the Drinking-song, is another of her exquisite bits of vocalization. She used often to sing it between the acts at the Italian Opera in Paris, and it always excited unmingled enthusiasm.

"The quality of her voice is so sympathetic, that every one, whether he knows or cares anything for music or not, will be pleased as by a delicious sensation, and we shall not be at all surprised if she excites more enthusiasm at her concerts than did Madame Goldschmidt.

"We say this, not having heard her for two years."

OLE BULL'S SECOND CONCERT, last Saturday evening, though not quite so fully attended, was more enthusiastic than the first. Indeed in these times an audience of nine hundred or a thousand, at the dollar price, for a purely instrumental concert, and out of the season, may be considered great success in Boston. The day is past, as we have said before, when solo-playing, even of the most extraordinary and the best appointed in the way of orchestral surroundings, can charm crowds as it once charmed.

Each part was opened by the GERMANIANS with an exquisite fairy overture, exquisitely played: the first, that to "Oberon".

· Oberon's

Wunder-horn — by Weber, and the second, that to the "Midsummer Night's Dream," by Mendelssohn, —a music, which has now become a quite familiar and delightful part of our existence; we could no more afford not to know it, than we could not to know our Shakspeare.

Ole Bull's pieces, with one exception, were to our taste of the most interesting in his repertoire. Especially so the first piece: Cantabile Doloroso and Rondo Giocoso, in which there was more form and unity of spirit, and a less fatiguing length of restless, shifting, zig-zag wanderings and surprises, than in many of his singularly moody and fantastic compositions. The themes were beautiful and developed with all the beauty of execution and warmth of feeling, which he knows how to throw into whatsoever musical idea he would illustrate. His second piece: "To the Memory of Washington" was much less to our taste, setting out on a false tack, which always has proved fatal to the artist in every department of Art, namely, with the design of giving an imitative representation, through tones, of a historical period, of a great national struggle, and forced, in order to get along with it, to resort to mere association, by introducing hacknied patriotic tunes, as Yankee Doodle, piped and screamed alternately with strains of "God save the King," amid discordant tremolos and battle storms of the whole orchestra. Really these seemed very cheap and melodramatic effects. But there was one saving point in it, and that was the magnificent manner in which "Hail Columbia " was harmonized for the orchestra; it made us feel that we have one old national tune with music in it; and we are indebted to Ole Bull for so grandly bringing out its majesty and beauty. Almost equally did we admire his own self-accompanied eloquent version of the same on his violin, preluding to the fuller illustration of the orchestra.

His third piece was as strange in music as in title: "Sounds from Old Norway: Tunes from the Old Mountains, infused through the mighty War Skaldes, in the Independent Spirits or the Young Mountains." We confess to having enjoyed it not a little; it was full of wild, poetic, northern imagination; and though vague as the misty shapes of Ossian, it had the magnetic fascination of

genius. In this Ole Bull seemed altogether himself; we are sure, no other violinist could have made anything of his notes; but in his hands it became a natural language of a strong, deep, earnest soul- a kind of wild wind-harp of his intensely feeling, ardent, liberty-loving nature. His Polacca Guerriera is a piece of as decided character as any that he has been in the habit of performing, and still in a great measure justifies some slight notes we made of it eight years ago, to which we now refer from curiosity:

It has a unity and a theme which is easily traced through. The orchestral parts are rich and grand. As they open with the drum-beat and prompt answering chords, he seems a hero at the head of his army, on the eve of a glorious moral conflict, inspired and inspiring all with his great purpose. Then in a thoughtful Andante the violin discourses to itself, as if the hero were reviewing his purpose, communing with his soul to see if it were strong, and committing himself to the great Source of strength; suddenly he awakes from his meditation and with a sweep of the bow, launches the whole orchestra again into the wild battle march; after which follows the animated movement called "Polacca," whose long labyrinth of variations we will not be so idle as to follow with the pen.

In nothing however did he give us so much unalloyed pleasure, on Saturday evening, as in his self-accompanied playing of the "Last Rose of Summer," in answer to an encore. It was exquisitely, feelingly beautiful. And this is one of his greatest arts, which he possesses, so far as we know, beyond all other violinists,-this of " doublestopping" so as to give a full quartet effect; he makes each of the four parts firm and individual, and the middle parts move about like the "figural harmony" in good organ music. His prelude to the melody, too, was full of character.

ALFRED JAELL played his "Notturno " and "Carnival" with the usual infallible success, and what was more interesting and more new, Thalberg's beautiful fantasia on themes from Don Juan; a piece of extreme difficulty, but of most perfect grace and symmetry, or it would not be Thalberg. The principal theme is the "Serenade," with Mozart's airy, guitar-like accompaniment. In this the song part was given by the thumb and fore-finger of the right hand, the other three fingers keeping up the arpeggio accompaniment, leaving the left hand wholly free for the bass and full chords. Then the left hand took the melody, while the accompaniment in the right, very rapid, displayed Jaell's astonishing facility in octaves. The frequent allusions afterwards, with every possible surprise of modulation, to the "Minuet," are very skilful, and the whole is wrought up to great unity and completeness of effect. It was one of Jaell's most finished and facile performances, and we agree with his Providence critic, that it was high time that he should be treating his audiences to new pieces. His acquaintance with the best piano forte authors is very extensive, and why should he always give the "Carnival," the "Rigolette," &c.?

Why do we turn away in sadness from one of Ole Bull's concerts! We have had our imagination excited, at least by fits; gleams of real, deeply expressive beauty have ever and anon arrested us; the unmistakeable evidences of genius were there yet we have missed more than we found; yet the permanent impression is of disappointment. Shall so much genius, so much feeling, so much masterly executive skill and energy, never be embodied in artistic forms of beauty, that shall

last! The more he repeats the charm of these fantastic, wild improvisations, the more do we call on him to realize the promise of his nature by becoming a creator, a composer. Or do we ask too much! Are we demanding a Bach's fugue of the wind-harp!

An Opera House in Boston.

