highest attainments in various departments of science and art, we may be pardoned for asking with Cyril, in Tennyson's "Princess," But when did woman ever yet invent? An Opera, an Oratorio, a Symphony, a Trio, a Quartett, an Overture, a Cantata never! But may we not, when we observe all the signs about us in this our day, since to her sex can no longer be denied the possession of "the vision and the faculty divine," expect to see her too winning the fame, not only of a splendid pianist and magnificent vocalist, but of the great composer; and having her beauty and grace associated with this of all arts most enchanting, the sweet sister of that to which a Barrett, a Hemans, a Norton have imparted charms otherwise unknown? [To be concluded in our next.] NEW MUSICAL INSTRUMENT. Mr. Freberhuyser, a musician of Albany, has invented a new musical instrument, the materials used for its construction being sea shells. The exterior of the shell is not disturbed, and retains all its rough attractions. The mouth-piece is fitted to a screw tube adjusted at the head of the shell. Along the sides the key holes are arranged at proper intervals, and the edges carefully lined. A valve lined with velvet, hinged at one corner, covers the mouth of the shell, and is compressed or opened as the character of the music requires. At the opposite and extreme corner of the mouth, the vent is left for the egress of the surplus air. The instrument, therefore, with the valves and keys closed, is air-tight, and the variations in the size and natural organization of the shell, furnish the change in the tone of the instrument. The music is said to be powerful and agreeable. The Part-Songs of Germany. It is forty years since Zelter (best known in England as Goethe's correspondent) and his friend Fleming, founded at Berlin a congregation of staid elderly men, who met once a month to sit down to a good supper, and to diversify the pleasures of the table by singing four-part songs, principally composed by themselves. Their number was forty; and far the larger part of it composed of amateurs or men in office. It was an original statute that no one was eligible as a member who was not a composer, a poet, or a singer. During his lifetime Zelter was their president and principal composer; and in no branch of art did his peculiar talent evidence itself so brightly as in these convivial effusions, where humor, raciness, a masterly employment of the limited material at his disposal, and a fine sense of the poetry he took in hand, distinguish him among his contemporaries. Goethe used to give his songs to be composed by Zelter; and many of them were sung at the Berlin "Liedertafel" before they were printed or known elsewhere. Fleming also contributed some fair musical compositions, - that to Horace's ode," Integer vitæ," amongst others. It was in the year 1815, or thereabouts, that Berger, Klein, and a younger generation of musicians, founded a young "Liedertafel" society, on the same principle, and for the same number of members. Friedrich Forster wrote some very pretty songs for it. Hoffman, the novel writer and kapellmeister, made it one scene of his strange and extravagant existence; and left behind him there an immortal comic song Turkische Musik," the words by Friedrich Forster. In general, a gayer and more spirited tone pervaded this younger society than belonged to their classical seniors. It was the practise of both bodies to invite guests on holiday occasions; and by the younger part-singers ladies were admitted twice a year. Nothing could be sprightlier or pleasanter, a little extra noise allowed for, than these latter meetings. They were not long in spreading far and wide. The good suppers became of less integral consequence; original compositions were not always attainable; but in every town it was natural to collect the younger men of all classes, for the purpose of singing together. A regular system of organization, of division and sub-division, has arranged itself. The town societies in combination form provincial assemblies, where many hundreds come together. In the north of Germany the large class of young men who are either schoolmasters or organists in the towns and villages, or are educated as such at the normal schools, have societies of their own, and periodical celebrations. The provincial festivals of these societies are held in the good time of the year, so that open air performances are practicable. A fine site, too, is a thing always chosen. Not very long before my Harz ramble, the Liedertafeln societies of that district had been holding a congress at Blakenburg. These Liedertafeln societies take part in other celebrations not their own. When Schiller's statue was inaugurated in Stuttgart, the singing bodies of all the towns in the districts round about poured in through the gates of the town, one after the other, each with its banners and its music, till the separate chords, to speak fancifully, united in a grand chorus in the market-place. And while there exists a well-trained army of volunteer choristers ready to be called into action on all occasions - it need not be pointed out how different it is in quality to the body of subordinates at once semi-professional and untaught, at whose mercy lies so much of the best music ever to be heard in England - I should say, did lie; for part-singing is now flourishing with us like the bean-tree in the fairy tale. It is needless, again, to remark how the works which make a whole great people vocal, must have a value and an interest in more aspects than one. To offer an instance or two likely to be familiar to the English-Music has nothing nobler in her stores than the battle songs in which the harmonies of Weber and the burning words of Korner are united. We sit by our firesides, it is true, and know not the sound of an enemy's cavalry in the streets, nor the booming of an enemy's cannon without our gates; and hence are touched only faintly by the spell of the soul within them; but it is impossible coldly to listen to the masculine chords and bold modulations of "Lutzow's