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"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT MATTER, WHOSE EFFECT MUST BE DEDUCTED. IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."— Göthe.

SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

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The Most Worshipful the Grand Master of Ireland,

His Grace the DUKE of LEINSTER,

And Several other Distinguished Freemasons;
His Excellency the Lord Lieutenant of Ireland, the
EARL of EGLINTON and WINTON,

The LORD BISHOP OF MANCHESTER,

The Right Worshipful the MAYOR OF MANCHESTER,
IVIE MACKIE. Esq.

His Worship the Mayor of Salford, W. HARVEY, Esq.

SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford.

And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire. DR. MARK'S

GREAT NATIONAL ENTERPRISE Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET, MANCHESTER, established by him expressly as a Great National Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES Or Music to be established throughout the United Kingdom, for LITTLE CHILDREN, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blending music with general instruction, so that the study of music shall become a branch of education in the humblest of schools of this country. To illustrate and to rouse an interest in every town and city for these institutions, Dr. Mark travels with a number of his pupils occasionally through the country-giving lectures, and introducing his highly approved and pleasing Musical Entertainment, entitled DR MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most unique and complete Juvenile Orchestra, composed of LITTLE ENGLISH, IRISH. SCOTCH AND WELCH BOYS, FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops. &c., and sing Songs and Choruses in a most effective manner, and to whom Dr. Mark gives a gratuitons General and Musical Education. APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN THE ABOVE INSTITUTION.

Principal of the Royal College of Music; Director, Composer, and
Conductor: Lecturer to both Private and Public, Theoretical Dr. MARK.
and Practical Instrumental and Vocal Classes
Master of the General Educational Department:
Writing, Reading, Arithmetic, Grammar, Dictation,
History, Geography, Practical Geometry, and Book-
keeping
PRACTICAL ASSISTANT TEACHERS.

-Organ Pian

Viol

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Mr. POWELL and Two Assistant Teachers.

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Vello, Double Bass, and Viola Flute, Piccolo, Oboe, and Clarionet Cornet and other Brass Instruments Concertina (German and English) Vocal Classes.. Dr. MARK has also made provision for the Orphans of the Musical Profession possessing musical talent, who will find the above institution a happy home, and receive a most effective general and musical education, board, and clothing, free of all expense.

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Messrs. PoWELL and ELDER.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

Twelve appointments ready for Masters.

PRICE 4d.

Carved STAMPED 5d.

ST. JAMES'S HALL,

REGENT-STREET AND PICCADILLY.

MONDAY, POPULAR CONCERTS.

THE SIXTEENTH CONCERT OF THE SEASON, EVENING, MARCH 26th, 1860.

MONDAY

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Sofa Stalls, 5s.; Balcony, 3s.; Unreserved Seats, 1s.-Tickets to be had of Mr. Austin, at the Hall, 28, Piccadilly; Messrs. Cramer and Co., Hammond, Addison, aud Co., Schott and Co., Ewer and Co., Simpson, Carter, and Oetzmann and Co., Regent-street; Brooks, 24, Old Cavendish-street; Bradberry's London Crystal Palace, Oxford-street; Duff and Co., 65, Oxford-stre t; Prowse, Hanway-street; Wylde, Great Hall, Hungerford Market; Chidley, 195, High Holborn; Purday, 50, St, Paul's Church-yard; Keith, Prowse, and Co., 48. Cheapside; Turne. 19, Cornhill; Cook and Co., 6. Finsbury-place, south; Humfiess, 4, Old Church, street, Paddington-green; Mitchell, Leader and Co., Ollivier, Campbell, and Willis, Bond-street; and Chappell and Co., 50, New Bond-street.

SAINT MARTIN'S HALL The GREATEST COM

BINATION of TALENT of the SEASONA

CHARITABLE PURCERT, at the above Hall, on MONDAY, March24 GRAND EVENING CONPOSE. The following eminent Artists have kindly promised their valuable assistance:-Vocalists: Madame Rudersdorff, Miss Rebecca Isaics, Miss Fanny Huddart, the Misses Brougham, and Mdlle Euphrosyne Parea; Messrs. Wilibye Cooper, G. Perren, G. Tedder, Patey, Allan Irving, and Santley, Signor Oliva, Pianists: Mr. Charles Salaman, Miss Auerhann, Miss Howard, Miss Julia Woolf, R.A., Violin-Herr Greebe, Trombone: Herr Nabicu. Accompanyists: Messrs. Frank Mori, Francesco Berger, Signor A. Randegger, and Charles Salaman. To. commence at eight o'clock. Reserved seats, 5s.: Balcony, 3s.: Area, 28.: Platform, 1s. Tickets to be had at the Hall; the principal musicsellers; and at Mr. Austin's, St James's Hall.-S. Phillips, Hou, Sec.. 37, Alfred-place, Bedford

square.