We know not how we are to interpret the silence, that has succeeded to the first announcement of a determined plan, on a very ample scale, and on the part of energetic, able men, to supply at once the want our city feels for a firstclass Theatre and Opera House. It may be that the cause is slumbering, or it may be that the silence only indicates the certainty and security of the active measures that are in train. We trust, the latter. At all events, if only on the principle that "Necessity is the mother of invention," we believe that the way and means to such a theatre must soon be found; for that the inward and the outward necessity abundantly exist, no lover of music and dramatic art in Boston can for a moment doubt. There is an inward necessity, that this love in a large part of the community should be gratified, unless the interest of late years shown in fine lyrical and other musical performances was all a dream, a passing whim or fashion. A real love of music must build to itself buildings and draw to itself performers. And as to the outward necessity, it seems as if fate had interposed to hasten the climax of the long felt inadequacy of our outward arrangements for such entertainments, by burning down the old theatres, and levelling the "Old Drury" before the encroaching sea of commerce, that now holds all the lower portions of the town submerged.

The initiatory meeting at the Revere House, the character of the movers and the arguments put forth, the Committee charged with shaping out and carrying out the design, and the subscription | paper emanating from that Committee (bating the impracticable provision entitling shareholders to free seats), were all such as to impress the community that the thing was really taken up in earnest and would be accomplished. Of course there were many questions about which minds and interests would differ, touching the plan, the size, the locality, the costliness, &c., of the proposed building. Not the least important and least difficult of these questions is that of location; and it is on this point only that we wish at present to offer some suggestions, or to strengthen some that have been already made.

In the subscription paper referred to it is provided that the site shall be determined by a threefourths vote of the stockholders. There can be no objection to this, if the committee appointed to recommend locations be wisely constituted. At the original meeting the view most urged was the commercial; that it was for the business interests of Boston that visitors from the West and South should find worthy entertainment of an artistic character in our city, &c. The argument was sound, and as the meeting was composed in great part of active merchants, the committee naturally was of that stamp; yet with the shrewd common sense of that class a resolution was adopted, authorizing them to add to their own number. This was doubtless with a view to enable them to call in the aid and advice of musical men, artists, men of taste, &c.; and we have

since learned with satisfaction that one gentleman, who is no less ardent as a lover of music than enterprising as a merchant, has been joined to the committee. This is as it should be; for in the long run the real love and taste for art in the community should have more to say as to the eligibility of this or that site for its theatres, than any merely commercial considerations. For instance, the commercial preference might be for the crowded business haunts, the neighborhood of the largest hotels, and so on; whereas the preference of art-lovers (true to the suggestion of the committee in the Transcript," that all those evil elements, which have given theatres an ill name with so many estimable persons," should "be carefully excluded") would be for the more respectable, quiet, well-aired, elegant regions of the city.

We know not what localities are contemplated or available; but there are a few general desiderata, which we trust in any case will have their due weight with the Committee, so far as compatible with the means of the Corporation.

1. Let the location be one that shall best accommodate the largest number, both of the city and suburban populations. For, after all, it cannot be transient commercial or other visitors mainly, that will compose the audiences. And it has been justly urged, that the real centre of the city (as to habitations) is continually moving toward the south end.

2. Let it be, by all means, retired from rattling pavements, and so far as possible from the sound of church bells.

3. Let it have as many approaches as possible, and from opposite directions. Comfort and convenience in entering and leaving the house, relief from crowds and the disorderliness thereof, and from the necessity of long waiting for carriages,— also the advantage to the city of having unobstructed streets, are among the considerations which make this of prime importance.

4. Let the site be, as far as possible, an airy and healthful one; for if the building is to be upon the scale indicated by some of the rumors, it is destined to create and satisfy the taste for daylight entertainments in the summer. We know Castle Garden has contributed to keep artists more permanently in New York; and we have only to imagine open windows to perceive the importance both of good air and of retirement from noise. At all events, the pleasanter and more refined the quarter in which such a theatre stands, the less attraction will it hold out to disorderly rowdyism, and the less will it partake of the vicious atmosphere too sure to hang about such places, when in low or merely business quarters of the town. Let the outward environment correspond somewhat to the refined character of the entertainment within.

Musical Intelligence.

Local.

The "MUSIC HALL ASSOCIATION" held its Annual Meeting on Wednesday last. Reports were made by the President, Treasurer and Architect, all of a satisfactory character. The building will be ready for occupancy in November next, as will be seen by advertisement in another column.

The following gentlemen were elected Directors for the ensuing year; viz: Charles P. Curtis, Jonas Chickering, B. D. Greene, Charles H. Mills, R. E. Apthorp, J. B. Upham and George Derby.

HANDEL AND HAYDN SOCIETY. At the annual meet

ing, May 31st, the following officers were chosen, viz:— Silas P. Merriam, President; John Dodd, Vice President; I. L. Fairbanks, Secretary; Matthew S. Parker, Treasurer; Thomas B. Frothingham, O. J. Faxon, C. P. Adams, John A. Nowall, H. L. Hazelton, John F. Payson, John H. Pray, George Hews, I. Haskell Long, Trustees.

At the annual meeting of the MUSICAL EDUCATION SOCIETY, held at Cochituate Hall on Monday evening, the following officers for the ensuing year were elected, viz: President, Gen. B. Franklin Edmands; Vice President, Geo. A. Lord; Secretary, Wm. Rogers, Esq.; Assistant do., Isaac D. Brewer; Treasurer, Alden Speare; Librarian, Gilbert Clark; Directors, Geo. Kurtz, Sidney A. Stetson, J. A. Plummer, Charles H. Allen and Lyman B. Meston.

OLE BULL, ALFRED JAELL and the GERMANIANS left town yesterday for Montreal. Great is the pleasure in store for the Canadians, who have just been delighted with Mrs. BOSTWICK and extra-enthusiastic about CATHARINE HAYES.

New York.

MADAME THILLON is still the "Enchantress " at Niblo's, while at the Astor Place Opera House to Donizetti's heroines and heroes have succeeded Donetti's troupe of monkeys.

