DWI G H T'S JOURNAL OF MUSIC, A Paper of Art and Literature. a JOHN S. DWIGHT,,EDITOR. VOLUME XIX BOSTON: 1862. IN D E X. Abdul Aziz, sultan of Turkey.. - as a musician.. 151 274 63 . 268 381 3 57 22 95 ....410 284 Composers, a prize for.. 167 Development of the Musical Faculties (Dr. Marx). 8:3, 90, 109, 113, 121, 132 190 144 93 143 156 63 218, 225, 232, 2+1. .143 194 Exhibition of 1862, (London). .143 342, 331, 366 303 54 283 15 Fifteen years ago-Italian and Gerinan-Verdi..347 38 .359 282 174 33, 41, 50, 123. .3, 11 262 62 Genzinger not Geuzinger (see Haydn).. 262 276 268 ..366 ..93, 96, 166, 167 .... 31 342 373 Handel and Haydn Society, Annual Meeting. 69, 87 6 2 366 333 258 340 285 .221 255 Haydn, Joseph, Twenty six letters to Mad. 21 Genzinger... ..317, 354, 363, 387, 395, 410 .259, 277 Haves, Catherine, death of..181; biograplıy of..197 47 231 266 Hlints to Musical Misses.. 181 .222 80 .407 .16, 151, 389 .359 Improvement in keyboards of pianos, &c... 195 .86, 285, 316, 333 Italian and German-Fifteen years ago-Verdi. .347 151 204 .333 16 13 .44, 391 .372 .186 110 151 Kreissle, Heinrich von, see Schubert. .85, 223 ..86, 231, 253, 319 137 Lesuenr, Biography of. 186 4 413 115, 142 19 Lithophone, The, Nature's Piano.. 63 .117 London, a new Masicai Conservatoire in. 293 291 .301 .141 Lorini, Virginia Whiting.... .47, 96 Philharmonic-Art Union-Jenny Lind 158 239 205 ..107 .236, 245 Mario as a Teacher.. ..115 .341, 397 91 68 44 343 163 397 196 Mendelssohn and his Letters (Edin. Rev.) .389 326 .318, 356, Mendelssohn Quintette Club. 134 Modern Music.. ....340 Bach and Handel.. ..230, 341 315 .256 The study of.. .314, 323 64 .274 219 194 220, 228 194 .389 .265 178 112, 221 .262 46 87 299 95 182 Report on Music in. . 299, 307 .215 ..335 .252, 295 . 135, 180 . 100 ...186 ...270 ....190 26 Cambridge Commencement. 127 163 278 .58, 65, 81, 94 111 12 .340 12 159, 167, 182, 190, 207, 214, 223, 238, 261. 30 235 .364 159 .116 il 125 24 .390 ...171 45, 96 ...323 112 ..100 Mendelssohn's Travelling Letters, 219, 214, 222, 227, Mexico.. 71. 319 Tlie Lark in the ('ity Thomas Tinoil. 185 Milan 281 The Origin of language. (Biackwool). 385 Munich 193 191, 199 The Two Armies, Vanity Fair. 145 257 412 169 War Song. WW, story...... 114 119 127 Practical Answers to l'ractiral Questions... 172 191. 289 164 320, 369 Prime Seventh, the, as an Element in the Musical 77 282 308 320 Public, The Judgment of the 262 10 Puritan's Daughter, Balfe's New Opera,...314, 323 Weimar. 207. 223, 300 . 191, 312, 406 Rameau and Meyerbccr.. 293 .3 Roger's Mode of Singing. 74 91 11 101, 132, 149 .340 173 Rüssia, Music in, (Trovator). 26 164 276 .247 198, 207, 223, 239, 255. New Orleans.. 198 271 63 . 27, 35 Schmitt, Geo. A., Capt.. 127, 263 52 151 101 .98 Schubert, Franz, Mauuscripts of . ..295 117 122 262 .188 .279 Lile and' Labors of, by Mary C. Schubert, Franz, a Biographical Sketch (H. ron Clarke, 346, 355, 371, 380, 404. Kreissle), 281, 290, 298, 306, 313, 321, 331, 339, 346, 355, 370, 402, 411. . 175 340 271 Scribe, Eugene. .36 277 251 14 .142 14 I Puritani.. 14 182 Song, the Essentials of. .47 23 6 389 279, 287 Spohr in London. .287 ....315 Martha... 47, 51,59 ..279 Star Spangled Banner, The.. .37, 39, 46 174 97 105 372 .291 215 .47 45 238 19 99 61 114 381 15 28 184 238 119 261 63 for Christ Church, Cambridge. 382 for Detroit... ..135 121 for Dr. Gannett's Church. ..319 Thooft's Symphony (Charles V.). for Jumaica Plain... . 182 Through the Country of the White Hills.. for Vine street, Roxbury.. 176 for West Church, Boston.. . 206 .55 Organs, a Gossip about. .187 255 Orchestra of the Crystal Palace. ..388 263 Our Music Pages.. .310 271 from Dresden .272 from Vienna.. 280 Paesiello and Cimarosa.. ..125 291 .60, 135 292 his Concert in Portland. 295 Concert in Boston.... 254, 293, 343 Truth about Music and Musicians.. . 208, 212 Paris, The new Grand Opera House at. ..183 Patti, Adelina, in London.. .84, 125 238 ..365 .100 .168 231 .. 160 ..231 Verdi.... . 73, 114, 347 .322 Vespers, Musical Devotions. 182 .390 254 Victory, Commemoration of. .364 Virtuoso, The... 71, 384 .320 Vogler, (Abbé) and his Pupils 94 .368 POETRY: . 201 Wagner and Berlioz - (L. Ehlert). 265 .81 66 . 105 .72 73 Wagner's Flying Dutchman. 296 323 18 .225 242 209 .177 Walewski's (Count), Address at the Conservatoire. 97 185. 