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Joseph Hartmann Stuntz was the son of Johannes Stuntz, who descended from small tillers of vines in Ichtingen, in Brisgow.

Let us first speak of the father, in whom we find a strong and energetic nature, full of the then germinating idea of the fulfilment of the rights of human nature, and we find a man, having made his own education, who merely by his energy arrived to get attainments in all the branches of science and of art.

Johannes Stuntz lived in Paris in the years of 187, where he studied the art of landscape painting, and by studying the works of Gluck and other authentical composers, devoted himself at the same time to the study of classical music After various changes he went through, partly as landscape painter, partly, in the first years of the Revolution, as a zealous officer in the Garde Nationale, and afterwards as officer in the Corps du Génie, in Strassburgh, and later as Commissaire Civil in the then called Département du Jura, we meet him in the summer, 1793,—in consequence of his eager part he took in the political troubles in France, at Arlesheim, in Switzerland, in the present Canton Basil; his having lived there quite retired, he now was at leisure to give up himself with zeal to his vocation as gouache painter, and as such he is on the same level with Philip Hackert.

In the splendid and far-famed park and gardens near Arlesheim, the possessor of the same at that time, Baron d'Andlaw, offered to Johannes Stuntz a small house, in which Joseph Hartmann was born on the 23d of July, 1793.

During the time of the Directoire the family Stuntz returned to France, first to Chaumont and then to Strassburgh. In Strassburgh it was that the eminent musical talent of Joseph Hartmann, then scarcely seven years old, captivated the attention of his father and of some of his friends in a high degree. Almost exclusively, the father occupied himself with the musical cultivation of his young son, who, after the battle of Austerlitz, composed a reception march for the return of the Garde Artillerie, and soon after, when a Te Deum of his was performed at the Minster in Strassburgh, the dilettanti there crowned the young composer, now fourteen years old, on the choir of the Minster with a wreath of laurel. As the father saw in the perpetual summons to the army of the Napoleonisme at that time no welfare for his gifted and talented sons (a younger son, who died early, showed an extraordinary talent for sculpture), he made up his mind to leave Strassburgh, and relying upon the circumstance that from that time he was in the army-he was known to his colonel the Duke Max., afterwards King Max. I. of Bavaria, he went to live in that country.

Scarcely arrived in Munich with his family, King Max. I. ordered at once that Joseph Hartmann is to be admitted in the Royal Chapel, and fixed at the same time that the Maître de Chapelle at that time, Von Winter, is to be his master.

Soon after, Joseph Hartmann Stuntz left for Vienna with a royal stipend, in order to profit of the instruction of the clever and spirited Salieri, but it only lasted a short time, because then the Bavarian and Viennese Courts were not on good terms, and therefore Stuntz was obliged to leave Vienna, and only was able to return again to this capital in the year 1815 to continue his studies with Salieri, and there it was, no doubt, that Stuntz at the side of a master like Salieri, and by the impression of the then new works of Beethoven, appropriated himself, his technical attainments, and the severeness, profoundness, and solidity of his musical judgment, which so very much distinguished him.

In the year 1816 he returned to Munich, where he at once was appointed Maestro at the New Italian Opera.

In the year 1818 he was given in marriage to Fräulein Marie Appenburg von Schaden, a lady who, besides her intellect and high education, also was a thorough musician, and as such an able alto, having been taught by Tersechini's method. In the same year Stuntz got leave to go to Italy, where, having been commissioned by the Scala, he composed in 1819 an opera, La Rapressaglia, which was received with so much approbation that it was performed sixty times running, and Stuntz got the title of Maestro di Cartello; in 1820 he was called to

Venice, where he composed for the Fenice, the opera Costantino, which was received with great acclamations.

Returned home in the meantime, he composed in Munich the operette Charlot, or the Foster Brothers, a work distinguished by the sweetness of its melodies. Soon after, he again was called to Italy, to Turin this time, where he composed for the Royal Opera in the Carnevale of 1821-22 the opera Dalmiro ed Argone, and immediately after he had to go to Milan, where he composed in the Carnevale 1823 the comic opera Elvira e Lucindo. On account of his having not been well he was obliged to refuse a calling to Rome to the Argentina.

Returned to Munich in 1823, he was made Vice-maître de Chapelle, and Director of the Vocal Music at the Royal Opera, and in 1825, after Winter's death, King Louis appointed him as First Maître de Chapelle.