BASSINI'S CONCERT is favorably noticed on all hands. Says the Tribune:

"Bassini is much more than an ordinary violinist. His tone is remarkably sweet and pure-we have rarely heard a sweeter - and a delicate musical feeling characterizes all his performances. He played the slow movement of Vieuxtemp's Fantasie, in which the melody was announced with graceful and simple pathos, and the entire modesty of the artist inclined every listener to sympathetic attention. As a resident musician among us, Signor Bassini would be an invaluable acquisition.

NATIVE COMPOSERS. The N. Y. Harmonic Society will produce Mr. Abbott's Oratorio, "The Waldenses," on Wednesday evening at the Tabernacle. Mr. G. F. Bristow will conduct, and Mr. G. H. Curtis preside at the organ.

Mr. Bristow, we understand, has nearly completed an English Opera, the libretto of which is founded upon Irving's "Rip Van Winkle."

THE THIRD GRAND GERMAN FESTIVAL-The great gathering of the German Glee Clubs is coming off this year in this city. The various circles of singers from other cities, numbering, it is estimated, more than six hundred persons, will be received here on the evening of the 19th inst., by a torch-light procession, and the next day a grand sacred concert will be given at Metropolitan Hall.

On Monday, the 21st, the day procession takes place, and in the evening the vocal and instrumental festival, which will be a great musical occasion. Over twelve hundred male voices will participate in the glees and

choruses.

On the 22d, a pic-nic is to be celebrated in the spacious grounds already leased by the New York Society, on the Bloomingdale road, opposite Stryker's Bay. Such a festival as this, having never been witnessed in this metropolis, will be the means of drawing thousands of visitors to the city, and of diffusing much excitement among the lovers of music.-Tribune.

London.

NEW PHILHARMONIC SOCIETY. The fourth concert, May 12th, drew an immense crowd to Exeter Hall, and seems to have fairly established the popularity of Beethoven's strange and hitherto half-doubted Choral Symphony, his ninth and last. He wrote it for the old London Philharmonic, which after one or two trials consigned it to the shelf. Years after the death of the composer, Moscheles had it taken down and studied again for one of the concerts. Still all but the very few pronounced it the weakest of the nine. Then Costa succeeded to the direction, under whom it was produced in 1847, and again once or twice since; but what could he do with a single rehearsal! Even in Germany and Paris it is seldom, if ever brought out. It was once attempted in New York, in Castle Garden, by an extempore monster orchestra, on a sort of Beethoven birthday festival; it was confused enough of course, but even as it was we shall not forget the vague but strong impression of its grandeur.

But now at last in London, if we may trust the Musical World, its day has come. With Berlioz for conductor, with seven rehearsals, in a great hall, "it was

executed in presence of a vast crowd, a medley of amateurs, musicians, and individuals with no claim to be called either, in such a manner as to create an excitement almost unparallelled within the walls of a concert room." The critic continues:

"That the ninth symphony is a musical illustration of Schiller's Ode to Joy-that the first three movements are orchestral, and the finale choral and orchestral — that it is the longest and profoundest work of Beethoventhat it is the most difficult piece of music composed by any of the great masters-these and other matters are familiar to all who interest themselves in music. Our business is with Wednesday night's performance, which, take it all in all, was the greatest triumph hitherto achieved by the New Philharmonic Society. M. Berlioz, who was warmly welcomed, was evidently resolved to do his utmost. The time of the Allegro was indicated to a nicety, and amidst all its extraordinary combinations, its exciting crescendos, and overwhelming climaxes, the majesty, which is the prevalent characteristic of the movement, was never once lost sight of. The Scherzo was equally well timed, and the Trio, for the first time in our remembrance, played as fast as it should be. Long as is this extraordinary movement (more than twice the length of any other of the same character,) it was felt to be brief by the audience, who, charmed by its originality, and the admirable decision with which it was executed, burst into an absolute uproar of cheers at the conclusion, and it was some time before M. Berlioz could proceed with the Adagio, the more tranquil beauty of which, however, soon created a different kind of feeling, and substituted a pleasing repose for an uncontrollable excitement. Thus far, the execution of the symphony was beyond criticism. No band and conductor ever did themselves more credit by a masterly and complete performance of an elaborate and highlycolored work. The choral finale - the almost insuperable solo parts in which were sustained with commendable zeal by Madame Clara Novello, Miss Williams, Mr. Sims Reeves, and Herr Staudigl-left something to be desired, although, at the same time, it came much nearer to the mark than on any previous occasion. The instrumental opening brought out the force of the stringed instruments, the basses especially, with tremendous effect. M. Berlioz very properly took the recitatives in tempo giusto, without which it is impossible they can go well. The solo for the bass, " Welcome ye and the quartet, "Sweet content," were not exactly what they might have been had the accompaniments been more subdued. In the tenor solo, "O, thou bright fire," with accompaniments à la marcia, with the side drum, cymbals, and triangle, the want of a real piano was still more strongly felt; Mr. Reeves, with all his voice, could scarcely make himself heard. The chorus, for the most part, were admirably correct and effective, and in the chorus in D, with the florid orchestral accompaniments (following the instrumental fugue that grows out of the tenor solo,) their power was remarkable. Even in the two final choruses, where the orchestral accompaniments reach the last degree of force and fulness, they sang with a vigor that nothing could abate. The enormous rapidity with which the concluding movements were taken, did not once endanger the steadiness and precision of the execution. The end of the symphony was followed by a volley of applause that made the walls of the building "echo again;" and homage having been paid to the mighty genius of Beethoven, a just tribute was accorded to M. Berlioz, who was recalled into the orchestra, and received in a manner which showed that the audience appreciated his services at their proper value."

But Chorley, in the Athenæum, was not so well satisfied with the instrumental movements. He had heard them "executed with as much spirit, expression, and more precision and proportion at the Old Philharmonic." But the choral part, he confesses, was never so well done in England.

