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of the seven some may be found serviceable. Two
new dancers are announced-Mdlles. Helena and
Laura Reuters, besides the clever Mdlle. Girod. Mr.
Carrodus retains his post as principal violin in the
orchestra, Mr. Betjemann that of leader of the bal-
let, and Mr. Pittman that of organist; the leading
"scenic artists" being Messrs. Dayes and Caney.
In these respects no improvement could be desired.
That old public favorite, Signor Tagliafico, by the
way, instead of figuring, as for years gone by, as
stage vocalist, is now appointed stage manager. We
have nothing to add, except that Mr. Gye's pros-
pectus invites all the more confidence inasmuch as
he announces simply what it is his intention to do,
without comment of his own, discreetly leaving that |
task to the public,

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title of Sainte Claire. The original libretto, by Mad. announce no fewer than eight selections, of more or Birch Pfeiffer, is founded upon a Russian legend. less importance, from the works of Richard Wag The Czarewitch, Alexis, son of Peter the Great, be. ner. These include the "Walkyrie Ride," the "Fuing impressed with an idea that his wife, the Prinneral March," and the "Liebeslied " (Die Walküre), cess Charlotte, of Austria, is implicated in a conspi- | from the Nibelungen Ring; the Prelude of Die racy against him, administers to her, at supper, Meistersinger, the "Philadelphia March," the "Hulwhat he imagines to be a poisoned beverage. This digungs March,” and the Overtures to The Flying dose, however, is not poison, but merely a narcotic, Dutchman and Rienzi. It is, perhaps, unfortunate supplied by a friendly doctor, who has deceived the that the performances of these works will take Czarewitch; and, just as her guilty husband, at the place almost simultaneously with the rendering of funeral State ceremony, is about to place a coronal them, under the composer's direction, in the Albert of white roses on her brow, the Princess mechani- | Hall; but none the less do the joint conductors decally raises her hand, as if in menace. The appalled serve praise for the spirit which prompts them to Alexis, persuaded that it is an avenging spirit, falls afford another opportunity of becoming familiar senseless to the ground. When prayers for the dewith works so much in dispute. Many of us may parted have been offered up, and the mournful train think that Wagner's music does not present the best is out of sight and hearing, the Princess returns to model upon which to shape public taste, but, even consciousness, the same friendly doctor, the last to so, nothing is gained—rather, much may be lost→→→ remain, conveying her, in disguise, from the Palace MR. MAPLESON'S PROGRAMME. After some hesita. by discouraging its performance. The bad in it to a shelter beyond reach of discovery. The Prin- tion as to where Mr. Mapleson should find a tempo- can only have temporary vitality, and, for fear of cess ultimately seeks refuge at Naples, where, byrary home for his performances this season, the new the evanescent bad, we should not lose the abiding her virtues and good deeds, she obtains so high a house in the Haymarket has been fixed upon, and good. But the conductors extend their researches reputation for sanctity that the people call her Her Majesty's Opera" is once again to be located into contemporary art far beyond Richard Wagner's Santa Chiara." To Naples, moreover, by a cu- in Her Majesty's Theatre. The prospertus, already limited region. They offer the Ocean Symphony of rions coincidence," the Czarewitch, in disgrace with issued, informs us that the season will be a short Rubinstein-in itself enough, if well performed, to his Imperial sire, also repairs for safety-followed, one-of thirty nights, and that the house will open leave a mark upon the season, We are led to exas it may be surmised, by two officers of the Czar, on the 28th inst. Without preliminary flourish the pect, further, the Ländliche Hochzeit Symphony of with orders to arrest him for high treason. Alexis same official document comes directly to the point, Goldmark, for the first time in England, and Dr. is confronted in the streets of Naples, close by the on the strength of a list of singers with whom "en. Ferdinand Hiller's Dramatic Symphony." Herr religious house to which Santa Chiara has givengagements have been entered into." From the de- Raff contributes his Ode au Printemps, for piano and her name. Armed with sword and dagger, the partment of first ladies it suffices to single out orchestra, and a song, for voice and orchestra, Czarewitch is apparently bent upon some dark pur. Malle. Tietjens, Mesdames Trebelli-Bet ini and Traumkö ig und sein Lieb." From Lachner the pose. On being summoned to surrender by one of Christine Nilsson, at once to enlist attention. To conductors have taken an example of the Ossian's the officers charged with his arrest, he prepares to the names of these distinguished artists are added Gesänge; from Schubert, a "March Heroique,” in defend himself; but no sooner are swords crossed those of two others unknown to London-the first A minor; from Liszt, a dramatic scene, "Jeanne than a figure clad in white appears before him, ut- being Mille. Carolina Salla, a young dramatic so- d'Arc au bucher," and from Sir Julius Benedict, his tering, in sepulchral tones, the words, "Thou must prano, now performing in Paris, at the Theatre Lyr- admirable Overture to The Tempest. We may leave die, Alexis!" Filled with horror at the accents of ique, the other a Mille. Mathilde Nandori, of whom these selections to speak for themselves in the hear. a voice which he recognizes aa that of the wife he we are unable to give any account. Few will re. ing of all curious about contemporary musical believes to have murdered, Alexis staggers back, gret to welcome back so practised an artist as Mdlle. thought, and also of those who are fond of reproachovercome, and stabs himself with his dagger. The Varesi, or an aspirant so young, attractive, and ing English concert-givers with,ultra conservatism. sequel need not be told. The foregoing is but n promising as Mdlle. Mila Rodani, both of whom, in Messrs. Wylde and Ganz, however, do not propose skeleton of the plot, which has other characters and addition to Malle, Valleria, are announced. Among neglecting the masters who hold strictly classical incidents to diversify it. The chief of the officers the tenors who have yet to win their spurs in Eng rank. Symphonies and concertos by the greatest despatched by the Czar to arrest his son, for in- land we observe Signor Gayarre, which, consider-composers will be presented, and, as the orchestra stance, is in love with the Princess Carlotte, whoming that he played the hero of La Favorita on Sat is numerous and efficient, there is no reason why he met at Vienna before she became the wife of the the performances should not be attractive to amaCzarewitch, but to whom he has never spoken. teurs whose admiration of modern music is small. This, of course, supplies what, time ont of mind, has Daily Telegraph. been looked upon as super-essential to opera. On the whole, the drama is interesting, and the music, we have reason to believe, superior to that of Casilda, its precursor from the same pen. About the Nero of M. Rubinstein, which is to be produced next season at the Théâtre Ventadour, it will be time enough to speak when it appears. That it will speak for itself, trumpet-tongued, may be taken for granted by those acquainted with the antecedents of the composer of the Maccahées, We may add that "three at least" (why not four at once?) of the foregoing operas are to be presented.