89 War Song. W. W. Story.. .114 377 ..55 Washington, Music in.. 116 196 New Picture for the Capitol at. 285 228 Weimar, The World of.. .340 137 61 What makes things Musical.. 113 .270, 320 15 .336, 376 217 168 .1 .107 129 265 25 Zelter, Carl Friederich. .201, 213 ...148 ....143 .360 36 ....45 WHOLE No. 470. BOSTON, SATURDAY, APRIL 6, 18 6 1. 1. VOL. XIX. No. 1. con. For Dwight's Journal of Music. other in the praises of pleasure and love, are of Veron alternated his operas with the most se- an infinite grace and freshness; the Fêtes of the ductive ballets, as La Sylphide, par Mlle. TagliWhen Aeecy cloudlets float about the moon, tournament are of magic splendor; the scene of oni; La Tempête, L'Ile des Pirates and Le DiaWhen dows fall her pure tears - and her sweet the nuns has a terrible and sombre effect; finally ble Boiteur by Mlles. Therese and Fanny Ellbreath the closing trio in which the angel overthrows the sler. The night wind, like some pious Sabbath tune, demon and heavenly voices mingle with sad cries Add to all this, reproductions of the Armida, The passionate heart to peace attempereth, from the realm of darkness is sublime. La Vestale and Don Juan, and a troop perfectly Then in my quiet room I sit, and sing And then such execution ! Nourrit, Levasseur, balanced, and the prodigious success of the opera Such songs as solitude and I love best ; Madames Damoreau and Dorus! and Cornelie at that time is no longer astonishing. Falcon, who, after making the part of Alice her Director Veron was succeeded by Duponchel, Then do I feel that all are sanctified own, became the admirable personification of La under whom we had Meyerbeer's second great To noble ends, and purely should aspire ; Juive! Person, voice, action, dramatic enthu- work, Les Huguenots, Feb. 29, 1836. All, who in song's novitiate here are tried, siasm, that great tragedienne united all the quali- Nothing new can be said upon the bacchic Ero they may join the immortal starry choir. ties so rare, which go to form the consummate spirit of the chorus of the orgies, upon the grace Then thrills of rapture through my being start, lyric artist. What can we say of the orchestra- of that of the bathers, upon the magnificent sepAs though the hand of God had touched my heart. tion of Meyerbeer? What vigor, sonority, pic- tette of the duel scene, upon the celebrated FANNY MALONE RAYMOND. turesque coloring, exactness in the smallest de fourth act, in which the sombre conjuration pre tails! On the other hand, what luxury in the cedes the sublime duet, which will never be surTranslated for Dwight's Journal of Music. decorations, the costume, the stage appointments ! passed upon the stage. What was there wanting Sketches of French Musical History, During the rehearsals of this splendid work, to inspire such artists as Nourrit and Mlle. FalXI. public opinion was utterly unfavorable to it; even OPERA. the actors far from expecting success foresaw but The fifth act finely closes these scenes of war 1830-1860. its fall. Robert le Diable, that sublime manifest- and love. The ball at which Raoul presents The Revolution of July (1830) may be said ation of genius, was regarded as a labored and himself dripping with blood; the scene in the to have taken place to the music of the duet in fantastic conception, with no melodic value, an convent in which the voices of the Huguenots Masaniello, “ Amour sacré de le patrie,” and to opinion which very soon would be justified by the die away by degrees; and the final tableau in the song la Parisienne, which Nourrit sang with public. which Marcel unites the two lovers and the chosuch wonderful expression. After being closed After Rossini and Weber we have had Meyer-ral of Luther, vigorously sung by the three marfifteen days the theatre was opened again, Aug. | beer; after Meyerbeer and Auber we come to tyrs, appals the ferocious assassins; then the mar4, with Auber's la Muette, (Masaniello), a work | Halévy. This master, so profound in his science, vellous stage scene in which the quays of Paris, fitted as if written for the occasion. so elevated in his inspirations, has continued the strewn with the slain, appear in shadow, while The following 13th of October, they gave Le romantic movement of which we have been the massive towers of Notre Dame are relieved Dieu et la Bayadere, another charming work of speaking, and which corresponds to that transfor- in all their jagged outlines against