The next great feature in this concert was the performance of Mendelssohn's G minor Concerto (endeared to us through Hatton, Jaell and Goldschmidt) by WILHELMINA CLAUSS. The English critics fully echo in their own way all the praises of her, which we have quoted from time to time from the French. Says the Musical World:

"Mademoiselle Clauss plays even better with the orchestra than in trios, or mere solos. The vigor and precision of her execution are astonishing- her selfpossession is not less so, and these lesser qualities are elevated by a feeling which is the offspring of poetry and intellect. The manner in which Mademoiselle Clauss performed the slow movement was in the highest degree expressive; her touch in the piano passages was delicacy itself. We never heard a more genuine and unaffected reading of this beautiful movement, or a neater, more sparkling, and wholly satisfactory execution of the finale, which Mademoiselle Clauss dashed off with a rapidity that recalled to many present the unequalled performances of Mendelssohn. No success could be more complete-none better deserved. Mademoiselle Clauss was applauded again and again, encored in the slow movement, and unanimously summoned, at the end of the concerto, to be newly fêted by the audience. We have said that Mademoiselle Clauss was "a genius,"

and she has forced us to reiterate this opinion with a double confidence in its truth."

The second part was conducted by Dr. Wylde, and consisted, besides the concerto, of his own new Scena: "The Knight of Leon," sung with great spirit by Simms Reeves and much applauded; of the overture to Der Freyschutz; of Handel's “O, ruddier than a cherry!” in which Herr Staudigl was encored; and "the gorgeous 'Wedding March' sounded the retreat of the audience with great pomp and ceremony."

OLD PHILHARMONIC. The fifth concert took place on the 17th. Chorus and orchestra are said to have done wonders in Mendelssohn's Walpurgis Night, the chorus of guards and people exciting a furore. Mlle. CLAUSS appeared here also in Beethoven's Concerto in E flat. The other pieces were Beethoven's Seventh Symphony, in A; Weber's overture to Euryanthe; and the finale to the first act of Cherubini's Les Deux Journées. The New Philharmonic announced the same Symphony for the 28th.

MADAME PLEYEL, after exciting the Dublinites to the highest pitch, gave her first grand morning concert at Hanover Square Rooms, May 20th, assisted by Jetty Treffz, Miss Dolby, Staudigl, &c. Of the audience one critic says:

"It might have been called a congress of pianists, such was the number assembled to hear their queen of executants, who played Beethoven's Concerto in C minor, Mendelssohn's Concerto in G minor, beside Liszt's railroad express of digital difficulties and queer compound of passage eccentricities in his arrangements of the subjects of the skating scene from Le Prophete, and his charming piece from Les Soirées Musicales of Rossini. In spite of indifferent accompaniment, her genius, her vast and unapproachable powers of execution, her mental, refined and poetic gifts, her wondrous aggregate of all the acquirements to constitute the grand pianiste of the age, never stood forth more triumphantly. The delicacy and elasticity of touch in the slow movement of the G minor, and the prodigious pace at which the finale was taken, will not easily be forgotten by her excited listeners. It was not merely steadiness and solidity, but it was the absolute singing of the instrument in her hands; the mind and heart seemed to be at her finger's ends. Such nerve and vigor combined with ease and elegance, have never been associated in any other player.'

At ELLA'S MUSICAL UNION, on the 18th, Sivori, Piatti and the pianist Charles Hallè, &c., performed duets, quartets, quintets, solos, classic and romantic, by Haydn, Beethoven, Spohr, Mendelssohn and Chopin.

At the fourth and last of LUCAS' MUSICAL EVENINGS, Herr Schaffer, a rising pianist from Munich, appeared; and at the fifth BEETHOVEN QUARTET MEETING, Ferdinand Hiller, the friend of Chopin, played some of his own very numerous compositions.

- But each week's report from London is a perfect wilderness of all forms of chamber concerts. As well try to enumerate the qualities of each particular nest of song-birds in the June woods and orchards, as to keep the run of them. The Illustrated News says, with a heavy sigh: "This has been a trying week for the musical critics, who have been daily called upon to attend divers grand morning and evening concerts, classical meetings, matinées and soirées musicales, sometimes two or three in a day."

Our charming Bosio had arrived in London, for the first time, aud was announced to sing at the Royal Italian Opera, in I Puritani, on the 27th, but was prevented by "severe indisposition."

MR. JULES BENEDICT had returned to London for the season, in deep affliction, having buried his wife in Italy. Soon after he left the United States, it will be remembered, his son was killed upon a railroad. Mr. B. is to conduct the Norwich festival, as usual, in the autumn. When shall we see his book of travels in America, from which we translated a fine passage lately out of a French paper?

HENRI VIEUXTEMPS, having left St. Petersburg, was expected in London about the first of June. He was to make London and Paris his head-quarters. — ERNST was finding "metal more attractive" in Switzerland.

OPERA. At the Royal Italian the most notable representations during the last month have been Il Flauto Magico, wilh Castellan as Pamina, and Mdlle Zerr as the Queen of the Night, in which, says the Athenæum, "she excited more than the olden wonder and applause by her

NEW MUSICAL PUBLICATIONS.

GE new

little rococo squeaks in altissimo. These, however, are Mozart's fault, not hers." Mario and Ronconi also took part, the latter as the bird-boy.-Lucia, with Mdlle. Zerr, Herr Ander, and Sig. Bartolini, a new baritone. — La Juive, by Halévy, which "in spite of much controversy still keeps its place in all the great theatres of France and Germany." It was produced with great splendor at Covent Garden for the introduction of the tenor M. Gueymard.

At Her Majesty's they have had Ernani with Cruvelli, who is abused by the Athenæum, but greatly praised by all the others, and Belletti as Don Sylva (!)—Madame Lagrange, a new prima donna, has made great success in Lucia. Act the Second of the Wagner drama has reached its finale, the injunction being again confirmed. A meeting of the patrons of the theatre had been held to raise a subscription for keeping it open to the end of the season, and in support of Mr. Lumley as manager. One paper says, they resolved to send a strong deputation of nobles and gentry to wait on Madame GOLDSCHMIDT, as soon as she should land, and implore her to sing.

ORATORIOS. Mr. George Lake's Daniel was produced at Exeter Hall on the 21st. Also Mendelssohn's 55th Psalm, and Weber's "Praise of Jehovah,"-all for the first time. The committee of the Birmingham Festival have resolved to invite Jenny Lind Goldschmidt to sing, and in case she declines, Mdlle. Wagner.