urday and Tuesday evenings at the Royal Italian Opera, and is to play in the Huguenots to-night, requires an explanation which will best come from Signor Gayarre himself. Two other tenors are named, of whom we have never heard till now; while a third, Signor Carrion, is, if we are not mistaken, a son of the at one period highly-esteemed Italian vocalist who bore the same name." That the services of Signors Fancelli and Rinaldini are again secured will surprise no one; while the engagement of the veteran Tamberlik may surprise many, though none, we believe, disagreeably. Tamberlik was last here in 1869, during the period of “coalition" between Messrs. Gve and Mapleson. A strong array of baritones and basses completes the catalogue, A mere glance at Mr. Gye's engagements for the the names of Signors Rota, Del Puente, Galassi, season will suffice. The orchestra and chorus are Medini, and, last, not least, M. Faure, being conas heretofore, Signors Vianesi and Bevignani again spicuous among them. Nothing is said bearing ref sharing the conductorship between them. The list erence to orchestra and cho ns, except that M. of prima-donnas comprises the names of Madame Sainton is to be leading violin, Mr. Smithson choAdelina Patti, Mdlles. Albani and Zaré Thalberg, rus-master, and Sir Michael Costa "director of the besides those of Mdlles Bianchi, Marimon, D'Angeri, music and conductor." With regard to the reperand other favorites. Mdlle. Scalchi is once more tory, besi les selecting from twenty-five operas al. chief contralto; M. Capoul, Signors Nicolini, Mari- ready familiar to the company, it is intended to add ni, and Carpi, etc., are among the tenors: M. Man-Gluck's Armida (adapted by Salvatore Marchesi,) rel, Signors Graziani and Cotogni head the baritones, in order to allow Mdlle. Tietjens an opportunity of Signors Bagagiolo, Capponi, and Ciampi the basses. assuming the character of Tasso's and Quinault's This would already form a highly-efficient company. seductive enchantress. Rossini's Otello is to be reThe names of several artis a, as yet unknown to our vived for Nilsson, Faure, and Tamberlik; Cherubipublic, however, are added. Among these we find ni's Medea for Tietjens, and what will perhaps extwo tenors-Signors Gayarre and Tamagno-both cite more interest than anything else. Wagner's enjoying a certain Continental repute. The diffi Ollandese Dannato (Flying Dutchman), with Christine culty that prevented Signor Gayarre from coming Nilsson as Senta and Faure as Van der Decken. If to London, in consequence, if we may credit pro all these pledges are fulfilled there will be little to tests, of his having pledged himself both to Covent complain of. To musicians and connoisseurs the Garden and Drury Lane, would seem to be sur largest amount of interest is likely to attach to mounted; although we again see his name an- Gluck's Armida, first produced in Paris close upon nounced in the prospectus just advertised by Mr. a century ago (September, 1777 at the Academie Mapleson, for the forthcoming season at Her Majes. Royale de Musique).—Musical World. ty's Theatre. Signor Tamagno's appearance this year depending upon the results of an appeal to a superior Conrt, against a verdict recorded in favor of the Covent Garden director, Mr. Gye shows good faith in warning subscribers that the advent of that gentleman "cannot" for the present "be relied on.” As we know nothing about the new singers announced, we merely cite their names:-Madame Ricci, Mdlles. Avigliana, Eva de Synnerberg (her first appearance on the stage), Sonnino, Dotti, De Riti, Emma Sarda, and Signor Caracciolo-six lad ies and one gentleman. It is to be hoped that out

Music in London.

NEW PHILHARMONIC PROSPECTUS. The prospectus of the twenty-sixth season of these concerts is a remarkable document, looked upon as indicative of contemporary public taste. That we may so regard it few will deny, since entrepreneurs may always be trusted to give heed to the fashion of the moment rather than to ignore the commercial interests which cannot be kept out of even the regions of art. It is significant, therefore, that Dr. Wylde and Mr. Ganz

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THE BACH ( HOIR. Nothing in connection with the present musical season gave more satisfaction than an announcernent that the choir raised and trained last year by Mr. Otto Goldschmidt for the performance of Bach's Mass in B minor had constituted itself a permanent body. This result was hoped for as soon as it became evident that Mr. Goldschmidt commanded resources exceptional not only in point of efficiency but as regards social position and influence. We should be the last to entertain an idea that art is patronized, in the sense of having favor conferred upon it, when amateurs, no matter how "distinguished," come out of their retirement to lend it a helping hand. The honor is rather the other way; nevertheless, work done pub. licly for the cause of music by such a choir as that now named after the great Cantor, possesses a value beyond the common. Its tendency is to establish a precedent for making available the large store of musical skill acquired by higher and more cultivated classes of society. Time was when the sugges tion that a lady or gentleman might take part in a public choral performance without loss of dignity would have been scouted as absurd, and even now it would hardly command universal assent. Bach Choir, which includes in its ranks amateurs of the hignest position, is a protest in favor of a better order of things, and every well-wisher to music hopes that the day may soon come when many such associations will exist, not for commercial purposes, but simply for the devotion to artistic progress of the culture and leisure which wealth is able to command. At present we have reason to believe the choir is strengthened, for public appearances, by the members of several professional bodies. This, however, can only be intended as a temporary Arrangement pending the accession of the right sort of, amateurs in sufficient force. For the purpose in view homogeneity should be sought, so that the whole may be animated by the same spirit and capable of making the same sacrifices. The prospectus of the choir for the present season is modest in point of quantity of work. But the bane of English musical enterprises often is that we attempt too much. Either our notion of what constitutes an adequate performance is low, or we over


estimate our powers of preparation. In any case the result is the same, and, though a good deal is done, little is accomplished, as well as it might be. The Bach Choir will not, this year, at all events, commit so serious a mistake. It gave us. on Wed nesday last, at St. James's Hall, a repetition of the B minor Mass, and on Wednesday next it will perform a selection including Bach's cantata, Ein' feste Burg; an anthem, in eight parts, by Sterndale Bennett; the "Sanctus," from Palestrina's Missa Papa Marcelli; and Gade's cantata, Comala. The Mass was rendered, its difficulties considered, in most commendable style, while there is every reason to believe that equal justice will be done to the

remainder of the programme. On all accounts,

therefore, the career of the Bach Choir as an estab. lished association opens well and with promise.