Wild Chase," and the "Sword Song," and the "Husarenlied." Again, we have taken home to ourselves and half nationalized "Am Rhein," among our "Black eyed Susans" and "Rule Brittanias," because of its spirit and beauty; though we cannot feel, save dramatically, and by going out of ourselves as well as from home, the joviality and mirth of those who dwell in a wine land, or the kindling of such a spirit as moved the army of Liberators on their return from victory, when within sight of Ehrenbreitstein, to burst out with one consent into that noble melody which was heard with little ceasing for two days and nights while the band was passing over the river! Honor, then, to the part-songs of Germany, and better acquaintance with them! is not the worst toast one could propose at a glee club. Chorley's Music and Manners in France and Germany. - Robert Schumann's Musical Life-Maxims. (Continued.) XXIII. Consider it a monstrosity to alter, or to leave out anything, or to introduce any newfangled ornaments in pieces by a good composer. That is the greatest outrage you can do to Art. XXIV. In the selection of your pieces for study, ask advice of older players; that will save you much time. time...st XXV. You must gradually make acquaintance with all the more important works of all the important masters. XXVI. Be not led astray by the brilliant popularity of the so-called great virtuosi. Think more of the applause of artists, than of that of the multitude. XXVII. Every fashion grows unfashionable again: if you persist in it for years, you find yourself a ridiculous coxcomb in the eyes of everybody. XXVII. It is more injury than profit to you to play a great deal before company. Have a regard to other people; but never play anything which, in your inmost soul, you are ashamed of. XXIX. Omit no opportunity, however, to play with others, in Duos, Trios, &c. It makes your playing fluent, spirited, and easy. Accompany a singer, when you can. XXX. If all would play first violin, we could get no orchestra together. Respect each musician, therefore, in his place. XXXI. Love your instrument, but do not have the vanity to think it the highest and only one. Consider that there are others quite as fine. Remember, too, that there are singers, that the highest manifestations in Music are through chorus and orchestra combined. XXXII. As you progress, have more to do with scores, than with virtuosi. XXXIII. Practise industriously the Fugues of good masters, above all those of JOHN SEBASTIAN BACH. Make the "Well-tempered Clavichord" your daily bread. Then you will surely be a thorough musician. XXXIV. Seek among your associates, those who know more than you. XXXV. For recreation from your musical studies, read the poets frequently. Walk also in the open air. XXXVI. Much may be learned from singers, male and female; but do not believe in them for everything. XXXVII. Behind the mountains there live people, too. Be modest; as yet you have discovered and thought nothing which others have not thought and discovered before you. And even if you have done so, regard it as a gift from above, which you have got to share with others. XXXVIII. The study of the history of Music, supported by the actual hearing of the master compositions of the different epochs, is the shortest way to cure you of self-esteem and vanity. 66 9. Spring's Approach. G. WOEHLER. "10. Red, Red Rose. A. FESCA. It is some fifteen years, we think, since Mr. Reed began to experiment upon our American musical taste, by publishing, from time to time, one or two choice specimens from the modern song-composers of Germany. And we remember with what avidity the "Last Greeting" and the "Passing Bell" of FRANZ SCHUBERT were then welcomed, and how this new and deeper appetite began to spread among our young music-lovers. It was the revelation of a new world of song to those who had only known English songs and ballads, sentimental love-strains with the most meagre common chord accompaniments, and so on. Meanwhile, by a variety of opportunities, we have become better acquainted, vocally and instrumentally, with the German masters, and there are many among our amateurs who do not shrink from the most difficult and picturesque accompaniments, which envelop so inseparably most of their melodic inspirations. There seems to have been a market for song after song-frequently the most complex and artistic-of Schubert, Beethoven, Mendelssohn, Kalliwoda, Spohr, &c.; and now the title page of these last issues presents verily a rich and tempting catalogue, -nearly sixty in all. We cannot say that all of these sixty songs come fully up to the standard set by those which first gave the series its character. They are of quite various degrees of merit. After Beethoven's incomparable "Adeläide," after Schubert's "Serenade" and "Ave Maria" and "Young Nun" and "Du bist die Ruh," after Mendelssohn's "Auf Flügeln des Gesanges," it would be hard indeed to explore indefinitely and never descend. Such "wings of song" are given to but few, and in them they are not always "renewed like the eagle's." Whatever may have been wanting to the ideal we had formed for such a serial publication-grateful as we are in any case for the whole of it-naturally occurs in an examination of these four fresh numbers, named above. In the first of them (No. 7,) we recognize an arrangement of one of Mendelssohn's "Songs without Words," that beautiful Andante con Moto, which forms the first of the fourth set (op. 53), a favorite with pianists, and which sings itself sweetly enough even without words, under skilful fingers, if the player only feels. And it is far easier to extract its melody and meaning in that way, than to find the voice that can adequately sing it to whatever words. Yet it is a melody which suggests words, and whoever put the German words, here given, to it, (for aught we know, it may have been Mendelssohn himself,) has done it cleverly. The English is a very far off imitation and not half so sing-able. The song is certainly beautiful in itself and curious for its derivation; but why go to tunes written for