Now begins his more local activity, partly by his compositions of masses and psalms, both in the strict and free style, of cantatas and overtures, and partly by instrumentations. The profoundness of his knowing he imbibed in Italy by the study of the works of the old classical composers, he first showed in a splendid cantata which he composed for the obsequics of Clara Vesperman, a celebrated German singer. At this time he wrote over again the opera Das Donauweibchen (the Nymph of the Danube), and composed a cantata for the inauguration of the synagogue in Munich. În 1828 the first vocal society was established in Munich, which was very considerable, then called the Liederkranz," and which Stuntz accepted to conduct. Now Stuntz entered a new phasis for his activity, namely, as a German liedersänger (minstrel, or composer of lays as quartets, choruses, &c. &c.), and as such he created works which alone secure him the duration of his fame. Some of the poems of King Louis were among the first ones he was glad to accept, as "Sonnet to my Wife," and the "Bavarian Schützenmarch."

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In 1833, when King Louis returned from Greece, Stuntz received him with the "Heldengesang in Walhalla," the real type of the German pithy and energetic strain, since then spread over the world, and adapted in many languages, with different patriotic words put to it. A sequence of "Gesänge may perhaps be translated by national songs for more than one voice; though "Gesänge" are a style of songs peculiar to Germany, as "Deutcher Gruss " (German Greeting); "An mein Vaterland" (To my Fatherland); "The Banquetlied," composed for the Artists' Festival in 1840; a Chorus for the laying of the foundation stone of the Befreiungshalle in 1842, a chorus which long since outrun the frontiers of Bavaria; then the "Landsqueuet-Lieder," and several occasional compositions; further, some smaller quartetts and arrangements of classical composers, &c. &c.

But also on other fields Stuntz never has been inactive. For several of the festivities at the Bavarian Court he composed; for instance, in 1811, at the birth of the present King, Maximilian II, a "Lobgesang an die Gottheit;" in 1823, at the marriage of Princess Elizabeth, present Queen of Prussia, a "Te Deum;" in 1832, at the marriage of Princess Mathilde, present Grand Duchess of Hesse, a Festspiel "Ahnen and Enkel" (Ancestors and Grandchildren), and so on. Stuutz also presided at the concerts at court, and at the musical academy; and besides all that he never neglected his compositions for the

Roman Church.

In consequence of new regulations in the directoire of the Royal Opera, Stuntz was pensioned from this establishment, and now began his almost exclusive and never-ending productive activity for the Chapelle Royale.

Then the vocal music without orchestra was introduced in the Chapelle Royale, after type of the Capella Sestina in Rome, and there is it that Stuntz again earned the palm of fame. His compositions for the Roman Church are in the strictest style. He is quite master of the Cantus firmus. But besides the profoundness and earnestness in these compositions, there is throughout so euphonical and harmonious a strain, which touches and appeases not only the heart of the connoisseur, but also that of every layman. His church compositions are partly for mixed chorus, partly for men's or women's voices, either with or without accompaniment of the organ. His last Mass is only for women's voices, with accompaniment of violas and violoncellos; and he indeed crowned himself with his last work produced during his illness, a Requiem for five voices, and which was performed with a most touching awe at the mass for his soul.

Stuntz not only confined his zeal to compositions, but it extended to the historical study of works of the most ancient composers; and when quite familiar with Palestrina, Leonardo da Leo, Orlando, and others, he, with his clever and finished pen, brought to light the works of a Tosquin da Press, Cypriano da Rosa, Pierre de la Rue, and others.

Also in the varied and ornamented music he accomplished a master piece in a Missa solemnis, composed for full orchestra. Besides this, he did not neglect the other musical territories: Canone (Catches);

Madrigals; charming songs for one voice, and with accompaniment of the piano; a vocal quartett, in the style of the old music camera, are speaking proofs of his multilateral operations.

In the year 1846 he composed an opera Maria Rosa, which, as we are sorry to say, wrecked, because of the awkwardly and not wellwritten words, whilst the music is of a high value, though of course lost. A great Symphony of his was performed six years ago, with loud acclamations, in the concerts of the Hofcapelle, and also a Concert Overture in 1857. Stantz knew how to apply the instruments in his compositions with great effect and elegance, and resembles Auber in the technical parts of his Instrumentations.

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'Jesus Christ is risen to day.
Our triumphant holiday.
Who did once upon the cross.
Suffer to redeem our loss.

Hallelujah!

Hallelujah!

Hallelujah!

Hallelujah !'