As the Mass in B minor received a large share of attention when produced twelve months ago, there is no need again to enter upon descriptive or critiical details. But we must once more admire the union of patience and enthusiasm which enabled Mr. Goldschmidt and his amateurs to acquire such a mastery over its very great difficulties. The long and intricate choruses-many interesting only to the trained musical mind-were sung with the ease of perfect knowledge and a verve which showed that the performers adequately appreciated their character. Under the circumstances these results implied a good deal of hard work, only possible of accomplishment by rare ability and earnestness. The band, led by Herr Straus, emulated the merit of the chorus; and an admirable quartet of soloists was found in Mdme. Lemmens-Sherrington, Mdme. Patey, Mr. Cummings, and Signor Foli. With regard to these artists, and looking at the excellence of their performance, too much cannot be said by way of praise; for, truth to tell, Bach's airs and duets are not only difficult, but terribly wearisome, uninteresting, and ineffective.[?] The connection of music and words is, strictly speaking, no connection at all; and the singer does little more than use his voice as one instrument among several engaged in the display of ingenious polyphonic exercises. His task is therefore a thankless one; but the artists of whom we now speak labored, painfully perhaps, yet with a zeal and success calling for warm acknowl edgment. Herr Goldschmidt conducted in his usual able manner, though his tempo sometimes erred, as it appeared to us, by being too slow.-T. E. -Musical World.

Musical Correspondence.

CHICAGO, APR. 19.-For the sake of removing any misapprehension that might exist in the minds of those unacquainted with the situation here, I desire to advert to the article copied from the Chicago Musical Review in regard to Essipoff and Rivé. The article itself (in so far as it says anything) is well enough, but it opene by saying that "some of the critics" in Chicago have said so and so, and that this "may have been their honest opinion." I rise here in regard to the " some," though whether I myself am in it or not I really don't know. We have in Chicago four morning papers that give musical criticisms: the Tribune, Times, Inter-Ocean, and Staats-Zeitung. The critic of the first I have already spoken of, Mr. Upton, an elegant writer and an experieneed, honest and able critic. He has been the responsible critic of the Tribune for I believe about eighteen years. nounced in favor of Miss Rivé as a great artist before anybody else did here. The musical and dramatic editor of the Times is Mr. W. D. Eaton, at one time managing editor of the Inter-Ocean. Mr. Eaton is an experienced writer and a high-minded man, incapable of “turning in ” opinions he did not believe. The Times has lately paid more attention to music than formerly, and in my opinion generally hits it pretty square. Both these papers have a large circulation of from thirty to sixty thousand copies a day. The Inter-Ocean is a newer paper. It has sunk several fortunes, and the "situation is still open." Its circulation is not great enough to seriously embarrass the paper makers; and in

consequence of its limited resources it goes some.
what slowly. It was started as an 'administra-
tion organ" at a time when the Tribune fell from
grace. The musical critic of the Inter-Ocean is Mr.
Geo. B. Armstrong, an excellent young gentleman
who a year or so ago was reporter in another de
partment of the paper. Mr. Armstrong is honest
and well-meaning, but for some reason hatches out
some rather unexpected ideas. When Sherwood

was here he pronounced him a "mere pounder,"
without any musical feeling whatever. This was in
amuting contrast with the Times and Tribune, both
of which recognized in him a superior pianist espec-
ially notable for the musical quality of his playing.
Miss Amy Fay got much better notices in the Inter-
Ocean than Sherwood. The Staats Zeitung is a
widely circulated German paper. Its musical crit-
ic seems to be a thoroughly well informed man.
Now the long and short of it is that there were on
one side three critics; on the other side one, and
he by all odds the least experienced of the lot, and
not a musician himself. Yet here he comes in the
Chicago Musical Review saying that "some of the
critics say so and so." Decidedly I should say that
some do say so.
And there is 44 some

to it.
I have not strung this out merely for the moral
in this instance, but to give you an idea of the
standing of these papers; for when one gets a thou
sand miles from home, such is the journalistic abili-
ty to conceal ignorance, it is difficult sometimes to
determine whether a paper represents knowledge

or not.

There has been a great deal of music here. Mr. Eddy's organ recitals continue. The programmes are great and splendidly played. For instance, the sixth, seventh and eighth :

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To give an idea of what is doing here in the Mr. Upton pro-way of organ study I may mention that one of Mr. Eddy's pupils, Miss Carrie Kingman, has played in public here successfully no less a work than Thiele's "Concert-satz in C minor," and next Wednesday at the pupils' matinée of the Hershey School will play Thiele's "Chromatic Fantasia and Fugue." Mr. Peter Lutkin, another pupil, plays next Wednesday the whole of Mendelssohn's "Second Sonata." Lutkin has been guilty before now of bringing the whole of a great prelude and fugue of Bach's, and playing it by heart for a single lesson. He is a young gentleman about sixteen I suppose, and has been organist at the Cathedral (P. E.) here for some years.

Mr. Adolph Liesegang, whose Philharmonic Society came to grief,-in short, died, after only one concert. Were it in point I would propose that on its tombstone be printed the child's epitaph copied from an old stone:

"If I so soon was done for,

Pray what was I begun for?"

The first soirée of the Quartette Society was giv. quartet in G, and Schumann's (pianoforte) quintet, en at Hershey Hall, April 2, and brought a Mozart besides some rubbish. The second came last Monday night and the programme as played was this:

1. Quartet in G minor (piano)..
2. Song "The Requital,"
Miss Curtis.

Mozart .Blumenthal


3. Violoncello Solo: "Souvenir de Spa,".... Servais Mr. Liesegang. 4. Organ Sonata in D... Mr. Creswold. 5. Aria-" Pietà, pietà," Miss Curtis. 6. Quartet in F (No. 1)..... The Mozart quartet was beautifully played, Mme. Kloss taking the piano part. The Beethoven quartet also went well. These gentlemen have the technical ability and the taste to do the work they are undertaking, and I hope they will stick to it. Their names are Dr. Jordan, Mr. Baethge, Mr. Heman Allen, and A. Liesegang.

I was very glad that your Oberlin correspondent gave the Mendelssohn Quintette a rub for their trashy programmes. They played a matinée in Hershey Hall to a very small audience, which was small only because the programme opened with the "Overture to William Tell" (" in words of one syllable" the Times said) and followed all the way through in that key, except two movements from a Haydn quartet. I am very glad the time has gone by in Chicago when such a programme will draw. Mr. Eddy's sixth organ recital in the same hall two hours before had a larger audience. You can see how far that was drawn by a "popular programme.” I am sorry to see this useful organization falling behind in this way. The Times remembered when they played a matinée here six years ago with three entire quartets,-which was the other extreme. Meanwhile, I am


NEW YORK.-(Concluded from Page 16.) On Tuesday evening Apr. 10, Mr. Emil Liebling, the young pianist from Chicago, whose name is already known to the readers of this Journal, gave a concert at Steinway Hall. Mr. Liebling played to a large audience and his performance was received with favor. His first piece was Bach's Fantasia and Fugue in G minor, ar. ranged by F. Liszt. This we came too late to hear. His next selections were: a. In der Nacht; b. Ende vom Lied, R. Schumann; c. Etude en Octaves, Th. Kullak. But. sequently he played three Chopin numbers: a. Etude, C minor; b. Prelude, D flat; c. Scherzo, Op. 39, C sharp minor. His closing selections were: a. Soirées de Vienne, and b. Polonaise Heroique, E major, F. Liszt.