GERMAN PLAYS. A German company are giving in London a series of the best German dramas of Goethe, Schiller and others. Among others "Egmont," with Beethoven's music.

A "Finale" to Mendelssohn's unfinished opera, Loreley, has been published in London. Chorley praises it in exalted terms. He describes the closing Allegro as "tremendous" and says, 66 we could not name the prima donna to whom it could be entrusted, with the exception of Madame Otto Goldschmidt, for whose remarkable voice it was obviously written."

Summer Afternoon Concerts,

AT THE MELODEON,

BY THE

Germania Serenade Band.

THESE CONCERTS will take place EVERY FRIDAY, at

4 o'clock, P. M. Packages containing four tickets, at 50 cents a package, can be obtained at the usual places, and at the door on the afternoons of the Concerts, where single tickets at 25 cents each, may also be had.

N

BOSTON MUSIC HALL.

TOTICE is hereby given that the BOSTON MUSIC HALL ASSOCIATION are ready to receive applications for the use of their HALL and LECTURE ROOM, (entrance on Bumstead Place and on Winter Street,) by Religious Societies, for the purpose of regular worship on Sundays, after the 15th of November next.

The MUSIC HALL, furnished with Organ, &c., will seat three thousand persons, and the LECTURE ROOM, eight hundred. Written applications may be addressed to the subscriber, at No. 39 Court Street, who will give such further information as shall be desired. FRANCIS L. BATCHELDER, 10 tf Clerk B. M. H. A.

MUSIC BOOKS,

PUBLISHED BY

BENJAMIN B. MUSSEY & CO. 29 Cornhill, Boston. ERTINI'S PIANO FORTE INSTRUCTOR.

By HENRY BERTINI. The only complete and correct edition published.

The Modern Harp, or BOSTON SACRED MELODIST. A Collection of Church Music. By E. L. WHITE and J. E. GOULD.

The Opera Chorus Book. Consisting of Trios, Quartets, Quintets, Solos, and Choruses, from the most popular Operas. By E. L. WHITE and J. EDGAR Gould. Sabbath School Lute. A Selection of Hymns and appropriate Melodies, adapted to the wants of Sabbath Schools.

The Tyrolian Lyre. A Glee Book consisting of easy pieces, arranged mostly for Soprano, Alto, Tenor, and Bass voices, for the use of Societies, Schools, Clubs, Choirs, and the social circle. By E. L. WHITE and JOHN E. GOULD. Sacred Chorus Book. Consisting mostly of Selections from the works of HANDEL, HAYDN, MOZART, MENDELSSOHN, ROMBERG, NEUKOMM, ROSSINI, &c. &c., with an accompaniment for the Organ or Piano Forte. Suitable for singing societies, and advanced schools. By EDWARD L. WHITE and J. EDGAR GOULD.

The Jenny Lind Glee Book. Consisting of the most popular Songs sung by Mad'lle JENNY LIND. By

DAVID PAINE.

Popular School Song Books ; THE WREATH OF SCHOOL SONGS. By EDWARD L. WHITE and JOHN E. GOULD.

Elementary Music Book. By BENJAMIN F. BAKER. Apr. 10. tf

of the "BOSTON ACADEMY COLLECTION OF CHORUSES," price reduced from $24 to $14 a dozen. PERGOLESE'S celebrated STABAT MATER for two female voices, newly translated by J. S. DWIGHT, Esq., a welcome work to lovers of good music.

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G. P. R. & CO. have also received a further supply of the valuable publications of J. ALFRED NOVELLO of London, for whom they act as agents-consisting of the ORATORIOS of HANDEL, HAYDN, and MENDELSSOHN, and the complete MASSES of MOZART, HAYDN, BEETHOVEN, S. WEBB, VON WEBER, and others, with the finest collection of BACH'S FUGUES, and music generally for the organ, that has ever been seen in Beston. Apr. 10. tf

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THE particular attention of Connoisseurs is invited to the opportunity which is now presented, for making additions to their collections of valuable ENGRAVINGS, as many Proofs and rare Impressions of celebrated Pictures, which are also engraved by the most Eminent Artists, are for sale at Apr. 10. tf N. D. COTTON'S, 13 Tremont Row. MUSICAL WORKS RECENTLY PUBLISHED BY MASON & LAW,

23 Park Row, Opposite Astor House, N. York.

E ACADEMY VOCALIST. A Collection of VoSchools, Singing Classes, &c. By GEORGE F. ROOT, Professor of Music in Rutgers and Spingler Institutes, the New York Institution for the Blind, &c. With a complete course of Elementary Instruction, Vocal Exercises, and Solfeggios, by LOWELL MASON.

Te Music, arranged for the use of Seminaries, High

This work is intended to supply a want long felt in our Higher Schools and Institutions. The music is arranged for three parts, and in such a manner that it may be sung exclusively by female voices or by a mixed choir. Whenever solos occur, a simple accompaniment for the Piano Forte or Meiodeon has been added. The work is printed from new English type and on beautiful paper. Retail price, 62 1-2 cents. ZUNDEL'S ORGAN BOOK. By JOHN ZUNDEL. Two Hundred and Fifty Easy Voluntaries and Interludes for the Organ, Melodeon, Seraphine, &c. With Introductory Remarks, Description of Stops, Directions for the Purchase of Organs, &c., adapting the work especially to the wants of young organists, and those who have made sufficient progress to accompany plain Psalmody on the Organ, Melodeon, or Seraphine. Retail price, $1.50

THE GLEE HIVE. BOSTON ACADEMY OF MUSIC. A Collection of Glees and Part Songs, selected and arranged for the Musical Conventions and Teachers' Institutes of the Boston Academy of Music. By LOWELL MASON and GEORGE JAMES WEBB.

Here are Thirty-three choice, tasteful, and sprightly Glees and Part Songs, mostly new, from the best Authors, sold at an exceedingly low price. It is just the book wanted by Singing Clubs, Societies, Classes, and the Social Circle. Retail price, 38 cents.

