestation and that is true, very well sung by Mlle. Rohn, Herren Schlösser and Stepan, phase of their appearance, generally and popularly visible) be almost but is not peculiarly adapted to the concert-room. The grand duet wholly accounted for in the action of extraneous effects, or resolved from Guillaume Till, for tenor and bass, excited thunders of applause, into a combination of common and ordinary influences. For example, for it was so dramatically sung, and given with such overwhelming a picture is simply a copying the appearance of certain natural objects truth of feeling and wonderful tone, by the two gentlemen just men- | and effects. It is constituted generally by form and colour, and their tioned, that the illusion of the stage was fully preserved.

different arrangements. Still, what is a picture, as a work of fine art ? The last, though certainly not the smallest, triumph of the evening, Where is the new element ? Where the special influence, the literally was achieved by Mlle. Rohn, with her masterly execution of that show original effect? In the same way into Poetry enters descriptive illustrapiece of fair vocalists at the present day, namely, Venzano's “Walz-| tion, the record of human actions and events ; the musings of the Air.” When we declare that such was her rendering of this compo mind, the airy and graceful pencillings of fancy, the picture-visions from sition, so clear her bravura, and so pure her shake, that even the the imaginative world ; the charm of metrical proportion and the sternest critic had to be on his guard lest he should at last pronounce musical ring of alliteration. But these departments of mental action the production bearable, we shall have said enough to mark our sense of are all severally embraced in the general mental issues of History the lady's virtuosity.

(political or social), and Philosophy on the one hand, and Painting and C. M. von Weber's “ Jubel-Overture” brought to a close this plea Music on the other; and any passage of Poetry can be viewed generally sing musical celebration of the anniversary of a Vocal Association, as pertaining to one or more of these. Thus, the record of actions and which we hope, with all our heart, will continue to progrese in its ar. events may be viewed as historical or general literary narrations, the tistic career, and in the same spirit which has hitherto guided it, for the expression prompted by sentiment or meditation, as Philosophy ; the next half century to begin with.

descriptive and imagerical effect, as Painting; and all metrical and Of the serious and jocular speeches of the poems, and of the songs, alliterative effects, as an embryo exemplification of Music. Where, then, which changed the two grand dinners, given after the concerts, into the is that subtle element of affinity which selects, proportions, and blends most unusually delightful and exciting social gatherings, we will re- these phenomena into a charm and new creation ? What is that magic, member only the words which Herr Stepan spoke, on returning thanks mental potency which moulds these into a new grace and breathes over for the enthusiastic mode in which his own health and that of his two them the poetic breath of life? Where is the soul of Poetry? Where fellow-artists from Mannheim had been drunk. Herr Stepan observed, the distinctive feature, or arrangement of features, which, turned by the "that they (himself and two fellow-artists) could accept the proofs mind of the poet, endows poctical literature with its uniqueness, and of approbation and the applause which they had received only as renders it an original and a separate cffect of mental demonstration, honourable marks of interest felt for the Art-Institution to which they | distinct from all other literature and the rest of art ; and what is the history of this process ? To supply a complete, clear and logical This peculiar purity in the character of the material constitution of answer to these inquiries is the object of this Essay. If it were replied the arts of Music or Painting, as compared to the character of the mateat the outset that it is the simple fact of the above combination which rial constitution of Poetry, gives rise to the further divergence of these (in cases where Poetry is involved) converts its different component arts respectively, that is, divergence not only in the material constituparts into the unity of Poetry, then we should inquire,- what is this tion of Music and Painting, as compared to that of Poetry, but with combination ? for in it we find the effect of Painting and Music. respect to the relationship of the general nature, material and moral, of What are these? What is the nature of their influence, and what of it these arts, namely, Music and Painting on the one hand and Poetry on goes towards producing the phenomenon of Poetry?

the other. In endeavouring to trace and lay bare the pure vein of Poetry, whether For it has been observed that there is, so to speak, a fundamental in its unalloyed manifestation or in its deviations over the general field charm, a reserve of effect, possessed by the former two branches of art, of mental demonstration, it is necessary to first consider and analysc | in the very material of their constitution, prior to that material having the nature of its material constitution, and in doing this we shall, in a been so much as breathed upon by the human mind ; that there is a preliminary way, contrast it in this external aspect with its sister arts charm in mere colour or sound, absolutely and in the abstract,-loveliPainting and Music.

ness in the etherial, evanescent tint of formless colour,-beauty in the The reader will remember the fact that has just been alluded to, that stray floating note of unmeasured musical sound. So that let but the Poetry in its material constitution is a compound influence, not a pure vaguest action of the human mind modify these effects — let but the one. And in this respect it is distinguished rather markedly from each most indefinite mental prompting cause the colour to faintly reveal a of the above arts, Painting on the one hand and Music on the other. form, or the sound to imply a method or measure, and there results at For it will be perceived that both of these arts may at times attain a once a simple, but positive, forcible and unique manifestation of Paintphase of manifestation, at which stage the constitution of either can be ing and Music respectively. There is Painting and Music bodily and wholly resolved into one simple element. There may be effects of spiritually : bodily, because all the constituent material of these arts is painting, consisting wholly and purely, in arrangements of colour, un prescnt ; spiritually, because there cannot exist either musical sound or alloyed in the slightest degree by the intrusion of objective form; as in pure colour, without their exciting a vague spiritual sentiment, though music effects can exist constituted solely by arrangements of sound, - not a human emotion. As we observe, then, the general nature of sound pure and free in its innate power and native beauty of influence, these arts in their progressive stages, we shall see that this relationship breathing no human burthen and unmoulded to the interpretation of of their material and moral constitution continues to prevail, and any positive emotion.