Mr. Liebling has studied to good purpose, and impressed us as as being an earnest and conscientious artist. His technique is excellent, and in left hand passages particularly firm and even; and his performance was free from mannerism. His powers of execution were best displayed in the Study in Octaves, and in the Liszt pieces. In ideality, which is not a power but an inspiration, he seemed deficient and therefore there was something lacking to the full enjoyment of the Schu mann and the Chopin music, although the playing was above the average degree of excellence. To be able to tion of merit in any pianist, and Mr. Liebling's debut here interest a large audience with such music is an indica was certainly successful. The other artists who appeared at this concert were as follows: Mies Anna Drasdil, who sang the "Gebet" of Ferd. Hiller and Schumann's "Aufenthalt; Sig. G. Tagliapietra, who sang meaux by Faure and his own "Dream of Love;" and Mr. Otto Soldan, a young violinist, who played "La Melancholie" by F. Prume and an Elegie of his own composition. A. A. C.

"Les Ra

NEWPORT, R. I., APRIL 20, 1877.-Lest readers of the Journal should think that the cultivation of good music There is a new quartette society formed here by is utterly neglected in Rhode Island, I send enclosed the

programmes of a series of “Two Classical Subscription Matinées" given in Barney's Hall, Providence, on Fri

day afternoons March 2d and April 13th by Mr. Robert Bonner of that city, with the assistance of his pupil, Mr. J. H. Mason of Providence, and of Messrs. J. C. Mullaly

and Wulf Fries of Boston.

First Matinée.

1. Trio for Piano, Violin and 'Cello, Op. 99, in
B flat....

Allegro moderato-Andante un poco
mosso-Scherzo, Allegro-Rondo,
Allegro vivace.

2. Sonate for Piano and 'Cello, Op. 58, in D,
Allegro assai vivace-Allegretto scherzan-
do-Adagio, Molto allegro e vivace.
3. Sonate for Piano and Violin, Op. 13, in G,
.Ed. Grieg
Lento doloroso, Allegro vivace—Allegret-
to tranquillo-Allegretto animato.
4. Trio for Piano. Violin and 'Cello, Op. 8, in G
minor, (first time).....
. Chopin
Allegro con fuoco-Scherzo, con moto ma
non troppo-Adagio-Finale, Allegretto.
Second Matinée.

1. Trio for Piano, Violin and 'Cello, Op. 63, in
D minor..

Mit Energie und Leidenschaft-Scherzo,
lebhaft, doch nicht zu rasch-Langsam
mit inniger Empfindung-Mit Feuer.
2. Sonate for Piano and 'Cello, Op. 18 in D.


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The writer was unavoidably absent from the first concert. The second was from an artistic point of view very successful. Mr. Mason, a talented young pianist, deserves great credit for his fine performance of the piano parts in the Schumann Trio and the Hauptmann Sonata. The Trio is a great work and thoroughly characteristic of its author in its complicated and restless rhythms, especially in the first and third movements. But these and other difficulties of the work were mastered by the performers, and as a whole, it went finely.


ent Festival, for the reason that this, like nearly all the choral works of Bach and Handel, required that the instrumental accompaniments, for the most part only sketched or hinted in the original scores, should be wrought out and completed in the same manner that Robert Franz has done it for the Passion-music, and he has performed this service as yet only for Parts I and II.

hearsals of chorus, orchestra and soloists will begin
to-night; and there is every prospect of a grand
A fine list of principal singers is an-
nounced, and, for the first time, they are all Ameri.
cans. For Sopranos, Miss CLARA LOUISE KELLOGG
and Miss EMMA C. THURSBY; Contraltos, Miss AN-
NIE LOUISE CARY and Miss Mathilde PhillipPS;
Tenors, Mr. CHARLES R. ADAMS (who has long held
a high position in the Imperial Opera at Vienna, PART I. As in the Passion-music, the connecting
and who will be welcomed back with some enthusi-
narrative (from Luke ii, 1–7) is consigned to a ten-
asm to the scene of his old triumphs) and Mr. WM. or voice, in recitative, in the character of Evange
J. WINCH; Basses, our two stalwart Handelian list. It opens in a most jubilant and joyful prelude,
men of war," Messrs. J. F. WINCH and M. W.-first with drums, which wake to life the trumpets,
WHITNEY. The chorus will have 600 voices, ther-flutes, oboes, bassoon, strings, organ, etc., leading
oughly drilled by CARL ZERRAHN, and at the Great in the inspiring chorus,
66 Jauchzet! frohlocket!"
Organ will sit as usual Mr. B. J. LANG. There will (“Christians, be joyful!"). Then the narrative be-
be six concerts as follows!
gins (tenor recitative): "Now it came to pass," etc.,
-six verses. This affords a theme for sweet medi-
tation expressed in the alto recitative and aria:
"Prepare thyself, Zion, .. haste with ar-
dor the Bridegroom to welcome," etc.,-a chaste,
naïve, simple melody, (allegretto, 3-8, in A minor),
full of virgin piety and tenderness, growing in fer-
vor to the end.


Wednesday Evening, May. 16.
Mendelssohn's Oratorio " Elijah."

Thursday Afternoon, May 17.
Psalm 18th."The Spacious Firmament,"...Marcello
"Noël"-Christmas Cantata by......... Saint-Saëns
And Selections by the principal Artists and

Thursday Evening, May 17.
"Christmas Oratorio "--Parts I and IT....J. 8. Bach
Redemption Hymn...
...J. C. D. Parker
Song of Victory..
Ferdinand Hiller.

Friday Evening, May 18..
Handel's Oratorio of "Samson."

Saturday Afternoon, May 19.

Grand Concert by Principal Vocalists, B. J. Lang,
Pianist, and Grand Orchestra.
Sunday Evening, May 20.
Handel's Oratorio, “Israel in Egypt."