the strings to sing, when there are so many of equal merit and like spirit made in the first instance for the voice? No. 8, by Fesca, treats the images of Spring, the golden sunshine in the rippling waters," the "drooping flowers," the "gold-tinted dew-drops," " zephyrs,” “willows," "water-nymphs," "Philomel," &c., in a flowing romantic Allegro, with a descriptive, fairy-like accompaniment, full of modulation and ppp., and not to be mastered all at once. Fairly learned it must be quite effective, but after that song of Mendelssohn's it seems to show more skill than melodic inspiration. A race so musically learned and accomplished as the Germans will naturally produce a hundred songs from fair to clever for every one of its proper" gems of song." We know not how far a fine singer and pianist might overcome our hesitation to accept this song of Fesca's as such a gem. No. 9, is a beautiful song; still we fancy it would be esteemed common-place among Germans; but this too may be because the Schubert and Mendelssohn specimens have spoiled us. To neither of the two last are German words given. This omission we always regret; the number of German readers is constantly increasing; the original words in the best German songs are generally true poems and inseparable from the melody, and the English words ought to be as close a reproduction of these as possible, with the original side by side for comparison. For the object in such a re-publication should be, not only to furnish good available songs, but to convey as accurate and worthy an idea as possible to us Americans of what are the famous songs of Germany and wherein they deserve their fame. No. 10, again by Fesca, was composed to a German version of Burns' song: "O, my luve is like the red, red rose." It is a pleasing, simple melody; yet it seems to lack the inspiration and is not half as naturally wedded to the words as the old tune with which they have been associated to English ears. Nothing in the above remarks must be construed to mean that Mr. Reed's "Gems" include anything not highly worthy the attention of the singer and song-lover. Yet we should be glad to see a serial selection of the most truly classic German songs. We use the word in a generous sense. We have no idea of restricting it to Bach and Handel, to Mozart and Beethoven, or even to Mendelssohn and Schubert. We mean those songs, by whomsoever written, sometimes by some of the Di minorum gentium, it may be, which have become established favorites in Germany, and on which the fame of their authors as song-writers mainly rests;-those which not to know is not to know musical Germany. There are many yet left of the best of Schubert, which we can hardly afford to postpone to clever second-rate productions. Then again it is perhaps time to extend the list into some of the newest developments of German song genius. It might be safe to venture a few specimens of ROBERT SCHUMANN, who now claims the highest honors since the death of Mendelssohn. To be sure, his place as a composer is as yet a problem, the German world being divided between Schumann-ites and anti-Schumann-ites; but it is something in his favor, so far certainly as his very numerous Lieder are concerned, that the "Queen of Song" herself is among their most partial admirers, and has been heard more than once to express her preference for them even above those of Schubert. Then there is ROBERT FRANZ, a younger man, whose songs have the real inspiration-and there is TAUBERT, and LINDBLAD, who although a Swede and full of nationality, may yet be classed by proper affinity with the Germans. These are the first-rate men, the true creators; why go to the imitators, before we know them! 1. Hommage à Alex. Dreyschock. Impromptu pour le Piano. Op. 3. WILLIAM MASON. Leipzig. 2. Amitié pour Amitié, Morceau de Salon. Op. 4. By the same. These are graceful little compositions, with themes agreeable and characteristic, although not strikingly original, and wrought out to considerable elaborateness after the modern fantasia style. They evince true study of harmony and of the art of carrying along and interweaving individual parts. We do not suppose the young author laid himself out much in them, or that they are to be taken for much more than easy chance specimens of his every-day musical activity in that "land of real music" where he so wisely prolongs his studies; nor can they have much chance of distinction amid the works of prolific swarms of German pianists of every degree of talent. But for a young American student, a born Yankee, they are certainly highly creditable; and we shall be glad when the mastery of this art, which Mr. Mason, is seeking in Germany, shall be turned to the furthering of the cause of musical taste again in his own country. We look in great part to our young countrymen, now studying the art in its true home, for the realization of some future American Conservatory of Music. Fading Flowers. A Song. By WILLIAM MASON. New York: Firth, Pond & Co. A very simple, but by no means commonplace melody, in the minor mood, by the same young author. The accompaniment, too, while very simple, is unique in form and quite expressive. Mr. Oliver Ditson, 115 Washington St., besides his classical reprints, continues to encourage native efforts, in the small popular forms of Polkas, Waltzes, Marches, and easy Songs. We have to acknowledge the following, which have all something to recommend them in their proper line, and we do not know that the market for such things is at all affected by criticism, just or unjust, minute or general. 1. Sprite Polka. By JAMES G. BARNETT. 2. Paradise Polka. By JOHN S. WRIGHT. 3. Memento Polka. By EDWARD S. CUMMINGS. 4. Independent Boston Fusileers' March. By N. K. BACON. 5. "Do they Miss Me at Home?" as sung by the "Ampheons." Music by S. M. GRANNIS. This last is rather of the sentimental order, too much affected by the singing "families;" and we presume it is the sentiment, rather than the music, that is relied on as the excuse for publicity. 