66 CONDITIONS:

In consequence of an order of the King, he composed, in 1858, a
Bavarian National Hymn (the words by Dr. L. Wohlmuth), for mixed the Hallelujah' to be sung at the end of each line.
chorus and full orchestra. We, who heard it, say that it is a master-
piece of grandeur and simpleness, but till now it could not be performed
for want of a suitable occasion. In 1853 Stuntz composed for the cele-
bration of the King's return from Italy a Cantata, written by the first
burgomaster. At the performance in the open air, Stuntz caught a
severe cold, which turned in an inflammation on the chest, so that he was
confined to a sick room for several months; after his recovery he went
to spend a winter in Italy, where he anew was the object of ovations of
his many friends there.

"The tunes to be strictly original, full throughout, of a simple, solid, and ecclesiastical character, and within the compass of an ordinary parish choir.

Returned from Italy, he again began to suffer from his chest. Repeated travels to the milder climates had perhaps been fit to procure him mitigation, but Stuntz would not hear of it, for nowhere he felt comfortable when far from his habitual sphere of activity; restless, thinking and working was his unremitting striving, and to the last breath his head was full of music.

A chronical disease of the heart increased his illness. Nevertheless he did not intermit his activity; he ordered to be driven in the Chapelle Royale, where he did his duty for the last time six weeks before his death. On the 18th of June in the early morning, on the 41st anniversary of his wedding-day, he gently slept away, having maintained his amiability and tranquillity of mind, both issuing from the purest of hearts, up to the last moment. Stuntz was a finished man-a good man; he sided with the liberal party, and indeed carried many a grief in his heart for the sake of his country; but he bore it calmly, and bore it as a man firm in his self-consciousness. Stuntz was a genuine, a genial artist; modest, and free of all boasting. After-ages will say of him, that he took up one of the first places among the musical composers and authorities of his time.

Letters to the Editor.

MR. HENRY SMART'S CHORAL BOOK.

SIR,-In one of your papers last year, August 2nd, I see a long advertisement setting forth the peculiar merits of Mr. Henry Smart's "Choral Book." Without disparaging that gentleman's efforts in what he believes the best mode of advancing Church Psalmody, I would only call his attention to the terms in which he mentions the Hymnal noted. Doubtless, not having it before him, he has greatly altered the advertisement of that publication in his reference to it; the words he quotes should be "the ordinary metrical VERSIONS of the Psalms" (NOT Metrical Psalmody, as quoted in Mr. Smart's advertisement) longer found, &c. &c." I would also inform Mr. Smart that many persons whose musical taste is by no means at the lowest ebb, do not consider the plain song of the Church either meaningless or uncouth. Hoping you will insert this as a justification of a publication fully intended by its compilers as an effective adjunct to the service of the Church, I remain, Sir, your obedient servant,

46 are no

VERITAS.

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THE CHEADLE ASSOCIATION. MR. EDITOR,-Sometime ago the "Cheadle Association for moting Church Music" offered two prizes of five guineas each, for the best music adapted to the Christmas and Easter Hymns, stating "any violation of the rules of harmony will at once disqualify the tune in which it occurs." After some months of consideration they awarded the prize for the Easter Hymn, but, strange to say, the Association" overlooked consecutive fifths in this composition. This could not have been a mere oversight of the composer, as it occurs not only in the score, but in the organ part. I send a copy of the tune and the Cheadle prospectus, that

"Many inquiries have been made as to the meaning attached by the committee to the words simple, solid, and ecclesiastical.' The committee beg, therefore, to refer to the tunes numbered 5, 12, 23, 36, 55, in the Cheadle Hand-book of Psalm Tunes, published (price 9d.) by Mr. T. Harrison, 59 Pall Mall, London, as specimens.

"It is intended to publish the successful tunes as substitutes for the Easter and Christmas Hymns now in common use. The copyright will be the property of the association.

"Any violation of the rules of harmony will at once disqualify the tune in which it occurs.

"The tunes must be distinctly written in compressed score, on musicpaper of the quarto size, each tune accompanied by separate voice parts, on paper of the same size, with the words written under the notes. Each composition must be distinguished by two mottoes (the name of the composer not to be sent), and forwarded before March 25th to the Rev. George Mather, Huntly Hall, Cheadle, Staffordshire. The postage must be paid or they cannot be received."

[The copy of the "tune" has not reached us.-ED.]