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But now serious and mournful strains are heard in the midst of the rejoicing. The old Lutheran Choral, "O Haupt voll Blut und Wunden," the same which Bach has introduced five times, variously harmonized, in the Passion, appears now again, to the words of Paul Gerhard's Advent Hymn, 'How shall I fitly meet thee," and again in a new four-part setting of inimitable beauty and expression. C. H. Bitter says: "We see the Angel of Death unveil his pale face, bend over the cradle of the Lord, and foretell his sorrows. The Child bears the song which, one day, sung to other words (Pas

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The three great Oratorios have been more or less familiar here,-Samson and Israel more so formerly than of late years, and probably we shall now hear a more complete and adequate performance of Isra-sion, No. 72), will be his death-song." The Choral el than we have ever had before. All the shorter The Rubinstein Sonata for Piano and 'Cello is full of Oratorios or Cantatas, and the Marcello Psalm will beautiful melody, and well-sustained throughout. It is be wholly new here, and of decided interest. The very invigorating and in parts seemed to almost need a full orchestra instead of the two instruments for which miscellaneous portion of the two afternoon concerts it was written. It was splendidly given by Messrs. Bon-will be chiefly given to the solo singers, with some overtures and shorter pieces, but no Symphony, by the fine orchestra which has been made up.

ner and Wulf Fries,

Hauptmann's Sonate is a fine piece of writing and improves with every hearing. It was finely played.

Bach's great chromatic fantasie and fugue came next,

but words on this are vain. One must know it to appreciate or enjoy it. Under Mr. Bonner's fingers it spoke

for itself.

The trio of Haydn, genial, bright and restful after the

other great works, brought the concert to a fitting close. The Providence Journal of April 14th said, "The Subscription Concerts of Mr. Bonner have been attended by the most accomplished of our musical public and done much to instruct as well as to give pleasure, and it is to be hoped that they may be continued another season."

This is very true with regard to those present. Yet the people of that city do not seem to sufficiently appreciate their native talent, or the opportunities offered by these concerts for communion with the great masters of musical expression.

Mr. Bonner has for several seasons undertaken at considerable risk these series of concerts simply from his love of his art and his desire to further its cause. Surely such praiseworthy efforts should meet with more encouragement than they have yet received,and Providence will have only herself to blame if the hope expressed by

the Journal is not realized, and she loses these delightful sources of instruction and pleasure.

A. G. L.

Dwight's Journal of Music.

BOSTON, MAY 12, 1877.

The Festival.

The Fourth Triennial Festival of the Handel and Haydn Society begins next Wednesday evening (May 16). The sale of tickets has been large; the chorus rehearsals have been growing more frequent and more earnest as the time approached; full re

Certainly there is great variety and freshness in the programme, and the length of the Festival will be less exhausting than in former seasons.

Besides the love of music, a patriotic motive is appealed to in the most generous manner by the an nouncement of the Society that "One half of the profits of the Festival will be given to the Old South fund."

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Bach's Christmas Oratorio."

dies away sadly in soft tones, and the Evangelist goes on, "And she brought forth her first-born Son," etc. A simple, touching picture, only a few bars of recitative, with oboes, expressing the mother's self-forgetting love.

The next piece (No. 7) is most original and interesting in its form, as well as in its musical ideas. It combines orchestral symphony, a Choral, "For us to earth He cometh poor," sung in unison by trebles only, line by line intermittently, in alternation -with short reflective sentences of bass recitative, "Who rightly can the love declare?" etc. The independent and developed instrumental motive which preludes, accompanies, and finishes the whole, is most lovely in itself, and the three elements in combination form a whole of rare and perfect beauty. The jubilant vein returns in No. 8, the strong and brilliant bass aria (in D, 2-4), with trumpets, “Lord Almighty, King all glorious;" and the first part ends with another choral (“ Vom Himmel hoch da komm' ich her,") here sung to quaint words from Luther's Christmas hymn, "Ach, mein herzliebes Jesulein, Mach' dir ein rein sanft Bettelein," trans"Ah! dearest Jesus, holated in our English text, ly child, make thee a bed, soft, undefiled,” etc. The choral is accompanied, and in spite of its innocent and childlike images has stirring trumpet interludes between the lines, which make it at the same time a song of triumph,—a proclamation of the Saviour's birth to all the lands.

The "Christmas Oratorio" was composed in 1734. It is doubtful whether Bach wrote it as one independent whole, or whether it is to be regarded as a connected series of several of those church Cantatas, one of which he composed for every Sunday's service, besides festival days, in the Thomas Church in Leipsic, for some six years, leaving behind him more than three hundred Cantatas, most of which were sung once and laid upon the shelf, only to see the light within the last twenty years in the invaluable volumes of the Bach-Gesellschaft. After so grandly celebrating the sorrows and the crucifixion of the Son of Man in his unrivalled St Matthew Pas. sion-music, it was natural that he should also sing PART II. opens with that exquisite pastoral symthe joyful Feast of the Nativity. The Oratorio is in phony, the masterpiece of all compositions of its six parts, each having the form of a complete Can-kind, which has been heard here occasionally tata, consisting of orchestral symphony, arias, cho- through the Thomas Orchestra. It is in the key of rals, and elaborate choruses. Each part was per-G, in the same broad, tranquil 12-8 measure with formed on a separate day,-the first three on Christmas and the two following days, the fourth on New Year's Day, the fifth on the Sunday after New Year, and the sixth on the Epiphany or Twelfth-day.

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sound dies out as if lost in the clouds. In fact, tion that hefits the festal day on which the Lord, in there is a grandeur and a splendor in this composifu filment of his promises, has sent his only begotten Son into the world. Joyful and exalted we look up to the light-gleaming clouds whence the song streams forth, and which we find, as in a Raphael's picture, all alive with hundreds of thousands of shining angels' heads." If this chorus forms the climax of this second part, yet not the less interest ing is the short and beautiful postlude or reflection which Bach adds in (No. 22) a sentence of bass recitative. "Tis right that angels thus should sing," and then (No. 23), for the third time, that Choral which concluded the first part; but not, as then, with trumpet tones, and not, as in No. 17, in calm and serious contemplation of the lowly cradle of the Lord, but in response to the angelic chorus and in greeting to the new-born child. It is the human group assembled with the mother around the cradle. This time the measure of the choral melody is changed to the broad and tranquil 12-8 of the pastoral symphony, the second theme of which is brought back in the intervals between the choral verses by the flutes and oboes of the orchestra, so that by this exquisite device the second part concludes as it began.