the azure sky Auber, in which Marie Taglioni and Perrot, a mation in literfiture at the head of which Victor all sparkling with stars; nothing could so pictupupil of Vestris, executed prodigies of grace and Hugo bas been proclaimed chiet actor. In the resquely close so bloody and terrible a drama. elegance. works of Halévy, to a great richness of orches-Reports of firearms mingle with the groans of March 1, 1831, Veron succeeded Lubbert in tration are added a great knowledge of the voice the victims; the savage cries of the murderers the direction of the opera, with a brilliant and and a perfect appreciation of prosody and dra- resound from all sides; the curtain falls upon this profitable success. He gave successively Le Phil-matic truth. We know not what to praise most scene of horror at the moment when Queen tre, a new masterpiece of Auber, in a lighter highly in La Juive, the pomp of the introduction, Marguerite reënters her palace, escorted by her style; Robert le Diable (Nov. 21), which produced the solemn Te Deum, the magnificence of the pages and brilliantly lighted by the torches, which a real revolution in the grand dramatic style; Le processions, the energy of the choruses, or the flame about her splendid litter. Serment and Gustave, by Scribe and Auber ; An beauty of single pieces. Can there be anything The production of La Esmeralda, by Mlle. Baba, the last production of the now old Cheru- more pathetic than the sublime second act, in Bertini, and Stradella, by Niedermeyer and the bini; and then La Juive, the masterpiece of bis which the Jewish type is so finely sculptured ! retirement of Adolphe Nourrit from the stage bepupil, Halévy, who may be well called the French What touching simplicity in the scene of the fore the debut of Gilbert Duprez were contemMeyerbeer. Passover. What emotion in the romance “ Il va poraneous. Robert the Devil really is the standard-bearer cedir;” what passion in the final duet and trio ! Duprez had an immense success as Arnold in of the new romantic school. This immense And then how grandly is the character of the William Tell, in Masaniello, Les Huguenots and work, to which all schools, melted together in the Cardinal painted in the majestic air of the first La Juive. His large and noble style of recitacrucible of a patient, learned and eclectic genius, act, the awful anathema of the third, and the tive, the great strength of lung with which he have contributed, will ever remain an imperisha- dramatic duet of the fourth! What can be said gave the high C with the chest voice, filling the ble monument of the second transformation of of the air of Eleazar, “ Rachel, quand du Seign- theatre with the tone, bis neat and sonorous decthe art in the 19th century. The first was the eur,” the text of which is by Nourrit, and in lamation, and his true and expressive method work of Rossini. which palpitate all the sentiments of tenderness, very soon gained him the suffrages of all. UnThe middle ages and chivalry, happily substi- love and religion which a paternal heart can con- luckily, imitators, who had neither bis genius or tuted for the thoroughly used up old clothes of tain. Is there not something in that funeral his physical powers, in their endeavors to copy the Greeks and Romans, the eternal contest of march of the penitents in the fifth act, which him, very soon gave us cries in the place of singRight and Wrong, so admirably personified in causes one to shiver with a sort of alarm and ing and loudness instead of expression. This the parts of Alice and Bertram, give to this mar- terror ? That supplication of the young and tendency to a false taste ruled alike in the provvellous poem all the attractions of a legend based beautiful Rachel, the sad decorations, the short inces and in Paris, and the true vocal art would upon the principle of Christianity. The fugued notes of the executioner to the “ Il est temps !” soon have disappeared among us but for the comintroduction which precedes the rising of the cur- all combine to make this work one of the most bined efforts of Bordogni, Banderali, Ponchard tain is at once learned and melodious; the cho touching exhibitions which can be offered to the and Garcia. ruses of the Norman nobles, who emulate each | sensibilities of an audience. After the appearance of Madame Stolz in |
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