| always in this general proportion. The broad, vague and mysteThus, in appearances wrought solely by the influence of atmosphere, riously æsthetic influence of that which composes their material form, in all effects of sky, in painting, there is nought but pure divested is the first power of their effect; the mental characters wrought colour. In music also, of an abstract character, the sole influence is ab.

therein, the second, Let it be particularly borne in mind that we are solute sound. And thus, so far as regards their material constitution, regarding the effect in its actual and present existence, not reverting for both of these arts can at times be wholly resolved into these two simple a moment to the process and history of its production. In place of elements (these sole ministering influences from the spiritual world of analysing its production, we are considering solely its influence as it art to the physical world of sense),-unalloyed colour on the one hand, exists. Were we to revert to its history, we should simply reverse the on the other unmixed sound, and, as has appeared in the examples just above statement: we should accord, with regard to the relative imporalluded to, still preserve vital and legitimate artistic form.

tance of the influences which produced it, the first power to the mind, And such, moreover, is the purity in the nature of the constitution of the second to the matter; but, supposing there to be given a certain these arts, that even in any phase of their manifestation, its preponde effect of art as an existent fact, then, in analysing its actual influence in rating element - the general material of their effect - will always be

present vital action, we assert that the most prominent power of that respectively that influence which is derived from the pure element of influence lies in the intrinsic beauty, the native resources of charm effect, "colour," or that of “tone," though these effects are harmonised which dwells in the material of its composition. Of which, such is the and brought closer to man's appreciation by the entering into them of “empyrcal substance," that even whilst it conforms itself to mental in. the suggestiveness of natural form on the one hand and moral form on fluence, absorbs all operative traces of the mind; and in the effect the other.

which it in its turn produces, though the physical senses are filled, and This being the case, this preponderating purity and simplicity of the incited to exalted action; though the spiritual sympathies, the finer inmaterial constitution of the above arts stamps, of itself, upon them a stincts of taste and ästhetic appreciation are distinctly reached, and general character of physical uniqueness and originality, and renders it powerfully impressed, the mind, the conscious reasoning faculty, is quite appropriate to designate them, even in their physical nature, "pure arts," untouched and left totally unappealed to. Even as the art of the horas are all the arts in their moral constitution. Now, it is in distinction ticulturist is wholly absorbed in the abstract beauty of nature, and the to this designation, in the sense and circumstances in which it first power in the immediate effect of the result of that art, is the inhas just been applied to the two arts above spoken of, that is, with re fluence thus exerted by the charm of its material. ference to material conditions, that we term Poctry a “compound art." Compound in its natural conditions, in which in no circumstances is

(To be continued.) there a preponderating element so pure, unalloyed, and containing so much abstract effect as exists in the cases of those sister arts which have been alluded to. Poetry cannot rise bodily above the carth, suffused / Boston, U.S.—The organ built by Messrs. E. and G. G. Hook, in the misty veils of the morning air, the pallid shroud of twilight, the for the new church in Arlington Street, is one of the finest specisky's ocean-blue, the burnished garments of the sun, or arrayed in the mens of their well known skill and taste. It has plenty of power, soft robes of the rainbow. Neither can it divest itself of matter, in that a great variety of stops, which are remarkably beautiful singly, and pure essence, that invisibility of sound, which results in musical tone, as blend very richly in the full organ; and the mechanical arrangements the perfect purity and infinity of atmosphere constitutes azure, No; in work, so far as the hearer could judge, to a charm. We have nowhere Poctry there can be no abstruct effect ; Poetry must ever remain on earth heard flutes of more liquid sweetness, or reeds of a more fine and racy and minister in nearness to man,- must ever be clad in the mortal coil Aavour. The organ seemed all that one could desire ; but why shall an of language, and convey its burthen to the mind by a mediwn and “organ exhibition” always consist of making the organ do all sorts of through a principle of suggestiveness. Thus it must over mostly operate things, except just that which it is designed to do? These endless, with those materials which it already finds in the ordinary experience aimless wanderings among solo stops, thosc pol-pourris of operas, popular of man, his conditions, his actions, and his history (as all the power of airs, bits of secular and bits of sacred, strung together upon idle fancies suggestiveness rests upon a common experience and knowledge, -par- of the moment, may be very well to show the fine qualities of all the ticular and exceptional knowledge or experience being incapable of pure | stops, as well as the skill of the exhibitor,-neither of which do we call suggestion). Thus, although at times it may verge upon that other | in question,-but they fatigue and dissipate the mind just when it seeks world of abstract effect and pure creation, into which Painting and to be cdified and strengthened by the grandest of all instruments Music can fully enter, Poetry, in its external form, will be ever seen to voicing the great thoughts of Eternity. If you would show the virtues wear the general features of nature; to reflect distinctly the ordinary of an organ, why not play organ music ? Give these exceptional phenomena attending humanity; to embrace bodily all mundane cirs things their place, but do not let them usurp all. We do not object to cumstances; to murmur audibly the common ocean-dirge of human the queer scrolls and monsters carved here and there about a Gothic emotion ; and attend inevitably and continually the momentous current, cathedral; but not to show them, nor to give them shelter, except incithe rapids, cataracts and catastrophes of human action ; flashing in the dentally, were the sublime proportions of the cathedral reared. irsi spray and heavenly light of its brilliant deeds, or eddying into its | Dwight's Boston Journal of Music. darkly-hidden caves and mystic depths.

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