WILDER'S SCHOOL MUSIC. A Collection of Thirty-six New and Beautiful Songs, arranged for Schools and Juvenile Classes. By L. WILDER, Teacher of Music in the Brooklyn Music Schools, &c.

This work has already been adopted in the Schools of Brooklyn, New York, &c. Retail price, 18 3-4 cents. New York, Apr. 17.

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It is one of the most valuable contributions to the art.London Musical World.

In regard to interest and utility it can never be surpassed.J. A. Hamilton.

It is a work of uncommon merit-one superior to all others. -Drawing-Room Journal, Philadelphia.

A splendid acquisition to the list of American publications. -Philadelphia Saturday Courier.

It is rapidly taking the place of all other methods.--Philadelphia Inquirer.

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A book of invaluable worth as a code of thorough systematic education.-Philadelphia Sun.

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We cannot too strongly recommend this excellent work.N. Y. Scientific American.

The most thorough and complete work of the kind.-Mason's Choral Advocate.

It is a standard work in the musical circles of Great Britain. -The Asmonean.

This book must be of great value in schools and families.-N. Y. Observer.

There is no book published, which can compare with this.-East Boston Ledger.

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A deservedly popular work.-Philadelphia Mercury. Czerny can boast of having given to musical Europe Thalberg, Listz and Doehler.-La France Musicale.

Published by OLIVER DITSON, 115 Washington Street, Boston. Sold by all Music Dealers and Booksellers in the Union. Apr. 10. tf

NEW & VALUABLE MUSIC BOOKS

RECENTLY PUBLISHED BY

OLIVER DITSON,....BOSTON. SPOHR'S GRAND VIOLIN SCHOOL, being an exact reprint of the latest European editions, with all the author's new revisions and improvements. One volume, quarto. Price, $3.

Among the many peculiar excellencies of this Violin School one is remarkable, that the Elementary Instructions do not precede the practical portion of the work as in other Schools, but are combined therewith; by this union the pupil is enabled to take the Violin in hand at the first lesson; in fact, he should and must then commence with it. The author's knowledge, as observable in his Preface, is no small addition to the truly practical distinctions of this School; his style is simple, clear, noble, and elegant, alike attractive and useful as a standard to the pupil as to the master.

Czerny's Exercises in Velocity. (30 Etudes de la Velocite,) preceded by Nine New Introductory Exercises, and concluded by a New Study on Octaves, (composed expressly for this edition,) for the Piano Forte. From the Nineteenth London Edition, with Notes. By J. A. HAMILTON. In three Numbers. Price of each, 50 cents. Complete in one volume, $1.25.

** Calculated to develop and equalize the fingers, and to insure the utmost brilliancy and rapidity of execution.

NEW AND ENLARGED EDITION OF The Seminary Class Book of Music, designed for Seminaries, High Schools, Private Classes, etc., containing Elementary Instructions, Vocal Exercises, Solfeggios, and a copious selection of Secular and Sacred Songs, Duets and Trios. By E. L. WHITE and T. BISSELL.

The above work has been before the public only one year, yet it has become a universal favorite, and is used in all parts of the Union. During the past year every inquiry has been made in order to ascertain in what way it could be improved and made fully equal to the wants of those for whom it is intended, and from suggestions thus obtained the publisher has been induced to add to and in other ways improve it. It is now pronounced to be exactly what is wanted, and as such it is offered to the public.

The above books can be obtained in large or small quantities of the publisher, 115 Washington St., and of music dealers and booksellers generally throughout the United States and Canadas. 7 tf

E. H. WADE,

197 Washington Street, Boston.

PUBLISHER & DEALER IN SHEET MUSIC

and Musical Merchandise of every description. Publisher of BERTINI'S METHOD FOR THE PIANO.

New and Second Hand Pianos, bought. sold and exchanged. Cash paid for Pianos. PIANOS TO LET.

E. H. Wade's Catalogue at present comprises all of the Music published by W. H. OAKES, C. BRADLEE & Co. and A. & T. P. ORDWAY, making if the largest and most valuable one in the country; which, with a large exchange list, enables him to offer every inducement to the trade, to Seminaries, to Professors and the musical public, for their patronage.

NEW JUVENILE SINGING BOOK. THE PESTALOZZIAN SCHOOL SONG BOOK, containing a Complete Elementary Course, (in which a large number of Popular Airs and Tunes, arranged to be sung by note, are employed as progressive exercises,) a large collection of SCHOOL SONGS, together with a full variety of HYMNS and SACRED TUNES, for the devotional exercises of Schools. By GEO. W. PRATT, Teacher in the State Normal Schools, and J. C. JOHNSON, Author of Juvenile Oratorios, &c. This work is on an entirely new plan, and is believed to be a great improvement upon any Juvenile work heretofore published. A copy for examination will be sent by mail, postage paid, upon the receipt of twenty-five cents. Published by A. N. JOHNSON,

36 School St., Boston.

A. N. JOHNSON respectfully informs his friends that he has taken the new store No. 36 School Street, (a short distance from his former location in the Tremont Temple,) where he will keep a full assortment of Music, Singing Books, Piano Fortes, Reed Organs, Melodeons, &c. &c. Orders by mail promptly executed. 1 tf

D. B. NEWHALL, MANUFACTURER AND DEALER IN PIANO FORTES,

No. 344 Washington Street, Boston. PIANO FORTES REPAIRED, TUNED, & TO LET. Apr. 10.

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MR. ARTHURSON, AVING taken up his residence in the neighborhood of a limited

for instruction in the MODERN SCHOOL OF ITALIAN AND ENGLISH VOCALIZATION. Terms, per quarter, $50. The first month, THREE lessons per week each lesson one hour's duration.

The advantages, which a long residence in the principal cities of Europe has given him, of studying under the first masters of the day, will, he doubts not, be fully appreciated by those desirous of rapid advancement in the art. The above terms include instruction in the Italian language, a knowledge of which is essential to the proper development of the voice, and a distinct articulation.