ST

T. JAMES'S HALL-On Wednesday evening next, March 28th, the Vocal Association (President, the Right Hon. the Earl of Dudley). Conductors-Mr. Benedict and Mr. C. E. Horsley. Artist-Madame Sainton-Dolby, Miss Fanny Rowland: pianoforte, Miss Eleanor Ward; violin, Mons. Sainton. Madrigals and part songs by the choir, under the direction

For Prospectuses, apply direct to the Royal College of Music, Bridge-street, of M. Benedict, Ticketa, 18., 35., and 5s. each, at the Hall. Commence at 8, Manchester.

Dr. MARK is also open to Engagements with his Little Men.

Dr. MARK begs to invite the Parents and Friends, and all those interested in his Enterprise and in the Education of the Youths of this country to visit his establishment. Visiting hours:-From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted,

terminate 10.13.

T. MARTIN'S HALL.-Mis JULIA WOOLF'S new

by her and Herr Greebe, at the above Hail, on Monday evening next.

MISS

ISS LAURA BAXTER has the honour to announce that her Grand Vocal and Instrumental Concert will take place, at St. James's Hall, on the 15th of May. Under the immediate patronage of The Marquis of Lansdowne, The Right Honorable The Earl Mount Edgeumbe, The Counts Mount Edgcumbe, The Lady Brownlow, Viscount Valletort, M.P., The Lady Katherine Valletort, &c. Communications respecting the Concert, Lessons, &c., to be addressed to Miss Laura Baxter's residence, 155, Albany-street, Regent's Park, N.W.

MASTER HORTON CLARIDGE ALLISON (Pupil

of M. W. H. Holmes), begs to announce that at the first of his Pianoforte Performances, which will take place at Willis's Rooms, King-street, St. James's, on Tuesday, March 27th, to commence at three o'clock precisely, he will have the honor of playing a selection from the works of the following composers:-S. Bach, Handel, Haydn, Beethoven, Mozart. Mendelssohn, Chopin. Herz. Master H. C. Alison will be assisted by the following eminent artistes. Vocalists: Miss Ransford, Miss Fanny Rowland: Mr. Allan Irving. Instrumentalists: Mr. H. Blagrove, Mr. R. Blagrove, Mr. Aylward. Accompanyist, Mr. Hammoud. Tickets, for the series, One Guin a: for a single performance, 10s. 6d. ; to be had of Master H. C. Allison, 143, Marylebone-road, N.W All seats reserved. The pianoforte used at the above performances will be by Messrs. Broadwood and Sons.

MR.

R. CHARLES SALAMAN'S EVENING CONCERT At the Hanover.square Rooms, ou Thursday nex', March 29th, at Eight o'clock precisely. Vocalists:-Madame Catharine Hayes, Mulle. Parepa, Miss Stabbach, Miss Eliza Hughes, and err Reichardt. Instrumentalists:-Pianoforte, Mr Salman; Violin, Herr Molique and Mr H. G. Blagrove; Viola, Mr. R. Blagrove; Violone llo, Herr Lidel. Accompanyist, Mr. Benedict. Programines are published. tickets. 78. each, with a reserved seat; family ticket, for four pers ns one Guinea; of Mr. Salaman, 36, Duke-street, and of the principal music-shops.

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Μ'

Persons desirous of joining the choir are requested to address the Secretary. "EYERBEER'S DINORAH AND STERNDALE BENNETT'S MAY QUEEN, are sung nightly at the CANTERBURY HALL CONCERTS. Comic vocalists-Messrs. George Hodson (the Irish comedian and mimic), W. J. Critchfield and E. W. Mackney. Several interesting pictures are added to the Fine Arts Gallery, The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis.