SIR,-When I affirm that the ratio of the basal minor 3rd is 16 to 19, I either state what is true or false. In neither case is it a speculation, as your correspondent A. G. Henderson is pleased to represent it. His very first sentence, in your last number, is therefore disingenuous. Then, as to whether his or my "conclusions are in opposition to nature," let the examples which terminate this article settle that point. After this Mr. H. very properly observes, "What everybody feels to be true must be true," and so I say; and since everybody feels that the sharp 1st of the key is above the flat 2nd, the sharp 2nd above the flat 3rd, &c., as this is in perfect agreement with my discoveries (not inventions, nor speculations), and confessedly in direct opposition to the fictions resulting from the fanciful speculations which turn all this topsyturvy, it follows that these facts verify my theory and not the theories to which they stand opposed. Then follows, "and we shall go on our own way," which is very likely to be the case, seeing that longcherished notions are disposed to stick to us, however false they may be; nevertheless, if a tree can be fairly judged by its fruits, the examples which follow, to which innumerable others may be added, will again lend their aid, and save us much trouble. Mr. A. G. H. goes on to. remark, "This was, in fact, the language used by the Aristoxenians of Ancient Greece towards the mathematicians of the day who would lay down laws for tuning of the lyre. And the Aristoxenians were right, because their antagonists were not in a position to lay down any absolute laws on the subject. They knew nothing of the physical condition of sound, nor of the true relation of the intervals, with the exception of the 4th, 5th, and octave." Now this is really splendid; an open confession, for which I feel extremely obliged; for this, in short, is the truth, the whole truth, and nothing but the truth. Immediately after this, however, we have: "The case is different now. Thanks to modern physical experimenters and mathematicians these relations are now in the clear light of day." For this turn in the evidence, I confess, I was not at all prepared, done, by way of improvement in this matter, is to add the prime 5 to nor can I comprehend it, knowing, as I do, that all the moderns have 1, 2, 3, the only primes admitted by the Greeks into the composition of their musical ratios. It follows, however, that consistently with this statement, "the clear light of day" is an influx proceeding entirely from this solitary candle! Moreover, Mr. H. himself objects to 7 and all the higher primes. I am really obliged to Mr. H. for his efforts to enlighten me on the subject of musical ratios, that is the orthodox ratios, but to save him trouble, I beg to inform him that, somehow or other, I scraped acquaintance with them, without the formality

of an introduction, soon after completing my studies respecting the alphabet. Moreover, many years ago, I wrote a small work entitled "An Essay on Acoustics," built entirely upon the orthodox foundation respecting the ratios of the primative intervals, the truth of which I had not then been led to call in question. But when, some time after, I was induced to experiment upon these matters, instead of deriving pleasure from the so-called perfect ratios, I was disgusted with their effects. Having thus been led to perceive that the assumed orthodox doctrine, in regard to the ratio of intervals is radically false; the arguments by which it is attempted to prop it up, illogical and inconclusive; and its fruits (meaning thereby its real fruits, that is, those which appertain to it, and emanate from it, and not those falsely and cunningly ascribed to it,) most detestable, I set to work with the view to cleanse and purify this Augean stable, and having at length accomplished the task, I wait the opportunity to present the fruit of my labours to the public.

ratio of the major 3rd, represented by the prime 5, x 19 the representative of the minor 3rd=95; but the prime representing the 5th is 3, the octaves to which are 6, 12, 24, 48, 96, &c. As I am not here writing a treatise upon harmony, it is impossible to go into this subject except in a very cursory manner. I may here inform Mr. H. that the foundation of my theory rests upon the inherent and abstract qualities of numbers, as primes, products, &c., and also upon certain laws relating to order, unity, and position. It is therefore in no otherwise connected with the generation of acute or grave harmonics than as it were collaterally; or as effects with effects, but not as cause and effect. Furthermore it is important to observe that in speaking of music as a science, temperament must be entirely put aside, and not even thought of. Science, according to my views, is not a "beautiful scheme of the Almighty architect," but truth within but not above the sphere of nature; which truths, nevertheless, like those of a higher degree, exist by derivation from the Source of all truth, according to the laws of His own order, but not by arbitrary appointment or preconcerted scheme. More over, with respect to Him, simplicity has reference to the unity and subordination of principles, rather than to paucity of materials. It may suit the inventors of artificial systems to rid themselves of all but a few of the lower primes, but it does not thence follow that the higher primes fulfil no part in the divine economy, or that because no one is gifted with the power to invent, that is to create a real system, we are therefore debarred from searching into the mysteries and wonders appertaining to that which, as proceeding from the Creator, is alone real. Being convinced that a quarter of an hour spent in the study of my Ratiometer will do more to disabuse the mind from the quagmires of false principles, than whole volumes of argumentative writings, and especially where matters relating to the ordinary operations of arithmetic are not ignorantly scoffed at, because unknown, or confusedly perceived; if Mr. H. is really in search of truth, and should be coming to London, I shall be happy to exhibit it to him. EXAMPLES FROM MOZART.