6. Oh! Touch those Thrilling Chords again. A Ballad. By WILLIAM R. DEMPSTER. A simple, pleasing melody, within an easy range of voice. Beethoven's Sonatas. Op. 31, No. 2, in D minor. pp. 18. Price 75 cents. Boston: O. Ditson. This makes the seventeenth Sonata of this elegant and cheap edition. And it is one of the most wild and exquisite tone-poems of the whole series. It is one of the two Sonatas of which it is related that Beethoven, when asked what suggested their idea to him, replied: "Read Shakspeare's Tempest." And truly the music conveys the spirit of that marvellous creation as perfectly as his overtures to Egmont and to Coriolanus give the spirit of those two tragedies. In that power of entering into the spirit of whatever subject, Beethoven possessed a Shakspearian genius. The Allegro of this Sonata gives the idea of ocean, storm, and supernatural agency. In two little monochord fragments of recitative, you may seem to hear the wondering, pleading voice of Miranda and the calm, wise reply of the magician father. The Largo has the most deep and grand expression, and the Allegretto Finale is a most exquisite and Ariel-like movement. What is all the finger-facility of Herz and De Meyer, compared with the power to read and feel and reproduce at will so beautiful a poem? Dwight's Journal of Music. BOSTON, JUNE 26, 1852. The German Glee Club Festival. NEW YORK, June 24. These days would become my native Persia. Yet although we all naturally "seek the shade, and find wisdom"- where we can, in such weather, I delight to see that the hard siege of the relentless Winter is raised at last, and to feel once more a budding belief in Summer and the Tropics. But we have been more in Germany than America since Saturday night. You had heard of the German Glee Congress, or festival of singers, which was held last year in Baltimore, and the year before in Philadelphia. Feeling themselves sufficiently prepared for metropolitan approval, they determined to hold their third annual Jubilee in New York, and it has been a great and deserved triumph. They arrived all through the day on Saturday, making their head-quarters at the Apollo, and in the evening repaired to the Park where, with flaring torches and flashing banners, and a swaying motley crowd, they presented a beautiful and unique spectacle. They chanted and sang and made speeches, and had an exciting time, while the merely political crowd was assembled around the Tribune office, impatient for Baltimore news. The procession moved down Broadway to Fulton street, and returning came up Nassau into Chatham, and so up the Bowery, and back again to the Apollo. As they passed with festal music playing popular airs and songs, waving their banners, huzzaing and singing, there was a delightful want of rowdyism in the show, which contrasted well with the torch-light procession of the Democratic ratification meeting a few evenings since, of which boozy, brawling and abundant noise and fury, most evidently signifying nothing, were the characteristics. At the Apollo there were more speeches and congratulations and pledgings of all kinds, and at length a general going home to bed. In the morning the Musik-Local of the Apollo was very handsomely decorated with a huge golden harp surrounded by evergreens, and supported on each side by the American and German flags. There was no breeze and the drapery hung gracefully and undisturbed over the balcony. Beneath, upon the sidewalks and lounging around the door, were the groups of singers in every kind of costume, cap, hat and badge, looking like a set of German students hurrying around the lecture room of the University. During Sunday the New Yorkers showed their guests the various elephants, after a grand rehearsal at the Apollo. And in the evening took place the "grand sacred concert" at Metropolitan Hall. The building was crowded with Germans and it was easy to feel the suppressed enthusiasm of the audience before the concert began. It had one little vent, when KOSSUTH entered. We all rose and shouted and waved our hats and were charmed with the graceful suavity with which the noble Hungarian received our homage. An immense stage had been erected with a little box or pulpit, for Herr Agriol Pauer, who was to conduct the performance, and after repeated demonstrations of impatience, that gentleman ascended to his place, with a silver baton pre R sented in honor of the occasion, and with a vigorous wave of his arm, swung the orchestra of more than a hundred performers into the masterly overture to Oberon. The long, waving, mingling, dreamy chords of the introduction are in the sweetest style of romantic music, and of Weber, its truest interpreter. Throughout, the picturesque power of the composer develops itself in fathomless and suggestive harmonies, and although it was easy to feel that it is not so rippling, dancing and weird as Mendelssohn's "Midsummer Night's Dream," yet it has a gravity and depth of pathos which are admirable and characteristic. Weber is always a richer composer, always fuller of musical material than his successor, but the latter has a breadth and beauty and propriety of treatment which is quite unmatched in musical history. In "Oberon" and the "Midsummer Night's Dream," they are much alike in conception, as was unavoidable. Of the two, the first is the wildest, the last, most aerial and fairy-like. Directly after this full-voiced overture, which was admirably done, with the utmost accuracy and true feeling, your Boston Liederkranz sang. The effect was a little thin and insufficient after the instruments. But when the ear grew accustomed to the voice, the delight was universal and enthusiastic. The audience had pride and sympathy in all that was done, and the performers threw themselves with all their souls into the work. Each club sang separately, advancing and retiring with the precision of military discipline. Flowers fell profusely at the close of each glee, and when the Junger Männer Chor of Philadelphia sang Zimmerman's Harfner's Lied from Wilhelm Meister, Wer nie sein brod, &c., there was a rain of boquets from every quarter of the hall, and a burst of