MEYERBEER'S NEW WORK-" ASPIRATION”

CANTIQUE. (Short Anthem.) The words from the orriginal latin of Thomas a Kempis, "De imitatione Christi." Composed for SIX VÕICES (three sopranos, two tenors, and bass), with Recitatives for a BASS SOLO, and Organ (or Harmonium) accompaniment ad libitum, by GIACOMO MEYERBEER. Price, in score, 4s. London: Duncan Davison and Co., 244, Regent-street, where Meyerbeer's setting of the Lord's Prayer, for four voices, 38., and the Serenade, for eight voices, "This house to love is holy," 4s., may be obtained.

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MUSICAL UNION.-Members' Tickets are all issued, London, to

Changes of residence, nominations of new members, and non-delivery ot of tickets to be notified to the Director. Extra copies of RECORD, with Portrai. of Spohr, and account of Music in Paris, 1859, are just publishe, 2s. 6d. each, Letters to Cranmer's, Chapp:H's, and Ollivier's, wili receive prompt attention addressed to

J. ELLA, Director.

то

O VOLUNTEER RIFLE CORPS.-Boosey and Sons' military band instruments, reed and brass, as well as bugles, drums and fifes, have been used and approved of by almost every regiment in the service, at home and abroad. Those regiments that contemplate the formation of a band, are invited to apply to the firm, who will be happy to recommend them competent and Sons, Holles-street, London.

WANTED, in a Large Provincial Musical Establishment. bandmasters, and render any further assistance that may be required.—Boosey

int to manage the Paper Department. Apply, by letter, to H. L., care of Messrs. Boosey and Sons, Holles-street, London, W.

MR. RAMSDEN respectfully announces that he will

return to Town, for the Season, on the 2nd of April. Communications respecting Engagements, Pupils, &c., to be addressed to Messrs. Cramer, Beale, and Chappell, 201, Regent-street, W.

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tions respecting engagements for Oratorios, Concerts, and Italian or English opera, to be addressed to his private residence, 17, St. James's-square, Notting-hill, W.

ΜΙ

EVANS'S

VANS'S ENGLISH HARMONIUMS.-Full particulars of these unrivalled instruments to be had of the manufacturers, Boosey and Sons, 24 and 28, Holles-street, London. Manufactories at Wells-street and Davies-street.

CASE'S PATENT CONCERTINAS, as used by and being less liable to get out of tune than any other English Concertinas. Prices from four to twelve guineas each. Manufactured by Boosey and Sons, Holles-street.

URLINE. The following are the favourite pieces in coral," "Take this cup of sparkling wine," "Flow on, oh, silver Rhine," "When the night winds," "Sweet Spirit, hear my prayer," sung by Miss Pyne; "Gentle troubadour," sung by Miss Pilling; "Our barque in moonlight beaming," form that on my dreamy gaze,' "The chimes of home," sung by Mr. Harrison; "A Father's love," Love, transient passion," sung by Mr. Sautley. Cramer, Beale, and Co., 201, Regent-street.

L'

""Sweet

URLINE-WALLACE'S NEW GRAND OPERA for the Pianoforte, as Solos and Duets, by W. H. Calcott; also Fantasias and Rondos from "Lurline" by Wallace, Favarger, Osborne, aud other eminent Cramer, Beale, and Co., 201, Regent-street.

ISS MARGARET MCALPINE (Contralto), composers, Valse and Quadrille from "Lurline." requests that letters respecting engagements for Oratorios, Concerts, and Pupils, be addressed to her residence, 63, Burton-crescent, New-road.

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HER MAJESTY'S THEATRE The Public is re

spectfully informed that this establishment will open for the season, on Tuesday, April 10th.

FEL

ERRARI'S WORK ON THE VOICE AND SINGING, price 8s., may be had at his residence, Devonshire-lodge, Portland-road, Portland-place, and at all the principal music-sellers. "Of all the treatises on the cultivation of the voice that have appeared for many years, it is the most sensible, concise, and useful."-Daily News.

"Thore is more sense in this work than we find in nine out of ten publications of a similar kind."-Athenæum.

"Here is a really sensible work."-Musical World.

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REVIEWS.