As it so happens that what I intended as my concluding article upon this subject is placed next to Mr. Henderson's, what is therein observed will render it unnecessary for me to follow Mr. H. in detail through his long "tangled skein." I shall, therefore, merely observe with respect to logarithms, that however useful as artificial numbers they may be in matters relating to artificial sounds or temperaments, they are of no use whatever when perfect ratios are concerned. And, furthermore, that even in respect to fractions, as in my case the denominator is always the unit (to the simplicity of which I beg to call attention), it follows that in the arithmetical operations relating to my theory, the numerator only is concerned. That on the key-board of the piano the interval of a major and minor 3rd make a 5th is of course true. It is also true that the ratio of the 5th: but in respect to these matters Mr. H., as well as many others, have to be informed that no primary ratio and interval can ever be the product of other primary ratios and intervals, simply because primes are not products. For example, the

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For the edification of the uninitiated, it may be necessary to remark that, according to my theory, the note # in har 2 is considerably sharper than the F# in bar 1, yet without producing any change in the basis or unit-sound. In respect to the bases in the lowest part of bar 2, it is to be observed that the basis G is generated by the notes D, D#; the basis D by the notes D, F#; and the basis B by the notes F# D#. In bar 5 the basis C is generated by the notes G, G#; the basis G by the notes G, B; the basis E by the notes G#, B. In bar 6 the basis Eb is generated by the notes Eb, F; the basis F by the notes F. C; and the basis Ab by the notes C, Eb!

There are, doubtless, some who will call this a strange and curious mode of criticism; and so it is, for being new and unknown, it is therefore not only strange, but somewhat ominous withal: and it is curious from its singular agreement with my theory of musical harmony, and opposition to every other. I am, Sir, yours &c.,

10 King Street, Holborn, W.C., 2nd August, 1859.

D. C. HEWITTY.

THE STAGE; FEMALE PLAYERS; AND TOM D'URFEY.-From the first establishment of the stage till after the Restoration the female characters were played by boys; there may, however, have been some exceptions to the general rule. The Court Beggar was acted at the cockpit in 1632; in the last act Lady Strangelove says, "If you have a

short speech or two, the boy's a pretty actor, and his mother can play her part." Women actors now grew in request. Prynne says, 1663, "They have now their female players in Italy and other foreign parts," and in Michaelmas, 1629, they had French women actors in a play personated at Blackfriars, to which there was a great resort. Pepys says he saw The Beggar's Bush on the 20th of November, 1660, at which time the play was acted entirely by male performers. He was at the same play again on the 3rd of January, 1661, and then, for the first time, he saw women come upon the stage. In Davenant's patent there was a clause to this effect-"Whereas the women's parts in plays have hitherto been acted by men, in the habits of women, at which some have taken offence, we do permit and give leave for the time to come that all women's parts shall be acted by women." Tom D'Urfey was the delight of the most polite companies from the beginning of Charles II.'s reign till 1710, yet, towards the close of his life, he stood in need of assistance to prevent his passing the remainder of it in a cage, like a singing bird, for, after having written more odes than Horace, and about four times as many comedies as Terence, he found himself reduced to great difficulties by the importunities of a set of men, who, of late years, had furnished him with the accommodations of life, and would not be paid with a song; Addison said this in No. 67 of the Guardian, and recommends him to the public notice, observing that he remembered King Charles leaning on Tom D'Urfey's shoulder more than once, and humming over a song with him, and that many an honest gentleman had gotten a reputation in the country by pretending to have been in company with Tom D'Urfey.

RETROSPECT.

Gorgeous with artful lustre Sparkles the fairy scene, Fanciful beings cluster

Round one that seems their queen :
Queen-like she moves alone.

Bounding with airy lightness,
Tripping with nimble grace,
Smiles all content and brightness
Light up her youthful face :
Mortal she seemeth none.

Mortal-Lo now before ye,
On that poor mimic fay,
Quenching her dream of glory,
Death his gaunt hand shall lay :
Ere yet the mask be done.

Paint not that scene of horror,
Shriek not those shrieks again;
Tell only how they bore her,
Racking with martyr's pain,
Home, gentle dying one.

Swiftly some gay bird speeding,
Pinions thus bright expand,
Earthward then falls a bleeding,
'Neath thy relentless hand,"

Hunter with heart of stone.

C. L. K.

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THE LATE MR. GEORGE HAUSMANN.