acclamation that insisted, imperially, upon a repetition. The charm of the music, is its exquisite fitness to the song; and the majestic consent of so many voices- now shaded into the most delicate breath of wailing, now rising into the pealing triumph of assertion-produced an effect of whose absorbing interest I can give you no idea. Among the novelties of the concert was the overture to the Zauberflöte of Mozart, chanted by the Lidertafel of Philadelphia. But I was compelled to leave before this was sung and the concert was not over until nearly midnight. On Monday morning the clubs all marched in procession through the Park and up the Bowery to Broadway, down which they passed to the rehearsal at Metropolitan Hall. It was a fine sight, but entirely un-American. There was a slouching ease in the mass, most of whom wore straw hats, and carried fans, which was very suggestive of similar scenes in Germany. The banner, schwarz, roth und gold, the German tricolor, was borne in front, and made a rich and imposing show. They paused and saluted Gov. Kossuth at his residence in 16th street, and received from him his customary dignified and cordial acknowlment. The Monday evening's concert was very fine. It was exclusively choral singing-fancy it. An orchestra of more than a hundred, and twelve hundred singers! Metropolitan Hall was more than a third filled with the necessary platform, and the choral singing was colossal beyond anything I have ever heard in any country. It was not mere noise. It was musical sound adequately directed to musical ends. The director swayed the mighty mass as easily as the tides are swayed, and not less deep and grand than the ocean were the ponderous and profound effects. They were subdued, too, when needed, to the softest strain. It was a great musical triumph. A Pic-Nic in the beautiful grounds of ElmGrove upon the island, on Tuesday afternoon, of which I must steal another moment to tell you, closed this magnificent Jubilee. HAFIZ. A MUSICAL SEAL. The "Boston Music Hall Association" have reaped one of the first fruits of the "New England School of Design for Women," at this early stage of its existence, in the shape of a fine emblematic design for their Corporation Seal. The work was put in competition among the designing young ladies of the School and quite a number of cunningly artistic designs were elicited. It was a perplexing choice; but the one finally accepted by the Committee is a beautiful figure of St. Cecilia, designed by Miss Jane M. Clark, who has already become a teacher in the School, and is constantly giving proof of rare and various artistic talent. The School of Design works to a charm. A few days since we were shown the first printed specimens of lithographic engraving emanating from its pupils; in accuracy, grace and freedom they shame some more practiced hands. The inventive faculty already called forth in this school in arabesques and all kinds of ornamental drawing, far exceeds the sanguine expectations of its friends and founders. Here is really a whole series of elegant remunerative occupations opened to our sisters, who by instinct and by talent should be ministers of the Beautiful. To bring these remarks more to a practical point, we would direct the attention of our musicpublishers, who are always seeking new inventions for the vignettes on the title-pages of their music, to the School of Design. We are sure that they will find it a rich source of fresh and beautiful plans suited to all their requirements. Let them cast their lines upon these waters, and try it once or twice; that is, send in their orders, and see if they cannot get something original, without having to borrow from French and German works of the same sort. A QUESTION FOR MUSIC-PUBLISHERS. Can any one inform us why it is that printed music never bears a date? why we are always left in ignorance, so far as the printed sheet or volume tells us, whether the work be old or new? and why it is not as important and as expedient on all accounts that music should be dated, as that a letter or a book should be ? Is it for so transcendental a reason, as that music is supposed to be of no time, but to belong only to the "Everlasting Now," as it is also said to be limited to no point in space, being a universal language? Or is it left dateless for the express end to conceal its age, as if from an instinct of publishers that only novelties, like young maids, are vendable? Surely a false calculation this, seeing that good music, like good wine, improves and charms the more by age. We know not but we call in question, with profane simplicity, one of the profoundest and most important mysteries of the trade. But really it would much help the student, buyer and collector of music, to know when a composition was born into the world, and whether such or A NEW PRIMA DONNA. The music-lovers in Copenhagen have for a year or two past been growing enthusiastic about a young native singer, Mlle. CAROLINE LEHMANN, who has created quite a furore at the theatre as Agatha in Der Freyschütz, as Romeo &c., and at the concerts of the great symphony composer, Niels W. Gade. Mlle. L. is the sister of Mr. Lehmann of our Mendelssohn Quintet Club, and will accompany her brother hither on his return to Boston early in September. The Transcript says: "We have just read the translation of a criticism by Gade. He expresses unqualified admiration of her school, and more especially her voice, which is a mezzo-soprano of great compass, (reaching from F in the bass to C in alt., a distance of two octaves and a fifth,) of a rich tone, and of the most sympathetic quality. Gade stamps her as a genuine artist of the first quality. "She is yet very young, being but twenty-two, has rather a handsome, prepossessing face, and a fine figure; in fact, she has all the physical and mental qualities to constitute a great and favorite artist. 