"Dussek's Plus Ultra' and Woelf's Ne Plus Ultra,' Sonatas for the Pianoforte, with Biographical and Critical Introductions-edited by J. W. Davison (Boosey and Sons)." We spoke some time since of Messrs. Boosey's new edition of Woelfl's Ne Plus Ultra, and suggested that it should be followed up by a re issue of the far greater work, which Dussek gave to the world under the title of Le Retour à Paris, and his London publishers rechristened Plus Ultra. We have now the two sonatas before us-remarkable compositions both, whatever difference may exist in their respective values as artistic creations-in one elegant volume, and at a price* which, not very many years ago, would hardly have paid for The Battle of Prague, or for the once familiar Sonata dedicated to Mrs. Chinnery. That every zealous pianist, amateur or professional, will make himself master of treasures so cheaply attainable, there can hardly be a doubt.

we think, have stated in the preface his reason for adopting. In the old copy, the sixth bar of the first page stands thus:

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We have an objection or two to make, which, though of no great weight, is perhaps worth consideration, and may therefore be stated at once. The order in which the two sonatas are given in Messrs. Boosey's edition should be reversed. The object of the new reading was probably to get rid of That Woelfl's Ne Plus Ultra was both composed and pub-consecutive octaves between extreme parts. In the other lished before its present companion; and even were that not instance, the latter half of the 17th bar (same page), appears the case, it would appear from the title page of the London in the original, as subjoined :—

edition of Plus Ultra :

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On comparing the edition before us with an old copy of the Plus Ultra in our possession, we find two alterations, for which Mr. Davison (being manifestly responsible) should,

Four shillings. + Dussek's Opera, 24.

This the modern editor (or some foreign copy, in the correctness of which he has faith), modifies thus :—

In page 10 of the old edition (second part of the first movement), the same point occurs twice, in different keys, and in both cases have been altered accordingly. Now that in the first instance a harsh, unpleasant effect of octaves, and in another a still more disagreeable feint at fifths is done away with, we admit; but at the same time, unless on some undoubted authority, it is always dangerous to meddle with classical works. Who, for example, would presume to interfere with any of Beethoven's seeming eccentricities? Dussek was certainly not a Beethoven; but he was a man of genius, and is accepted universally as a classic. He was, moreover, by no means one of the most uniformly correct of writers, and for these reasons we trust that in the next issue Mr. Davison will enter into some explanation of the

liberties he has taken. Elsewhere he has dispensed with a in which we wish every editor would follow him, since the good number of wholly superfluous accidentals, a proceeding only result of such a flux of flats and sharps is to perplex and add to the difficulty of the player, when deciphering a piece of music for the first time. By their partial evasion,

the scherzo (which, though virtually in the key of A flat major, begins in F sharp minor), becomes much less of an enigma, and is twice as easy to read.

The introductory essay, which considerably enhances the value of Messrs. Boosey's edition of the Plus Ultra, especially to those who love Dussek's music, and are curious about the man and his life, is much fuller of interesting details than that which is prefixed to Woelf's Ne Plus Ultra. It contains, perhaps, the longest biography of Dussek that has hitherto appeared, together with copious remarks on his works, and on the influence they have exercised on pianists and pianoforte composers. We are unable to afford space for much quotation, but an extract or two, taken at random, may not be unacceptable. One of the most interesting passages is contained in a foot-note. Dussek, in his youth, it appears, was the paid organist at various places, and among others at Ruttenberg, Maliver, and Berg

op-zoom :

"This early familiarity with the organ," says Mr. Davison, "explains in some measure the constant addiction to full, rich, and expressive harmony which is remarkable in all Dussek's best sonatas for the pianoforte. Some of his slow movements-instance that of Les Adieux à Clementi (grand sonata in E flat, Op. 41), that of Le Retour à Paris, better known as Plus Ultra (grand sonata in A flat, Op. 71), and that of L'Invocation (grand sonata in F minor, Op. 77)-might almost have been written purposely for the organ."

#

To the foregoing is appended the note just mentioned. Professor Marx, a great authority in the present day, says nothing of the organ, but a great deal about the keyed harmonica, and still more about English pianofortes, to which jointly he attributes the prominent features of Dussek's manner. That Dussek played upon the former instrument in Berlin, and afterwards at Milan, is unquestionable; but that it had any influence on his artistic development we cannot believe. Passing over, therefore, the majority, the high flown sentences in which Professor Marx loves to establish this fanciful relationship between a frivolous instrument and an eminently thoughtful man, we cite with pleasure the observations of the same writer that relate to English pianofortes:

"Dussek began his musical career" (says very incorrectly the Professor), "as a player on the harmonica, and the choice of this sensitive instrument appears just as much to have proceeded from the inmost nature of the artist, as to have nourished and confirmed it."