(From the Edinburgh Daily Courant.)

DEATH has been busy of late among our musicians. It is just a fortnight to-day since we had to deplore the loss of one of the most talented of their number, Mr. Louis Drechsler, and now a similar sad duty devolves on us owing to the sudden decease of Mr. Hausmann. Both of these events have occurred within a year of the death of the lamented Mr. Dürrner, and in the case of all three the anxious question may well arise-who shall supply the place? For many years Mr. Hausmann had been so constantly and so prominently before the Edinburgh public as to cause him to be looked upon as a resident musician, which, indeed, he was during the whole musical season. Knowing with what a sudden and severe shock the announcement of his death has fallen upon a large portion of the inhabitants of this city, we were anxious, before paying our tribute to his memory, to obtain, for the information of our readers, some particulars as to the cause of his death. Owing however, to its having taken place in his native town of Hanover, we have as yet been able to learn nothing further than that his death was sudden and attributable to heart complaint. It had been evident for some months that he was not in robust health, but we believe that so sudden a seizure was quite unexpected.

Mr. Hausmann held a high place among violoncello players, as a proof of which we may refer to his honourable position in Mr. Costa's unrivalled band. As an orchestral player, he displayed a vigour in attack, and a correctness in execution, which few could surpass, and the influence of which imparted steadiness and spirit to the performers around him. As a solo player, it must be admitted that he was less successful, his tone being frequently harsh and his manner somewhat spasmodic, yet he always obtained the welcome of a favourite, and even as a soloist his familiar form and tones will be much missed in our concert-rooms.

Two years ago Mr. Hausmann, with much diffidence, undertook the post of conductor of the Edinburgh Musical Association, and both the executant members and the subscribers will bear us out when we say, that two more successful seasons have seldom, if ever, occurred during its existence. As a conductor, Mr. Hausmann showed a correct and reverential appreciation of the works which were performed, the various degrees of time and shades of expression being most carefully attended to; while in the adjustment of the programmes there was the evidence of a refined and classical taste. This work, carried on with unflagging

energy and zeal, was purely a labour of love, to which, however, the Association responded by cordial assistance at his benefit concerts. At the last of these he appeared in the further capacity of an orchestral composer, and if he did not exhibit any striking originality of invention, he at least showed a creditable knowledge of orchestral effects, and of the uses of the various component instruments. To him, too, belonged the credit of carrying on, what never was done so successfully before, a series of classical chamber concerts, which-in general only appealing to a few select dilettanti-became, under his management, both fashionable and popular.

In private, Mr. Hausmann's loss will be severely felt, for there his obliging nature, amiable disposition, and musical enthusiasm, made him a universal favourite; and by his death many a musical côterie will feel a blank which, while reminding of past enjoyment of his company, will produce a feeling most fitly expressed by the words of our laureate

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A MUSICAL INSTRUMENT.
What was he doing, the great god Pan,
Down in the reeds by the river?
Spreading ruin and scattering ban,
Splashing and paddling with hoofs of a goat,
And breaking the golden lilies afloat
With the dragon-fly on the river?
He tore out a reed, the great god Pan,
From the deep cool bed of the river.
The limpid water turbidly ran,
And the broken lilies a dying lay,
And the dragon-fly had fled away,

Ere he brought it out of the river.
High on the shore sate the great god Pan,
While turbidly flowed the river,

And hacked and hewed as a great god can,
With his hard bleak steel at the patient reed,
Till there was not a sign of a leaf indeed
To prove it fresh from the river.

He cut it short, did the great god Pan,
(How tall it stood in the river!)
Then drew the pith, like the heart of a man,
Steadily from the outside ring,

Then notched the poor dry empty thing
In holes as he sate by the river.

"This is the way," laughed the great god Pan,
(Laughed while he sate by the river!)
"The only way since gods began

To make sweet music they could succeed."
Then dropping his mouth to a hole in the reed,
He blew in power by the river.
Sweet, sweet, sweet, O Pan,

Piercing sweet by the river!
Blinding sweet, O great god Pan!
The sun on the hill forgot to die,
And the lilies revived, and the dragon-fly
Came back to dream on the river.
Yet half a beast is the great god Pan
To laugh, as he sits by the river,
Making a poet out of a man.
The true gods sigh for the cost and pain,-
For the reed that grows nevermore again
As a reed with the reeds in the river.

ELIZABETH BARRETT BROWNING.