66 Having never been farther from the city of her birth, Copenhagen, than Stockholm, she is comparatively unknown to the French and English journals; however, the articles that have арpeared in the more northern ones, have been in terms of the greatest praise." Several of these (translated by a friend) are in our hands. One, dated December 1850, notices a Concert of GADE, at which several of his own compositions were performed; among which it names "Agnes and the Mermaids,' - an enchanted piece of music, the impression of which was still more deepened by Malle. Lehmann's charming representation. We can but express our regret at the little opportunity this gifted songstress has enjoyed for the development of her talent, which without doubt is a great acquisition to our Opera. Her rendering of the part of Agnes was tasteful and correct, and at the same time so perfectly in the spirit of the composition, that it transported even the sterner musical public present to enthusiastic applause, of which the composer (N. W. Gade) no doubt with joy ascribes a well earned share to Mdlle. Lehmann." Another (Jan. 1851) speaks of her in Der Freyschutz: "Mdlle. Lehmann is already well known from her successful debut as Romeo. There is a wide difference between these two characters-between the passionate son of Italy, and the romantic, melancholy, superstitious maid of Germany; a difference as great as that between Italian and German music. Mdlle. L. proved that she completely conceived the peculiarities of this music also. Musical Intelligence. Local. SUMMER AFTERNOON CONCERTS. The second took place on Friday of last week and was as successful as the first. The want of an oböe had been happily supplied in Sig. De Ribas. The number of brass instrument performances was reduced to three out of the nine pieces in the programme, making the concert mainly orchestral. Two good overtures were played, one (new to our ears) a spirited and interesting composition by Kuhlau: the other, Mozart's to Nozze di Figaro. In this last it seemed to us that, in the conductor's care to drill his forces into due regard to light and shade and emphasis, and to teach them to avoid the level, careless, routine way of playing, the forzando effects were rather overdone; but this will soon remedy itself, as so important a point of expression had better be exaggerated at first than be habitually slighted. Here too, of course, the paucity of violins was partly answerable, and we are happy to learn that their number has since been increased. The clarinet solo, by Mr. Guenther, was a pleasing selection, played with a good feeling and with much richness of tone; but the orchestral accompaniment showed lack of rehearsal. The movement with variations ("God save the Emperor") from Haydn's String Quartet was finely played by Messrs. Suck, Werner, Eichler and W. Fries. Yesterday's programme contained Weber's Overture to Euryanthe and the first and last movements from one of Haydn's Symphonies; also an arrangement by Mr. Suck, of Schubert's Ave Maria, for several obligato instruments with orchestral accompaniment. Better and better. SCOTTISH MUSICAL AND LITERARY RE-UNIONS. A very curious entertainment by the FRASER family, (father, son and two daughters,) is nightly frequented at the Masonic Temple. It is genuinely Scottish, and the party are but recently from Scotland; the programmes consist mainly of the old familiar Scotch songs and ballads, sung principally by the two young ladies, with the father at the piano and the brother accompanying on the violin, all sometimes joining their voices. They seem enthusiasts about this species of music, and render it with an uncommon energy of expression. Mr. Fraser prefaces each piece with a short account of its origin and connection with Scottish social life, sometimes reading the words ("Home, sweet home," &c.) with a good deal of unction. We cannot but admire the arduous "Objects" which this family have felt inspired to undertake, as set forth at the top of their programmes, viz: "We labor to elevate Music (!) and Song to that high Literary and Educational position on which they ought to stand," &c. New York. A FRENCH OPERA TROUPE is playing at Niblo's, -3 little spot of dancing sunshine, we should fancy, tossed from the merry waters of the Opera Comique. The prima donna is Madame FLEURY JOLY, who is said to possess a fine silvery soprano, with nothing of the French nasal twang. The piece is Une Songe d'une nuit d'été, a sort of French Midsummer Night's Dream, in which are bodily introduced Queen Elizabeth, Shakspeare (!) and the Fat Knight. Mons. DIGUET figures as Shakspeare. "THE WALDENSES." The following is the plan of Mr. Asahel Abbot's new Oratorio performed last week by the Harmonic Society: "The people of a Waldensian village open the morning with a hymn. While a part celebrate their happy exemption from the corruptions and misfortunes that attend the state of opulent and lawless nations, another portion go out to hunt the chamois in the mountains. "Others ascend the hill with their flocks, and are enclosed with a thunder storm. With the approach of night they return. They hold a musical entertainment, wherein are noticed some incidents in the history of their race, especially a celebrated persecution at the season of Christ mas, and that when their fathers were driven from their country, with the re-conquest of it from the French after their memorable march across the Alps from the lake of Geneva, under the leading of their pastor. "With the Sabbath morning the people assemble for worship. At the close of their Liturgy an alarm of invasion is given and all rush to arms. A battle follows, and a victory. They celebrate their success with a hymn of praise; then turn to bewail the slain. The leader's wife, having been mortally wounded in the battle, dies, and a dirge is sung at her grave. The solos predict the ruin of the Anti-Christian powers, and, with the chorus, sing' Great and marvellous are Thy works, O Lord God Almighty.' Mr. Abbot is a phenomenon. He is a sturdy, selfmade New Englander who has for some years taught music in New York; but, what is more, can boast himself the composer of an incredible number of oratorios and other scores in great forms. Not only that: he has instructed several of his