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"His residence in London, and afterwards with Prince Louis Ferdinand, brought another and congenial influence from without to bear upon his artistic faculties. This was, that in both places he found no instruments to play upon but the English grand pianoforte, of which Prince Louis had in course of time imported no less than thirteen, being dissatisfied (we are credibly informed) with the effect of all others. Whoever is acquainted with English grand pianofortes, and compares hem with those of other countries (for instance the Viennese) cannot fail to observe that a certain unconquerable sameness is peculiar to them, which easily imparts itself to the player, more especially when this characteristic happens to be congenial to his nature. The tone of the English grand pianoforte, similar to the quality of the clarionet, is so full and continuous, so powerful and concentrated, that it wholly satisfies the ear, and that it both seizes and retains the undivided attention. This can by no means be said of other (for instance, the Viennese) instruments, whose tone, less satisfying, less resonant, in short, less decisive, leaves freer play to the fancy, whilst the character of the English grand piano is still extended by the soft pedal, with its highly sentimental, but somewhat monotonous effect, and by the great depth of the touch, which precludes almost every other style of performance than a legato of broad masses of harmony in extended posi tions, full of grandiose, noble and tender sentimentality. With this definition, to which we have almost unconsciously given expression, *The manufacture of one Hessel, an instrument which Dussek only took up for some immediate purpose, and then abandoned.

we believe that we have pronounced the basis of Dussek's character, as it reveals itself in his many (mostly instrumental) works, especially in his compositions for piano, in which it continually more and more developed itself."

with justice), it should be borne in mind, that Professor In considering the foregoing (Mr. Davison remarks, Marx is writing about the English pianofortes of more than half a century ago. The allusion of Professor Marx to Prince Ferdinand of Prussia has led to a note by the however brief, at the private character and artistic idiosyneditor, which is worth quoting, as affording us a glance, cracy of an energetic and distinguished warrior, whose absorbing passion was love of music, and hatred of the French :

Frederick William II., born November 18, 1772, at Berlin, killed at

"Frederick Christian Louis Ferdinand, Prince of Prussia, nephew of

the Battle of Salfield, October 9, 1806. This courageous. intellectual and amiable, though somewhat dissolute prince-one of the fiercest haters of the French, although a generous patron of Lamarre, the cele brated French violoncellist-was passionately addicted to the study and performance of music. An enthusiastic admirer of Dussek, he cultivated his society to such an extent, that disparity of rank was altogether overlooked, and the Prince and the Musician became friends. Dussek gave him finishing lessons in pianoforte-playing and in composition, to such good purpose that Louis Ferdinand achieved fame in both departments. When John Cramer visited Berlin, the Prince, delighted to show his proficiency, and also, as a graceful compliment to the musician, played without book, Cramer's own first PianoforteConcerto. "Prince," said the composer "your memory is astonishing; and you play my concerto much faster than I can myself," Beethoven dedicated his Third Pianoforte Concerto, (in C minor, Op. 37-first performed in public at Vienna, in 1804, by Ferdinand Ries, Beethoven's Pupil) to Prince Louis Ferdinand, for whom he entertained a high esteem. Dussek inscribed to him the Quartet in E flat for pianoforte and stringed instruments (Op. 56), and afterwards consecrated to his memory the grand and pathetic Elegy in F sharp minor. Among the engraved compositions of the Prince of Prussia are a quintet for strings, an ottet for wind and strings, two quartets and two trios for piano and strings, a four-part fugue for piano solus, and a variety of smaller works. In the best and most imporant of these the influence of Dussek's manner is strongly apparent. It may be"-writes Professor Marx, in alluding to the intimacy between Dussek and Prince Louis-"that the Prince excelled the Musician in talent, at least in largeness and elevation of ideas, but he appears to have been indebted to the latter for much technical assistance. At least, so far as we can judge from the conflicting testimony of their contemporaries, the mutual influence of these two distinguished men upon each other is indisputable. It is apparent in the works of both, though it is likely to have been more to the advantage of the Prince than of Dussek, since the technical part of art is easier to communicate than the spiritual. But whoever is acquainted with the high-souled productions of Prince Louis will feel grateful to his friend for the share he has had in them."

