12. .. Literature. Phenomenon. Season, The... MUSIC in Vol. XIX. No. 1. The Hymn of Praise (Lobgesang) Mendelssohn, con- tinued. 2-3. Opera of Martha, for Pianoforte, continued. 4. Chopin's Waltzes, op. 64, No. 3. 5. Martha continued. 6-9. Hymn of Praise, continued. 10-18. Martha, continued. 19-26. Hymn of Praise, continued. MUSIC in Vol. XX. No 1. Hymn of Praise, continued. 2-7. Martha, continued. 8. Martha, (Title page and Argument). 9-11. Hymn of Praise, continued. 13-18. Chopin's Mazurkas 19-26. The Messiah, (Handel) continued. ..28 Organ Concert, Mr. Whiting. 15 184 .238 for Buffalo.. .300 Tannhäuser at the Stadt Theatre.. 119 261 Organ for Chicago,. 111 Tannhäuser in Paris.. 63 148 for Christ Church, Cambridge. Opera Hunting in Germany. Trenkle, Mr. J., Letter from. 291 .292 .295 84, 125 .143, 303 at Berlin.... ...365 168 Patriotic Piccolomini. ...231 ..160 Berlin, 40, 88, 104. 160. 168, 191, 215, 239, 288, 303, 311, 320. Paying the Piper... .231 327, 352, 368, 391, 406. Philadelphia Continental Theatre, Fire at. 199 Phillips, Adelaide... 182 Vespers, Musical Devotions. 322 Victory, Commemoration of.. 390 Brunswick. Brussels... Virtuoso, The.... .364 Piano Thrumming.. 94 Vogler, (Abbé) and his Pupils 36 POETRY: Dresden. .168, 272, 304, 320 A Day in June. J. R. Lowell... 81 Dublin. Wagner, (Audi alteram partem). 66 England. Florence. Frankfort. Gotha.. Haarlem. Hamburg. Hanover. Wagner's Flying Dutchman.. 72 Cavalry Song. C. G. Leland.. .153 Wagner, Johanna... 323 239, 320 Chimes. Arlington Street Church. (Transcript. .313 Wagner's Music of the Future Reviewed. 18 225 Walewski's (Count), Address at the Conservatoire. Патапа. 320, 335, 406 185. Lotos-Land. Rose Terry. 89 Hereford. Ivres. Washington, Music in.. .55 .196 New Picture for the Capitol at. 285 Leipsic, 112, 288, 295. 301, 311, 320, 343. 351, 360, 384, 405. Our Country. O. W. Holmes.. 228 Weimar, The World of.. .45 Our Country's Call. W. C. Bryant. London. 12. 24, 47, 61, 71, 80, 88 103, 119, 127, 191, 215, 269, Our River. John G. Whittier.. 137 Madrid... Manchester. 270, 320 Prologue. Belmont Theatrical Company). 380 217 Sonnet. Fanny Malone Raymond.. Mayence... .288, 303, 360 Melbourne.. 207 The Flower of Liberty. O. W. Holmes.. 265 Theodore Tilton.... .25 WHOLE NO. 470. BOSTON, SATURDAY, APRIL 6, 1861. The night wind, like some pious Sabbath tune, To noble ends, and purely should aspire; Translated for Dwight's Journal of Music. Sketches of French Musical History. 1830-1860. The Revolution of July (1830) may be said to have taken place to the music of the duet in Masaniello, “Amour sacré de le patrie," and to the song la Parisienne, which Nourrit sang with such wonderful expression. After being closed fifteen days the theatre was opened again, Aug. 4, with Auber's la Muette, (Masaniello), a work fitted as if written for the occasion. The following 13th of October, they gave Le Dieu et la Bayadere, another charming work of Auber, in which Marie Taglioni and Perrot, a pupil of Vestris, executed prodigies of grace and elegance. other in the praises of pleasure and love, are of And then such execution! Nourrit, Levasseur, After Rossini and Weber we have had Meyerbeer; after Meyerbeer and Auber we come to Halévy. This master, so profound in his science, so elevated in his inspirations, has continued the romantic movement of which we have been speaking, and which corresponds to that transformation in literature at the head of which Victor Hugo has been proclaimed chief actor. In the works of Halévy, to a great richness of orchesMarch 1, 1831, Veron succeeded Lubbert in tration are added a great knowledge of the voice the direction of the opera, with a brilliant and and a perfect appreciation of prosody and draprofitable success. He gave successively Le Phil-matic truth. We know not what to praise most tre, a new masterpiece of Auber, in a lighter style; Robert le Diable (Nov. 21), which produced a real revolution in the