pupils to be likewise composers of great oratorios. To hear him talk, you would suppose that great oratorios grew on every bush, where he resided. We know nothing of the merit of Mr. Abbot's music, and trust that it will have a fair chance. The "Waldenses," we understand, is one of a series which he designs to sketch in honor of the different races that have struggled for liberty through the last 1600 years. - ALBONI. All the New York papers are of course in raptures over the great Contralto's American debut on Wednesday evening. Not hearing from our own correspondent in season for the press, we give with full reliance what the Tribune says: and the final measure she varied by descending, with charming phrasing, quite into the depths of her voice. To the unanimous encore she graciously responded by repeating the last verse. "In the duet with Sangiovanni, Tornami a dir che m'ami, from Don Pasquale, the same beautiful simplicity was evident not less in the general delivery than in the full, fine sweep at the close. In the first few bars, especially, Sangiovanni's voice was calm as moonlight. Its fresh sweetness mingled deliciously with the gushing freedom of the contralto. 'It had a dying fall," it was a persuasive strain of the sweet South. "The concert closed with Non piu mesta. This was always one of Alboni's great triumphs, but never greater than last evening. The profusion of skill, the prodigality of perfect vocalization, with which the brilliant rondo was delivered, was the final drop of ecstacy in the evening's delight. The intoxicated audience could not contain itself, but burst in upon the closing notes, thoughtlessly rendering them inaudible. But the imperturbable singer smiled-her eyes swam with pleasure at the pleasure she gave; she trilled, she warbled, she slid, she rouladed, she soared, she sank and ending, she bowed, in retiring, with a sparkling smile, advancing again to the unintermitted applause-the cries-the waving handkerchiefs; and, laden with bouquets, repeated the allegro of the song as freshly and nimbly as if she had not sung for a month. There were more shouts, flowers and ecstacies. It was, as we said, an ovation." Sangiovanni Summer "Alboni has achieved a triumph even more brilliant than we had anticipated. The hall was crowded with a "brilliant and fashionable" audience. "The rattling, rumbling, characteristic overture to La Gazza Ladra opened the concert. Signor sang the cavatina Languir per una bella from L'Italiana in Algieri. He is destined to sure success. His voice is a delicate tenor, of rare sweetness, purity and flexibility. Its quality is sympathetic to that degree that we are constantly reminded of the traditions of Rubini's wonderful organ. To this exquisite quality of voice Signor Sangiovanni adds an equal cultivation, singing with a fluent, limpid grace, and with a brilliancy of fioriture remarkable in so young and not to say it slightingly. known a singer. His shake is clear, his slides and roulades accurate and true. His organ, however, is far from powerful. -so un "With Signor Rovere, the Basso, we were not so much pleased. He has a good, full voice, not striking in any particular, and he sings with knowledge and facility. In a concerted movement he is essential and effective. But he is much too exaggerated. His fun is too funny, his accent quite too staccato, his action altogether decidedly unsuited to the concert room. "Madame Alboni, in a flounced white silk dress, lownecked and short-sleeved, (so a learned and lovely said) with a single diamond-bracelet upon her right arm, her short black hair unadorned, and holding a fan, handkerchief, and a sheet of music, was led forward by Signor Arditi and was received with prolonged and renewed applause. She acknowledged her flattering, but voiceless, reception by a frank and smiling obeisance, bent again and again, as the plaudits continued, bowed finally to the conductor and the orchestra, and placidly awaited the cessation of clapping. Her delivery of the recitative Eccomi alfine in Babbilonia displayed immediately the breadth and entire finish of her manner, the unparalled ease and exquisite flexibility of her delivery, and the whole scend revealed the range, the quality and the power of her voice. It is a pure contralto, but its high notes, which are very high, are round and, what is very remarkable, pure and sweet. She stands like a statue, and the music flows, without the slightest effort, from her mouth. In all the most critical, and for a singerdangerous and difficult passages, it pours on as full and unencumbered as ever, gliding through the most elaborate and exquisite fioriture as easily as a sunbeam through space. Her singing is truly shaded. Its effects in the piano passages are penciled with aerial delicacy; her forte is strong, broad and clear and her shake, "call it the well's bubbling, the bird's warble." Over all these fine details presides the supremest sense of power. Her singing costs her no more effort than graceful movement costs a natural, graceful person; and we felt last evening what we felt the first evening we heard her four years since, that here is a genial Italian, gifted with a wonderful voice, which she has had the good sense to cultivate and develop to its extremest possibility. Consequently it is as satisfactory to hear her in the concert room as in the opera. The charm begins and ends in the voice. She has not the dramatic power which results from genius, and from a remarkable individuality, but her true taste in singing, and the magnificent organ controlled by that taste, seduce us into asking no questions, into making no demands. "The Brindisi brought down the first tumultuous applause. It was taken in a quick time and delivered with perfect simplicity. She allowed herself but a single ornament, one pure and perfect shake, as if indeed il segretto per esser felice were bubbling through her lips; 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. 10 tf GERMANIA SERENADE BAND BOSTON MUSIC HALL. NOTICE is hereby given that the BOSTON MUSIC HALL ASSO CIATION 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. NEW MUSICAL PUBLICATIONS. 