That Professor Marx is more of a courtier (it must not be forgotten that he resides at Berlin) than the modern Plus Ultra, is revealed through a foot-note, in which the latter, somewhat ill-naturedly, surmises "that Dussek did more than advise the Prince of Prussia in his compositions” -which can only be translated that he helped him to compose them. While on the subject, we are at a loss to explain why Mr. Davison should have discarded Professor Marx's critical analysis of Dussek's style, which, though wordy and occasionally vague, contains some valuable suggestions. We are able, however, to supply the omission :

"If we wish to obtain a full and vivid perception of Dussek, we must begin with the contemplation of his early, easy works, and proceed from them to the later, larger and maturer ones, of which we quote here, as examples, the concertos in G minor and the sonatas.

"In all these we perceive, together with a thorough and welldeveloped technical proficiency, an aspiration, quite free from all purpose of executive display or trickery, to draw forth all the resources of the instrument, a noble aim directed to the inward recesses of art, an emotion which strives to communicate itself to the soul of the hearer. We could say, without exaggeration, especially of his later and

larger works, that this striving is evident in every one of his subjects, and certainly that it is apparent in the general tenor of the majority of his works. But it is just as undeniable that throughout this resignation to the softer impressions, this condition of mind dilating the heart without strengthening it, that he was never roused to a bolder flight, by either a rich ideality within, nor by important and exciting circumstances of life, nor by incentives from without, (such as commissions to write for the church, theatre, &c.)

"Upon such a spirit, the instrument, in whose keyboard he had domesticated himself, could not but exert a decisive influence. Widespread, resonant chords, harmonies rich in modulation, especially in chromatic modulations, often unquestionably overloaded with these sort of secondary effects and attenuated to the extreme of vagueness; intimately connected with this, a rich, always soft, often enharmonically conducted modulation, which alternates between the most extraneous flat and sharp keys; manifold reduplication of the parts, out of which proceed the doubling of entire phrases, especially in imitation of the effect of the combination of clarionet and horns; extensive, resonant and flowing divisions and passages, mostly in several parts, very many triplets; the melody, when it appears in a single part, interspersed and embellished with sweeping passages of ornamentation; these are among the characteristics, which may severally be found in many pianoforte composers, but in such rich combination, and so constantly appreciated, so united with every thought and conception, like the body with the soul, they belong exclusively to the artistic physiog nomy of Dussek (and of one living composer, besides the imitators of both). That this course of feeling, and its manifestation, became a mannerism, and spread monotony over his works, is, according to the above remarks, undeniable. In his later works, for instance, in the above-mentioned sonata, in the one in E flat (Op. 44), some cheerful pieces for four hands, this mannerism attains complete maturity, and we perceive how, under this all-penetrating, all-levelling habit of construction, the flow of composition, impeded by the accumulation of material, drags its slow course along, like a petrifying stream of lava; such as with an almost always felicitons, often but too symmetrical, framework, the composition drags itself onward, as it were without distinct sections, without appreciable phrasing, without perceptible rhythm, piling masses of chords one over the other.

Although the deleterious and, in course of time, wearing features of this style are not to be denied, and scarce anyone who is familar with the pianoforte works of Beethoven and C. M. Weber, will go through several of Dussek's compositions conscientiously with the same perseverance and sympathy, yet Dussek merits, on account of the rich assemblage of single beauties, deeply-felt movements, and on account of his noble and grandiose style, which often makes us forget every monotony,-to have his memory perpetuated, at least in his principal works, by every lover of true art.

"It seems to be the inevitable fate of all players (to whom the development of the resources of their instrument has been paramount) that a certain manner, which grows out of their own executive pecu. liarities, should adhere to their productions. Thus has it been with Dussek, and we should the more easily reconcile ourselves to his manner, when we have come to the perception of all that is noble, and fraught with meaning, behind the veil.

"The halls of musical art would become too deserted, if we judged differently, more severely-I may say, more unartistically and uncharitably-and if we turned our contemplation solely towards those culminating points in which an entire period, an entire tendency, is concentrated.