HOGARTH AND HIS CARRIAGE.-By " carriage" is meant carriage.-Hogarth was a remarkably "absent man." On setting up his carriage, he paid a visit to the Lord Mayor, and having pro tracted his stay until a heavy shower came on, he was led out by a different door to that by which he entered, and, unmindful of his carriage, he set off on foot, and reached home dripping wet. When Mrs. Hogarth asked him where he had left his carriage, he said he had forgotten it.-Not from the Cornhill Magazine.

HER

Advertisements.

- Notice.-In conseER MAJESTY'S THEATRE. quence of the numerous applications from non-subscribers and the public at the Box-office to witness the performance of Weber's grand romantic Opera of OBERON, with its entirely new and magnificent scenery, its costly appointments and mechanical effects and transformations, splendid dresses, &c., proving it to be one of the most elaborate and georgeous spectacles ever produced in Her Majesty's Theatre, the Lessee and Director has consented, notwithstanding the enormous expense consequent upon its reproduction (as it embraces nearly the whole of the artistes and personnel of the establishment), to give two more grand representations of Oberon on the following dates:-To-night, July 21; and Monday, July 23, for which purpose he has entered into a fresh engagement with Mad. ALBONI, and has recalled by telegraph

Signor MONGINI, who had taken his departure for Italy. This Evening, July 21, will be performed Weber's grand romantic Opera of OBERON, with the following great

cast:-Reiza, Mlle. TITIENS; Fatima, Mad. ALBONI; Puck, Mad. LEMAIRE; Roshana, Mile. VANERI; Oberon, Signor BELART; Babiken, Signor GASSIER; Scherisman, Signor EVERARDI; and Sir Hugo, Signor MONGINI (who has returned from the Continent expressly for the occasion). Conductor: Mr. BENEDICT. Gallery, 2s.; Seats, Half-circle, 2s. 6d.; Gallery Stalls, 5s.; Pit, 3s. 6d.; Seats, Second Circle, 4s.; Seats, First Circle, 5s.; Pitt Stalls, 10s. 6d.; Third Tier Private Boxes, to hold four, 10s. 6d. ditto, Two Pair, £1 s.; ditto, One Pair, 1 11s. 6d. ; Pit Tier, £1 11s. 6d.; Grand Tier, £2 2s. Early application to secure places is earnestly recommended, as being the only means of preventing_disappointment. The Box-office of the Theatre is

Of

a purer worship than has for some time prevailed. Dussek we have lately said enough; but a word or two about Schubert, and especially about Schubert as an instrumental composer, may not be without interest.

The pianoforte writings of Franz Schubert possess much of the romantic character that distinguishes more or less every one of his well-known songs. They are numerous, of all varieties of form, and, though they have achieved a far less degree of popularity than his vocal compositions, are scarcely inferior to them in genius and originality.

We may perhaps shock the prejudices of many in avowing our opinion that Schubert, from a certain point of view, was a somewhat overrated man. That he has "a spark of the divine fire" is not to be questioned. The concession, wrung from the haughty, and occasionally prejudiced, Beethoven, may be accepted as rather an epigrammatic than a strictly just expression of the truth. "A spark of the divine fire" was in Schubert, no doubt-nay, more, a flame. He was, however, neither a universal nor a com

open daily from 10 to 6, and on the Evenings of Performance until the end of the Opera. ER MAJESTY'S THEATRE. TITIENS, ALBONI, HE LEMAIRE, VANERI, BELART, GASSIER, EVERARDI, and MONGINI. This evening, July 21, will be repeated Weber's Grand Romantic Opera, OBERON, with the following cast: Reiza, Mlle. TITIENS; Fatima, Mad. ALBONI; Puck, Mad. LEMAIRE; Roshana, Mile. VANERI; Oberon, Signor BELART Babiken, Signor GASSIER: Schemanding genius; nor was he a musician of very profound risman, Signor EVERARDI; and Sir Hugo, Signor MONGINI (who has returned from the Continent expressly for the occasion). Conductor Mr. BENEDICT. Between the acts

of the Opera, a Ballet Divertissement, in which Mad. FERRARIS and M. CHAPPUY will dance a grand Pas de Deux. The opera will commence at Eight o'clock. Gallery, 26.; Seats, Half-Circle, 2s. 6d.; Gallery Stalls, 5s.; Pit, 3s. 6d.; Seats, Second Circle, 4s; Seats, First Circle, 58.; Pit Stalls, 10s. Gd.; Third Tier Private Boxes, to hold four, 10s. 6d.; ditto, Two Pair, 21 1s.; ditto, One Pair, £1 11s. 6d.; Grand Tier, £2 25. The Box-office of the Theatre is open daily from Ten to Six, and on the Evenings of

Performance until the end of the Opera.