the two violin parts, as one answers the other, softly-broken chords upon the tranquil organ-point strengthened by two flutes. They cease for a few of the bass, in gentler manner, until the jubilee measures while a second motive, a sweet cradle burste forth anew. With the words, 'Unto men in song, is hear from two pairs of obsolete reed in- whom he is well pleased,' the wreath entwines itself struments (2 Oboi d'amore, 2 Oboi di caccia), whose more and more richly in radiant curves and windsound must have been peculiarly pastoral. Modern ings, until, completed as it were by angel hands, instruments (oboes, English horns, etc.,) must re-and briefly summing up the leading motives, the place these; and here comes in again the loving service of Robert Franz, as well as in the filling out of the middle harmony in general. The strings and flutes resume their melody, the reeds reply in snatches of their own, and all the motives, all the parts, are wrought together with consummate art and beauty, leaving the impression of a perfect night of holy stillness, and pervaded by a light from other worlds, whereat the watching shepherds besore afraid." The Evangelist resumes the narrative, "There were shepherds," etc., in a won. derful bit of recitative, in which both the vocal phrases and the singularly well-chosen harmonies give one the sense of a clear and crystal atmosphere of miracle. "The glory of the Lord" shines about us, too, as we listen. The solemn choral, "Break forth, O beauteous, heavenly Light," fitly hails the unspeakable significance and promise of the hour, forming the prelude to the soft soprano of the angel, "Behold, I bring you good tidings," sustained by long drawn chords of the string quartet. Again the reflective element comes in in a short bags recitative (No. 14), followed by (No. 15) the exhorting aria for tenor, Haste, ye shepherds, haste to meet Him," an elaborately florid melody, but of exceeding beauty if the delivery be adequate. It is a strictly three-part composition,-for flute, tenor voice, and basso continuo, with organ to complete the harmony. (This aria is prudently omitted in many performances.)


16-17. After the words of the gospel, "Ye shall find a babe wrapped in swaddling clothes," etc.. we hear again the same choral with which the first part ended, this time in another key and differently harmonized to suit the words, "Within yon gloomy manger lies the Lord," etc. The four voice parts are sustained in unison by the quartet of strings and of the same reeds that took part in the "Pastorale," and these latter still continue to accompany the bass recitative which follows, in which the instrumental bass breaks into arpeggio figures, making a harp-like prelude to the "Cradle Song," which "all with one accord" are exhorted to sing. "to soothe the infant Lord." But Bach, with a delicate, true instinct, makes the song an alto solo; it is the voice of the mother to her child, "Sleep, my be loved" (No. 10), one of the loveliest of innocent and heartfelt melodies, too well known here to need description. The four reeds of the pastoral oboe family continue to move in unison with the violins and viola, and the flute goes with the voice, while the bass below keeps up a rocking motion. But observe how the voice in entering hangs entranced through three bars on the one note, "Sleep," leaving the sympathetic instruments to carry on the melody, then drops unconsciously down and lingers upon lower tones before taking up the melody itself, which naturally grows more fervent and more florid in the second part.

The second part ends (or mainly ends) as the first part began, with a great chorus (No. 21). It is the multitude of the heavenly host singing, "Glory to God in the highest!" Bitter's description will serve here. "Instantly they are here, the heavenly hosts, all simultaneously, with loud jubilation and in richly colored sounds, these voices of the mighty chorus, snpported by full orchestra, singing the praise of the Most High. A wreath of shining blossoms soars and circles; with might and freedom all are striving, pressing upward. And 'peace on earth' resounds in the midst of it, borne up by

If these two parts of the "Christmas Oratorio" make fortunately their due impression, it surely will have to be accepted as a foregone conclusion that the entire work must be brought out before another season passes.


zart were given with the refinement, the artistic spirit and the fine blending of choice qualities of tone to be expected from such singers, the anonymous baritone proving that he had little need of such a screen.

Mme. RUDERSDORFF herself sang the impassioned Aria from Handel's Lotario with all her old fire and energy and thorough understanding of this noble softer sentiment of the piece by Salaman. Miss school of song; and she was equally at home in the THURSBY'S exquisite bird-like voice, and facile, florid vocalization appeared to rare advantage in the Ballata by Gomez, which in itself is of slight importance otherwise than as a showpiece for a singer. Her ballad, too, was sweetly sung, in a true sustained cantabile. Mies FANNY KELLOGG was happy again in rendering the spirit and the beauty of the little Taubert songs. Dr. LANGMAID and Mr. WHITNEY both sang admirably, the latter revealing a vis comica in the Pedlar's song, by which some were Mr. SHERWOOD's contribuagreeably surprised. tions were of his usual excellence.

MISS EMMA ABBOTT, the much discussed, much advertised American Soprano, who has been studying abroad in Paris and chiefly in Italy, and who is not without experience on the operatic stage, made her first appearance before a Boston audience in two Concerts at the Music Hall on Thursday evening, May 3. and Saturday afternoon, May 5. The great Hall was very nearly full on both occasions. The programmes, to be sure, were of the commonplace description commonly called "popular,” but there was great enthusiasm. Miss ABBOTT has an upper voice of remarkable purity and clear, vibrating quality; her intonation is perfect; her execution facile, even, highly finished; and she has the art of holding out, diminishing and swelling a tone to a degree which we have hardly heard surpassed. Some of her middle tones are a little obscure, dry, slightly nasal; but she sings always with expression, feeling and refinement; and with great animation and vital

Madame RudersdoRFF, with a number of her pupils, past and present, gave a somewhat unique and very interesting Matinée, at Union Hall, on Satur-ity, even with fine espieglerie in such scenes as the day, April 28, of which here is the programme: Part Song," Sleep, noble child.". Madame Rudersdorff's Pupils. Aria-"Menti eterne,".


Madame Rudersdorff.
Song-"I am a Roamer," (From "Son and
Mr. M. W. Whitney.
Romanza-" Ab Fatima." (Abu Hassan).................. Weber
Miss Clara Stutsman.
Quartet." I scarcely dare to trust." (Rival
Miss Fanny Kellogg, Dr. Langmaid,
and Mr. M. W. Whitney.
Ballata "C'era una volta un principe," (Guarany),

Miss Emma Thursby.
Piano-forte Solo, Fantasie in F minor, op. 49. Chopin

Nursery Rhymes "Humpty Dumpty." "Old King
Cole," Arranged after H. Farmer by
E. Rudersdorff
Madame Rudersdorff's Pupils.
Song-Romance from “Masaniello,”.
Dr. Langmaid.
Romanza-" T'amo d'amor dolcissimo," .Salaman
Madame Rudersdorff.
Piano-forte Solo. Barcarole. Op. 183,

Theodore Kullak

Mr. W. H. Sherwood.
a. "Little Jacob,"
Kinderlieder,b. The farmer and the pigeons,"
c. "Little Ladybug,"
Miss Fanny Kellogg.
Bong-"I love my love.".
W. H. I. Graham
Miss Emma Thursby.
Quintet "Di scrivermi " (Cosi fan tutte)....Mozart
Miss Kellogg, Miss Statsman. Dr. Langmaid,
and Mr. M. W. Whitney.