"Least of all is abstraction permitted to the artist, and certainly as pianist, no composer for the pianoforte will study Dussek's works without abundant profit. His achievements and his failures, both will be instructive: the former to gladden us, the latter, by the side of them, will be absolved."

Finding fault as much with M. Fétis, Mr. Davison, nevertheless, quotes that eminent bibliographer's opinions of Dussek and his talent, on more than one occasion :—

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«M. Fétis, who is able to remember Dussek's performance at the Odéon (1808), says: The extraordinary sensation he produced is still remembered. Until then the pianoforte had only been heard to disadvantage as a concert-instrument; but, under the hands of Dussek, it eclipsed all that surrounded it. The broad and noble style of this artist, his method of singing on an instrument which possessed no sustained sounds, the neatness, delicacy, and brilliancy of his play, in short, procured him a triumph of which there had been no previous example.' So that even if Cramer (and not, as some have asserted, Woelfl, or as would be still more likely to approximate to the truth,

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Beethoven, in his earlier period) was the 'Ne Plus Ultra' of the pianists of his time, Dussek again steps forward as 'Plus Ultra." Again, the summing-up of M. Fétis' (very scanty) biography is cited in a foot-note:→→→

"Endowed with a most amiable character, full of kindness and courtesy towards other artists, of great natural parts, ripened and perfected by varied instruction, of a lively disposition, and distinguished manners and deportment derived from the high society in which he had lived, Dussek made friends of all who knew him. He could only be reproached with one defect-one more injurious to himself than to others. This was an incurable carelessness, which caused him to neglect the management of his affairs, and often was the means of placing him under circumstances of great and serious embarrassment. In the last days of his life, his embonpoint had become excessive, which, however, in no degree impaired the agility of his fingers; but the difficulty of mov ing about, which was the consequence, induced him to contract the habit of passing the greater part of the day in bed. To rouse himself from the sort of apathy that results from such a mode of existence, he was compelled to make an immoderate use of wine and ardent spirits, as stimulants, which ended by ruining his constitution, and ultimately causing his death."

With Plus Ultra Mr. Davison himself is evidently enamoured; but from an appreciation of considerable length we can afford space for a satire or two :

"The passionate expression that stamps the Allegro non troppo, from which a sort of Weberian feeling repeatedly peeps out, the tranquil beauty and rich development of the Adagio, the plaintive character of the Scherzo (regarded by many as a kind of prophecy of ChopinChopin at his best, must be intended), and the animation, gaiety, and varied detail of the brilliant and sparkling Finale, are alike attractive and alike original. Rich invention and felicitous performance are apparent throughout the sonata, which, though resembling neither Mozart nor Beethoven, is not the less welcome on that account-being no more nor less than pure Dussek."

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"In contrasting the Ne Plus Ultra of Woelf with the Plus Ultra of Dussek, the superiority of Woelf as a musician has sometimes been cited, in contradistinction to Dussek's far higher claims as an imaginative and poetical composer. See'-argue the Woelflites-how clear and symmetrical is Woelf's first movement compared with that of Dussek.' 'Granting this to be true'-retort the adherents of Dussek-' see with what different materials they had to deal. Woelf was trimming a garden-Dussek clearing a forest."

The fact that Dussek, in one of his quartets for stringed instruments* (in E flat), had already used the minuetto (though not the trio) of the scherzo, which forms part of the Plus Ultra, is interesting as a proof of the value set upon this singularly beautiful movement by its composer. A comparison of the two versions will show that Dussek was at pains to improve the original when he transferred it to the sonata, and that his pains were not thrown away, The trio of the sonata, although bearing some faintish resemblance to that in the quartet, is far superior, The key of the quartet being E flat, the minuetto is in E flat; while the trio is in B major-which responds to the A flat and E major of the

sonata.

In this cursory review we do not pretend to have given any idea of the contents of the literary and critical introduction to Messrs. Boosey's edition of Plus Ultra; but as that the musical text is remarkably correct, while the we have already transgressed our limits, we can only add engraving, writing, and other accessories of publication all that can be desired, such, in short, as to constitute a handsome addition to any musical library.

Trois Quatuors, pour two Fiolons, Alto, et Violoncello― Op. 60— à Leipsic chez Breitkopf & Härtel." How is it, by the way, that these works have hitherto eluded the research of those lynx-eyed entrepreneurs, the Directors of the Monday Popular Concerts.

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