ROYAL ITALIAN OPERA, COVENT GARDEN.

Extra Night.-On Monday next, July 23, will be performed (for the fourth time these five years) Meyerbeer's Grand Opera, LE PR PHETE. Fides, Mlle. CSILLAG; Bertha, Mile. ČORBARI; Count Oberthal, Signor TAGLIAFICO; Zaccaria, M, ZELGER; Giona, Signor NERI-BARALDI; Mathisen, Signor POLONINI; Sergeant, Signor Ross; Peasant, Signor LUCCHESI; Burghers, Signor VAIRO, Signor PATRIOSSI; and Jean of Leyden, Signor TAMBERLIK. The Incidental Divertissement and Skating Scene will be supported by Mlle. ZINA, Mile. ESPER, and M. DESPLACES, and comprise the celebrated Quadrille des Patineurs.

ROYAL ITALIAN OPERA, COVENT GARDEN.

On Tuesday next, July 24, will be performed (for the last time this season) Donizetti's Opera, LUCREZIA BORGIA. Principal characters by Mad. GRISI (her last appearance in that character), Mad. DIDIEE, Signori RONCONI, ZELGER, POLONINI, TAGLIAFICO, LUCCHESI, Rosst, and MARIO. To conclude with LES AMOURS DE DIANE. Extra Night, Thursday next.-Combined_Entertainment.-On Thursday

next, July 26, will be performed the First Act of Beethoven's Opera, FIDELIO. Leonora, Mile. CSILLAG. After which (for the last time this season), Bellina's Opera,

NORMA. Norma, Mad. GRISI (her last appearance in that character).

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acquirement. He belonged to that order of composers and poets, so numerous in Germany, of which Carl Maria von Weber is the most illustrious representative. From peculiarity of intellect and temperament these musicians would probably have reached eminence in any pursuit to which the circumstances of early life and education might have conducted them. Their organisation was not, as in the instances of Handel, Mozart, Beethoven, and the greater composers, so happily attuned to music that it were absurd to deny their being chosen instruments of Heaven to delight the world with melody. Thorough enthusiasts, with quasimorbid natures, they seem ever lamenting their incapacity to set forth in plain and convincing language the thoughts that struggle for utterance within them. The antipodes of common-place, they are, notwithstanding, all more or less in trammels. Such men can hardly fail to meet with ardent Worshippers-natures like their own, yearning for the im possible, disdaining self-evident truths, with minds attuned to their own in sympathetic discord. These proclaim Schubert and the rest the only true prophets, and advocate their pre-eminence over every rival.

What has been denominated the "Romantic School" is clearly traceable to Weber, Schubert, and their imitators and disciples, who in eager quest of a new and more striking language, have unconsciously given circulation to endless mannerisms, upon which the more ordinary sort of music-makers have laid hold to make their own emptiness

THE MUSICAL WORLD may be obtained direct from the Office, 28 Holles Street, by quarterly subscription of Five Shillings, payable in advance; or by order of any Newsvendor. ADVERTISEMENTS are received until Three o'clock on Friday After-pass current. But Schubert must be carefully separated

noon, and must be paid for when delivered.

Terms

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The Musical World.

LONDON: SATURDAY, JULY 21, 1860.

HIS is the age of "revivals." Not to glance at the Operas, where Gluck and Weber are being resuscitated, but to confine ourselves to the pianoforte and instrumental chamber music, simultaneously with a revival of the works of Jean Louis Dussek (more leisurely but as surely) is being effected a revival of the works of Franz Schubert. By means of these "revivals,"-unlike some others of the present day that might be named,-we are returning to

from the impostors who make art subservient to the double-
end of show and traffic. He neither held out wares for sale
in a bazaar, nor exhibited them as a picture-monger, still
less as a polichinello, to the vacant gaze of the illiterate
mob. Schubert was a man of strong convictions, besides
being a man of truly imaginative genius. That he did
not succeed in becoming a thoroughly practised musician
was partly due to an incomplete education, partly to a
stubborn organic deficiency. As painter, poet, or novelist-
anything indeed but arithmetician, mathematician, logician
-Schubert would have attained an equal celebrity, and
have displayed quite as powerful an individuality as dis-
tinguished his career as a musical inventor.
But to leave mere speculation; in various symphonies,
overtures, quartets, &c., Schubert evinced a strong desire
to excel in the sonata form.
Disdaining, however, or fail-
ing to understand entirely its indispensable conditions-

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