Communications may be addressed to the care of GEO. P. REED, 17 Tremont Row. 3 3m

CHOICE MUSIC BOOKS

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ZERNY'S Method for the Piano,

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NEW WORK for the Opera-admirer, printed on an entirely novel plan; the Music of all the principal Pieces being given, and placed over the English and Foreign version of the Words, so that the reader is not only able to follow the Music as well as the Libretto of the Opera, but has a complete preservation of both for after reference or performance.

-ALREADY PUBLISHEDMASANIELLO, with 11 Pieces of Music; NORMA, with 11 Pieces; IL BARBIERE DI SIVIGLIA, with 11 Pieces; LE PROPHETE, 9 Pieces; LA CENERENTOLA, 10 Pieces; OTELLO, 8 Pieces; DON PASQUALE, 6 Pieces; LINDA DI CHAMOUNIX, 10 Pieces; LUCIA DI LAMMERMUIR, 11 Pieces; DON GIOVANNI, 9 Pieces; DER FREISCHUTZ, 10 Pieces; LA FAVORITA, 8 Pieces; MEDEA, 10 Pieces; SEMIRAMIDE, 9 Pieces; LUCREZIA BORGIA, 9 Pieces; LES HUGUENOTS, 10 Pieces; LA SONNAMBULA, 10 Pieces; L'ELISIRE D'AMORE, 9 Pieces; ERNANI, 10 Pieces; IL PRODIGO, 10 Pieces: GUSTAVUS III., 5 Pieces; FRA DIAVOLO, 8 Pieces; AMILIE, 9 Pieces; FIDELIO, 5 Pieces.

A new Opera on the first of each month.

Davidson's Illustrated Oratorios. The Creation, Price, 12 1-2 cents.

Israel in Egypt, . Sampson,

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11 Pieces,

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DAVID DAVIDSON, 109 NASSAU ST.,

NEW YORK, Agent for the United States. James Munroe & Co., and G. P. Reed & Co., Boston; Evans & Brittain, 697 Broadway, and Moore & Horsfall, Merchants' Exchange, New York; W. P. Hazard, and J. W. Moore, Philadelphia; Taylor & Maury, Washington; Nash & Woodhouse, Richmond. 7 4t

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and Physiology, &c.; Writings of EMANUEL SWEDENBORG, Theological and Philosophical; Barometers, Thermometers, &c. For sale, wholesale and retail, by Apr. 10. OTIS CLAPP, 23 School St.

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HIS ESTABLISHMENT, founded in 1849, is situated near the village of South Orange, Essex County, New Jersey, five miles from Newark, and fourteen miles from the city of New York, on the line of the Morris and Essex Railway, by which passengers arelanded at the Station House of the establishment, a few minutes' walk from the door.

The location is upon the south-eastern slope of the Orange Mountain, commanding a view of one of the loveliest valleys, and two of the prettiest villages in Eastern New Jersey. On the east and north-west it is sheltered by mountains from the sea-air and colder winter winds.

All the requisites for such an establishment are here found, viz: pure mountain spring water, beautiful and retired walks through the woods and upon the mountains for several miles in extent, and shielded from the winds in winter and the sun in summer; springs and streams along the various paths, and picturesque scenery.

In the ravine, immediately in the rear of the Institution, flows a beautiful brook. Upon the margin of this stream, which descends in a rapid succession of cascades, are the outdoor baths, a great variety of which have been provided. Among these are found the rising and falling douche, the running and rising sitz-baths, the running foot-bath, the plunge and wave baths.

In the Grove, a few rods from the Institution, a capacious swimming-bath has been obtained by damming the mountain stream. For this a pleasant screen is formed by a light awning curtained to the surface of the pond, affording ladies and children at all times ample opportunity for gaining that valuable accomplishment, a knowledge of the art of swimming.

From many points in the walks where the prospect is not intercepted by woods, an extensive panoramic view is presented of the cities of New York, Brooklyn, and the towns adjoining; East and West Bloomfield, North and South Orange, Newark, Belleville, Elizabethtown, the waters of New York harbor, and Newark bay, Staten Island, its villages, etc. The drives through a circuit of ten miles are varied and full of interest.

The original building is 40 by 90 feet, three stories, with piazza of the same height, extending the full length of the house. To this, during the past winter, two wings, each 31 by 51 feet with piazzas, making in all 230 feet of sheltered promenade, have been added. Besides the large number of new, sweet, and well-ventilated chambers thus obtained, a beautiful dining-hall 30 by 50 feet, and 14 feet ceiling, and a readingroom, and a well-arranged lady's bath-room, have been added. These increased facilities will enable the Institution hereafter to receive and comfortably provide for, upwards of One Hundred Cure-Guests.

The establishment is admirably adapted for the water-cure practice in winter, (which for many diseases is the most favorable period of the year,) being fitted up in a very superior manner, and provided with abundant supplies of cold and hot water. Ladies who require it need not leave their rooms for treatment, as private baths are attached to a large number of them.

A bowling-alley and billiard-table are attached to the establishment.

The reading-room is supplied with some of the chief journals of the Union-several New York dailies, a number of the standard American periodicals, the Courier des Etats Unis, the Illustrated London News, Punch, etc., all of which are received immediately after publication, and regularly filed.

The Institution will furnish saddle-horses, and horses and vehicles, at reasonable rates. For the benefit of invalids whose afflictions compel them to assume a reclining posture when riding, a carriage has been constructed with especial reference to their wants. This can be used to bring patients to the Institution when the usual conveyances cannot be resorted to. To ladies who desire that form of exercise, small flower gardens are allotted.

TERMS.-In winter, $8 and $10, and $10, $11, and $12 in summer, payable always weekly. Consultation fee, $5. Persons occupying the whole of a double room, or requiring extra attendance, will be charged accordingly. Board of private servants, $3 per week. Children always received conditionally.

Patients must provide themselves with four coarse thick linen sheets, two thick blankets, two thick comforters, and six towels; or, when unavoidable, the same may be hired of the Institution for $1 per week.