The three-part chorus from Cherubini's Blanche
de Provence was sung by the same young ladies
(about sixteen of them), who sang it at a Harvard
Concert, and with the same beautiful blending of
rich, pure voices and fine light and shade; we only
question the propriety of that explosive accent upon
each utterance of the word "sleep!" which sound-

ed more like wake! The Nursery Rhymes, too,
were full of an exquisite, quaint humor, and charm-
ingly sung, the accompanying twiddles of the “fid.
dlers three" being happily hinted by a portion of

the voices; while Madame herself stood in the front
conducting as if it were Mother Goose in person.—
The Quartet by Randegger and the Quintet by Mo.

duet with the old sergeant from the Fille du Regiment, in which she was well matched with FERRAN TI, droll as ever. Her voice, we should have said, is of slender, wire-drawn calibre; and of its "linked *weetness long drawn out," its exquisitely shaded pianissimo, in sentimental pieces, we felt at times a surfeit. But then again she would come out in a strong passage with a resonant and vibrating tone of glorious breadth and freedom. Her best power, however, seemed to us to lie in the lighter and more ornamental music, that which the voice can play withal. We unfortunately lost her largest, most dramatic selection, the "Robert, toi que j'aime" of Meyerbeer, in which we hear she made a very marked impression; and Handel's "I know that my Redeemer," put upon her programme without her own knowledge, was wisely omitted.


The song of Mignon(Ambroise Thomas): "Knows't thou the land," was sung with great feeling and refinement. So too was the singularly operatic, florid and elaborate setting of the well-known hymn: Nearer, my God, to thee." As a singer of Scotch and English ballads she is certainly very superior. Perhaps nothing which she did showed more of an original, peculiar power than her embellished and fantasia-like delivery of “ Auld Lang Syne." The lady altogether impresses us as full of life and talent; and with more experience, particularly in the nobler kinds of music, she may take a conspicuous rank among fine singers.

Her assistants were Siz. FERRANTI, the irresistible buffo, full of good nature and of fun, whose voice has all the rich Italian warmth of his complexion, and whose songs of "Morra," "Femine, femine," "Vedi Napoli," etc., are more grotesque than ever; Sig. BRIGNOLI, whose tenor voice is just as fine as it always was, and who is the same admirable singer, though we heard him this time only in English (American) ballads; and Mr. WM. R. CASE, rather more than a respectable pianist, from the Conservatoire of Paris.

It remains to speak of Mme. ESSIPOFF's six afteraudiences to Union Hall this week, and of the renoon Concerts, which have drawn deeply interested

markable exhibition of Mr. EICHBERG'S Violin Classes," four and twenty fiddlers," two thirds of them young girls.

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a. Birdling.

b. The Cuckoo,

{Female voices,

Early Spring. Mixed chorus...

The Long Day Closes. Boviston Club.
My Love is Far Away. Mixed chorus..

a. In May-time,


b. Do I e'er Think of Thee? Boylston Club,

a. Down in a Dewy Dell. Female voices, ..Smart
b. Capstan Chorus. Boylston Club,
My Love's like a red, red Rose. Mixed chorus,

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The performance of all the concerted numbers in the above list was as near perfection as the soul of man can well desire, excepting, now and then, some bits of faulty elocution. But it is painful to see such excellent mate. rial spent on such a programme. Whether it is in the bounds of possibility to form an interesting, even a merely unfatiguing programme of music for male voices only Garrett is a question abont which there may be two opinions,--I Guarda che Bianca Luna, Boylston Club..Campana for one do not think it is. Let it not seem ungracious to Glee," Allen-a-Dale." Mixed chorus....De Pearsall say this: I know that the Apollo Club gives these conIn the letter written to the Globe by Mr. Osgood, a certs-which are entirely private affairs-to give pleasfew weeks since, the object of the club in its future efure to their friends and for the enjoyment of singing forts was stated to be the union of two separately drilled together. The audience is an invited audience, not choruses, which should be heard each by itself as well as wholly of a distinctly musical character, and if we of the in combination with the other. It is a unique plan. so press are invited too, we have no right to turn up our far as we know, but judging from last night's perform-critical noses. The point I wish to make is this: A club ance it must prove as fascinating as it is unusual. The like the Apollo have no right—that is, no moral right, for best illustration of the merits of the case is to be found a legal right they certainly have to give concerts on in the contrast between the different selections on the such a scale merely for their own amusement and for the list, which is varied enough to keep the attention untirsake of giving an only semi-musical audience pleasure. ingly and to a 'd a certain richness not attained in any They have the most transcendent ineans of performing, other way. In the selection of voices Mr. Osgood has. or doing their part towards performing all that is greatas nsual, shown his good judgment, and the results of est, highest and also most difficult in choral music. their training reflect very strongly his admirable ability They have done Art in Boston one great service, the as a leader. The female voices are all as fresh and sweet same service that Mr. Thomas did with his orchestra in as one could imagine, and are strong enough to bear severe test without a perceptible diminution of their power or their mellowness. A clearer, more resonant body of altos we never heard, while the sopranos united give a body of tone of almost flawless purity. There could be an addition of a few voices to either part, for the reason that the male voices are at times a trifle too strong for the others. This, however, is an advantage even while it suggests an increase of force; for it shows what a splendidly full and resonant volume comes from male voices which have been so carefully improved by separate training. There is no chorus in Bos'on certainly, that has such a magnificent corps of tenors and basses; and in this is to be seen one of many reasons why the uniting of two choirs like these gives a result not quite

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1869: they have shown us what a technically fine per-
formance is. That is already a great deal, but they
should not stop here: they should direct their efforts to
producing really worthy works. The Boylston Club have
already taken a great step forward in throwing open
their door to women's voices. By so doing they have in-
creased their repertory about two thousand per cent.
Show me a really fine work for male chorus, and I can
show you twenty as fine, or finer for mixed chorus. Let
no one fall back on the German Liedertafel as an exam

ple. They have beer and tobacco. Bring in the element
an entirely different footing. It is no longer to be looked
of beer and tobacco, and you put the whole affair upon

upon as a musical example—as the Germans say: muster-
giltichand whether it sets a good or bad one is no mat-
ter. The Apollo club entertainments are on such a scale

that they cannot but he looked upon as concerts with a
musical object, and the example they set-and only think
of the prestige their example has –is undeniably bad. It
is a maxim of equity that a man may amuse himself as
he likes as long as he does his neighbor no harm. But
by giving such a programme with such eclat, the Apollo
Club sets an example which does do harm to the musical
culture of our city. There! I have had my say, and feel

Special Notices.



MUSIC, Pablished by Oliver Ditson & Co.

Vocal, with Piano Accompaniment. We deck their Graves alike Today. Memorial Quartet for male voices. G. 3. G to g. Danks. 30

"With blossoms fresh and fair.”
A good quartet for Memorial Day. Get it in

We are growing Old together. A. 3. E to F.
Richardson. 35

"The heart that loves forever
Grows stronger, evermore."