grand dramatic style; Le Serment and Gustave, by Scribe and Auber; Al Baba, the last production of the now old Cherubini; and then La Juive, the masterpiece of his pupil, Halévy, who may be well called the French Meyerbeer. Robert the Devil really is the standard-bearer of the new romantic school. This immense work, to which all schools, melted together in the crucible of a patient, learned and eclectic genius, have contributed, will ever remain an imperishable monument of the second transformation of the art in the 19th century. The first was the work of Rossini. The middle ages and chivalry, happily substituted for the thoroughly used up old clothes of the Greeks and Romans, the eternal contest of Right and Wrong, so admirably personified in the parts of Alice and Bertram, give to this marvellous poem all the attractions of a legend based upon the principle of Christianity. The fugued introduction which precedes the rising of the curtain is at once learned and melodious; the choruses of the Norman nobles, who emulate each highly in La Juive, the pomp of the introduction, VOL. XIX. No. 1. Veron alternated his operas with the most seductive ballets, as La Sylphide, par Mlle. Taglioni; La Tempête, L'Ile des Pirates and Le Diable Boiteux by Mlles. Therese and Fanny Ellsler. Add to all this, reproductions of the Armida, La Vestale and Don Juan, and a troop perfectly balanced, and the prodigious success of the opera at that time is no longer astonishing. Director Veron was succeeded by Duponchel, under whom we had Meyerbeer's second great work, Les Huguenots, Feb. 29, 1836. Nothing new can be said upon the bacchic spirit of the chorus of the orgies, upon the grace of that of the bathers, upon the magnificent septette of the duel scene, upon the celebrated fourth act, in which the sombre conjuration precedes the sublime duet, which will never be surpassed upon the stage. What was there wanting to inspire such artists as Nourrit and Mlle. Fal con. The fifth act finely closes these scenes of war and love. The ball at which Raoul presents himself dripping with blood; the scene in the convent in which the voices of the Huguenots die away by degrees; and the final tableau in which Marcel unites the two lovers and the choral of Luther, vigorously sung by the three martyrs, appals the ferocious assassins; then the marvellous stage scene in which the quays of Paris, strewn with the slain, appear in shadow, while the massive towers of Notre Dame are relieved in all their jagged outlines against the azure sky all sparkling with stars; nothing could so picturesquely close so bloody and terrible a drama. Reports of firearms mingle with the groans of the victims; the savage cries of the murderers resound from all sides; the curtain falls upon this scene of horror at the moment when Queen Marguerite reënters her palace, escorted by her pages and brilliantly lighted by the torches, which flame about her splendid litter. The production of La Esmeralda, by Mlle. Bertini, and Stradella, by Niedermeyer and the retirement of Adolphe Nourrit from the stage before the debut of Gilbert Duprez were contem poraneous. Duprez had an immense success as Arnold in William Tell, in Masaniello, Les Huguenots and La Juive. His large and noble style of recitative, the great strength of lung with which he gave the high C with the chest voice, filling the theatre with the tone, his neat and sonorous declamation, and his true and expressive method very soon gained him the suffrages of all. Unluckily, imitators, who had neither his genius or his physical powers, in their endeavors to copy him, very soon gave us cries in the place of singing and loudness instead of expression. This tendency to a false taste ruled alike in the provinces and in Paris, and the true vocal art would soon have disappeared among us but for the combined efforts of Bordogni, Banderali, Ponchard and Garcia. After the appearance of Madame Stolz in |