Persons coming to the establishment from New York, leave the foot of Courtland Street at 8 1-2 and 10 o'clock, A. M., and 4 and 6 P. M. Upon leaving Newark the Conductor should be notified that he has passengers for the Water-Cure. The time occupied in reaching South Orange from New York is about one hour. Visitors can come from and return to the city several times during the day. Newark is connected with New York by hourly trains.

If the Superintendent is requested, he will send the vehicles of the Institution to meet passengers by the Southern trains at Newark.

Dr. JOSEPH A. WEDER, late of Philadelphia, is the Physician of the Institution. He is a graduate of the Medical College of Freyburg, in Baden, Germany; he has visited the Græfenberg Institution, conducted by the celebrated Priessnitz, many of the water-cure establishments of Europe, and has had twelve years' experience in Hydropathy. Letters upon professional business should be addressed to Dr. Weder; all others to the Superintendent, GEORGE H. MITCHELL, directed to South Orange, Essex County, New Jersey. MAY 1st, 1851.

VOL. I.

Dwight's Journal of Music,

PUBLISHED EVERY SATURDAY,

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[Translated by the Editor.]

FREDERIC CHOPIN.

BY FRANZ LISZT. (Concluded.) IX.

During this sickness (in 1847) his recovery was for several days despaired of. Herr GUTMANN, his most important pupil and the friend whom he most loved to see about him in his latter years, gave him the greatest proofs of attachment by his self-sacrificing attentions. Chopin had become so used to him, that he often anxiously inquired of the princess Czartoryska, who visited him daily and who more than once scarce hoped to find him living: "whether Gutmann was not to be had? whether he could not perhaps take care of him still longer? for his presence was the most dear to him."

Nevertheless he was once more saved, but in this point of his life occurred the blow, which fell destroyingly upon his inmost being, and which he on the instant recognized as fatal for his heart. It was the formal rupture with the Sand; and in fact he did not long survive it. For the present he was convalescent indeed, but slowly and painfully, and he had become so changed, that one scarcely knew him.

The following summer brought him that transitory improvement, which persons, whose life is gradually passing away, are wont to derive from the beautiful season of the year. He was not willing to leave Paris and so robbed himself of

the beneficial influence of the pure country air upon his health.

The winter of 1847-8 was only a painful alternation of reliefs and relapses. In spite of that, he resolved in the spring to execute his old purpose of going to London. When the February revolution broke out, he was still confined to his bed; it seemed as if a dark destiny drove him to a livelier sympathy in the events of the day, and he spoke more about them than was otherwise his habit.

In April he felt himself better and now seriously thought of visiting that island, to which he had set out to go when youth and life still offered him the brightest prospects. He travelled to England, where his works had already found an intelligent public, that knew them and admired them.* He left France in that state of mind, which the English call low spirits. The momentary sympathy which he had bestowed with a certain degree of exertion upon political events, had quickly passed away. He had become more silent than ever. His affection towards the few persons whom he continued to see, took the color of that soul-pervading excitement, which precedes the last farewell greeting. His indifference for all outward things still grew upon him; Art alone retained its unlimited power over him. In the shorter and shorter moments in which he was permitted to occupy himself with it, Music claimed his whole being as earnestly as in the time when he was full of life and hope. Before he left Paris, he gave yet one concert in the hall of M. Pleyel, a friend to whom he always stood in the most intimate relation, and who now too pays a worthy tribute to his mem

*Chopin's compositions had been for several years much circulated and made known in England. The best virtuosos played them. In a little writing called: An Essay on the Works of Chopin, published in London by Wessel and Stapleton, much is said that truly characterizes him, and the two lines of Shelley chosen for a motto:

"He was a mighty Poet-and

A subtle-souled Psychologist," apply most admirably to Chopin. Among other things the author says: "One thing is certain, viz: to play with proper feeling and correct execution the Preludes and Studies of Chopin, is to be neither more nor less than a finished pianist; and moreover, to comprehend them thoroughly, to give a life and a tongue to their infinite and most eloquent subtleties of expression, involves the necessity of being in no less a degree a poet than a pianist, a thinker than a musician. In taking up one of the works of Chopin, you are entering, as it were, a fairy land, untrodden by human footsteps, a path, hitherto unfrequented, but by the great composer himself; and a faith, and a devotion, a desire to appreciate, and a determination to understand, are absolutely necessary, to do it anything like adequate justice.

etc.

NO. 11.

ory and his friendship by the erection of a monument over his grave. In this concert his select and long tried public in Paris heard him for the last time.

In London he was received with extraordinary cordiality, and this reception drove away his melancholy and scattered his gloomy and desponding humor. He fancied himself entirely master of it, when he flung all, even his former habits of life, into the stream of oblivion. He neglected the prescriptions of his physician and the carefulness. which his sickly condition required. He played twice in public and innumerable times in private circles. He went much into company, stayed longer than usual, defied all exhaustion and let no consideration bind him to a regard for his health.

At the Duchess of Sutherland's he was presented to the Queen, and the selectest circles of society were emulous of his possession. He made a journey too to Edinburg, but the air there was particularly injurious to him. After his return from Scotland he felt very feeble; the physicians urged him to leave England as soon as possible-but he delayed his departure a long time. Who can define the feeling, which suffered him to linger? He played once more in a concert for the Poles; it was the last love-token that he sent to his fatherland, the last look, the last longing sigh! All his friends, crowded round him and he received the most enthusiastic applause. He bade them all farewell, without their dreaming that it would be the last. What may the thought have been that moved his heart, when he crossed the channel to return to Paris? to that Paris, now so different to him from that which he had found, without seeking it, in the year 1831!

This time a bitter and unexpected blow awaited him on his arrival. Doctor MOLIN, whose advice and skilful attendance had saved his life, to whom alone, as he was convinced, he owed the prolongation of his days, lay on his death-bed. He felt this loss severely; it had a dispiriting influence on him, which in moments when the state of the soul has so much dominion over the sick body, must have been very injurious. He cherished the firm belief, that no one could supply that man's place to him and had confidence in no physician more. He kept continually changing his physicians, none would suit him, and he placed no further hope in their art. A sort of superstitious despondency got possession of him; no tie