A fine and wholesome tribute to friendship. Hear. Father, hear our Prayer. Alto, Solo and Qt. D. 4. a to g.


Bauer. 40

'Strength to the feeble, and hope to despair." The well-known beautiful words are well matched by the music, in which the Alto is conspicuous.

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Blue Glass Grand March. F. 4.

Morey. 35 A powerful march, much in the style of Mendelssohn's Wedding March, and much better than its title.

reached by the practice of the chorus with reference on-
ly to combined effects. At future concerts it is the in-
tention of the society to produce some important choral
works, which this array of force will enable it to do in
grand style. Last night, as will be seen by the pro-
gramme, the selections were with one or two exceptions,
familiar. The character of such as were chosen, howev-
er, was of the ripest sort and the performances ware
well-nigh faultless. In selecting such works for the first
concert as were tolerably well-known much wisdom was
shown. It was the very best opportunity to disclose
what the united choruses could do at the outset of their
career, and so gave royal promise for the future, when
the more extended works are brought out. Mr. Osgood's
song was one in a list of six er.cores. We must candidly
say that he has made his music rather too strong and
brilliant for the sentiment of the words, but as to the
effect of the composition in itself there can be but one
opinion, and that a favorable one. There is a certain
dramatic flavor about it which is very captivating. It
was exceedingly well sung, and a high sustained note for
the sopranos was given with delightful clearness and a
refreshingly positive accuracy. Hiller's "Dame Cuckoo"
is a very sprightly catch and full of a quaint realism
quite picturesque in its effect. The two songs by Smart
were admirable specimens of part-writing for the two
kinds of voices. To instance all the numbers would be
to give a succession of eulogistic phrases for the perform-
ance of so many different works, all judiciously selected,
carefully varied and sung with every requisite of light
and shade, a thorough intelligence, rare unity and un-
failing surety of attack. Among all the rest, our prefer-
ence would incline us to the selections by Mozart, Schu-
bert and Gade, as most exquisite in themselves and most
exquisitely done. In the future we may look for grand arias, and Miss Beebe, a bright little song by Taubert.

better after it. The solo performances did something Short Pieces for the Organ. By W. Spark.
towards giving variety to the occasion and were, espec-
ially the rollicking pedlar's song from the Son and Stran
ger, capitally sung.-Courier.

achievements by the Boylston Club and its female chorus. The concert of last evening is a certain pledge of this and of the wisdom which suggested the enlargement of the original chorus. There will be one more concert this season somewhere about the 23d of May.-Globe, April 19.

THE APOLLO CLUB gave an admirable example in their last week's concerts of what a pitch of perfection partsin ing can be brought to. Yet it is difficult not to bring in the ungracious “but " very soon in speaking of these concerts. The programme was as follows:1. Night on the Ocean...



THE MUSIC HALL CONCERTS. The concerts given in
Music Hall. Friday evening and Saturday afternoon,
were attended by large audiences, and gave general sat-
isfaction. The programmes presented a great variety
of music, and were long enough to satisfy the most vora-
cious amateur. But the old proverb about the inch and
the ell again proved its truth. Each concert was tedious-
ly lengthened by the rapacious greed of the encore
thieves. Has it never occurred to these people who take
by force without paying, that their conduct is wonder.
fully like that of the late Mr. Turpin? The New York
Glee Club sang glees, part-songs, and the like from Eng-
lish and German composers, with their habitual finish.
It now includes, in addition to Misses Beebe and Finch
and Messrs. Nilsen, Baird and Aiken, two new singers,
Mrs. Anna B. Hills, an excellent contralto, and Mr.
George Ellard, a light tenor. There were included in
the programmes four part songs by Mr. Goldbeck.
wish that Mr. Goldbeck's songs were less artificial as a
positive inspiration. Mr. Florio's song, Beneath a Willow,
rule. Occasionally he writes a phrase of real beauty and
with his own lines for text, was very charming. A part
song by Abt. was also a setting of words by Mr. Florio,
who, as a poet. has apparently followed the lead of Her-
rick and other old English writers. For vocal solos,
Miss Cary sa ig English Italian and French songs and
Miss Cary's voice has acquired amid Russian snows a
wonderful brilliancy, which, with its natural richness,
makes it now the most beautiful contralto in America.
Mine. Essipoff s selection were from authors whose writ-
ings she has performed with the happiest results-Cho-
pin, Liszt and Mendelssohn. There was, as before, a
charming clearness in all, and an over emphatic manner
in legato movements. It is too late in life for Ole Bull to
change his manuer or enlarge his repertory, and so long
as there are crowds ready to listen to him, there is no
reason why he should do either. But what a fame he
might have earned had he, years ago aimed at something
higher than fantaisies on operatic arias, or even Pagan
ini's compositions. The accompaniments for his per-
formances were played on a cabinet organ and piano by
Madame Bull and Mr. Dulcken, respectively; and those
for the songs by Mr. Florio.—Courier.

1. Prayer. F. 3.

ea. 25; comp. 75 Arcadelt.

2. Andantino. D. 3. Baliste.
3. Larghetto. A. 3. Spohr.

4. Alla Marcia. D. 3. Schumann.
5. Easy Prelude. F. 3. Spark.
Welcome additions to the Organist's library,
being all moderately easy, with easy pedal notes,
and each being long enough (2 pages) for a brief

Quadrilles for Violin and Piano.

Winner. Each, 50
There are 9 Quadrilies, of which
No. 1, is: Robinson Schottische Quad-
rille. G. 3. Giselle.
These easy arrangemen:s should be favorites.
March Violets Waltz. G. 3.

Bohm. 35

There are such things as March Violets, and this is a very pleasing blossom of song. Return! Return! (O kehr zurück.) Song without Words. D. 3.

Giese. 30 A beautiful transcription, full of expression. Nocturne. D. 4. Pacher. 40

The neat, classic character of the piece will strike one at once, and its study will be a pleasure to cultivated tastes.

Moses. 30 Not much racket in it after all, but it is a melodious piece.

Raketen Galop. F. 3.

Shepherd's Dream. Reverie. Ab. 4. Sudds. 50 Of about the same calibre as Wilson's Shepherd," but differing as the tastes of the two composers differ. Very graceful and rather brilliant.

ABBREVIATIONS.-Degrees of difficulty are marked from 1 to 7. The key is denoted by a capital letter, as C, Bb, etc. A large Koinan letter marks the lowest and the highest note if on the staff, small Roman letters if below or above the staff. Thus: "C. 5. c to E," means "Key of C, Fifth degree, lowest letter c on the added line below, highest letter, E on the 4th space."

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