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. The Nightingale's Nest, a Cantata by the eminent German composer, REICHARDT, translated by Mr. THAYER of Cambridge. A beautiful piece, suitable for concerts, taking about forty minutes to perform it; consisting of Solos for bass, tenor, and soprano voices, with Choruses. Price, $6 the dozen. Also BEYER's New Instructions for the Piano: Materials for Piano Forte Playing, by JULIUS KNORR, a work highly approved by the best teachers. Price, $2. 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 Boston. Apr. 10. tf CZERNY'S PIANO FORTE METHOD. Sa Manual to Teachers and Amateurs it is invaluable.London Morning Chronicle. 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. Published by OLIVER DITSON, 115 Washington Street, Boston. Sold by all Music Dealers and Booksellers in the Union. Apr. 10. tf DEPOT FOR Homeopathic Books & Medicines ; HWorks, FOWLER & WELLS' Publications on Phrenology [YDROPATHIC BOOKS; Phonographic and Phonotypic and Physiology, &c.; Writings of EMANUEL SWEDENBORG, Theological and Philosophical; Barometers, Thermometers, &c. For sale, wholesale and retail, by OTIS CLAPP, 23 School St. MUSIC BOOKS, PUBLISHED BY BENJAMIN B. MUSSEY & CO. 29 Cornhill, Boston. BERTINI'S PIANO FORTE INSTRUCTOR. A Progressive and Complete Method for the Piano Forte. 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 LAND. 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 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. Óne 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 OLD AND MODERN ENGLISH, FRENCH, ITALIAN AND GERMAN PROOFS and PRINTS, In Line, Mezzotint, Lithograph, &c. &c. PLAIN AND COLORED. THE HE 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. CHOICE MUSIC BOOKS PUBLISHED AND FOR SALE BY OLIVER DITSON, 115 Washington Street, Boston. CZERNY'S Method for the Piano, Bertini's Instructions for the Piano, Hunten's Piano Forte Instructions, The Child's First Music Book, $3.00 3.00 1.50 .50 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 it 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. Apr. 10. tf MUSICAL WORKS RECENTLY PUBLISHED BY MASON & LAW, 23 Park Row, Opposite Astor House, N. York. THE ACADEMY VOCALIST. A Collection of Vocal Music, arranged for the use of Seminaries, High Schools, 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. 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 Melodeon 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. CANTICA LAUDIS: Or, THE AMERICAN BOOK OF CHURCH MUSIC. By LOWELL MASON, Professor in the Boston Academy of Music, Editor of the Boston Handel and Haydn Society's Collection, Carmina Sacra, and other of the most popular Music Books in the country; and GEORGE JAMES WEBB, Professor in the Boston Academy of Music, and Editor of many valuable Musical Works. The increased satisfaction with which it was received, and the unprecedented success of this book, MASON AND WEBB'S LATEST WORK, as well as the warm commendations it has received from the Musical Profession generally, establish it as the best and most attractive collection of Church Music which even these celebrated authors have ever produced. It contains a greater amount, as well as variety, of truly beautiful new tunes, anthems, chants, and other pieces, than any similar work; besides a copious collection of the standard old tunes. The Elements of Vocal Music have been newly and most carefully prepared, and to adapt it more particularly to CHOIRS AND SINGING SCHOOLS, about Two Hundred Solfeggio Exercises and Progressive Lessons have been added. In addition to numerous testimonials from the press, it having been pronounced the "MOST VALUABLE BOOK OF CHURCH MUSIC EVER ISSUED," it has received from every section of the country the unqualified approbation of more than ONE HUNDRED PROFESSORS AND TEACHERS OF MUSIC. Retail price, 88 cents. JUST PUBLished, MARX'S MUSICAL COMPOSITION. The Theory and Practice of Musical Composition. By ADOLPH BERNARD MARX, Doctor of Music, &c. Translated from the third German Edition, and edited by HERMANN S. SARONI. A. B. MARX holds such high rank in Germany as a writer upon the subject of Musical Composition, that any recommendation of his great work to those who are at all acquainted with the musical literature of the land which is emphatically the home of music, would be superfluous. It is without a rival as a treatise upon this subject, thoroughly scientific and yet adapted to popular comprehension. The present translation is beautifully printed in 406 octavo pages, and bound in English cloth. Retail price, $2.50. NEW HYMN AND TUNE BOOK. TEMPLE MELODIES. A Collection of nearly all the Standard and Popular Tunes, in connection with Five Hundred Favorite Hymns; arranged as a Hymn and Tune Book for Vestries, Social Meetings, Congregational and Family Worship, &c. By DARIUS E. JONES. This work has already been introduced, and is used with great satisfaction and profit in the vestries of many Churches and in the Congregations of some, while the publishers have received numerous recommendations from Clergymen and others. Those who love the old tunes, and who deem it a desirable object that as many as possible should unite in the singing, especially at social meetings, will find this exactly the book wanted. Two Editions of the Work are published-an OCTAVO EDITION, price One Dollar; a DUODECIMO EDITION, price Seventy-five Cents. Both Editions are the same as regards contents, PAGE FOR PAGE, and vary only in the size of type. A liberal discount will be made when ordered by the quantity for Churches, Vestries, &c. H MR. ARTHUR SON, AVING taken up his residence in the neighborhood of Boston, is prepared to receive a limited number of Pupils 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 Mrs. ROSA GARCIA De RIBAS, TEACHER OF THE PIANOFORTE, SINGING & GUITAR, 2 Seneca St., corner Harrison Avenue. MR. De RIBAS will give instruction on the Oboe and Flute. Also MUSIC ARRANGED, TRANSPOSED, &c. Boston, Apr. 10. 3m D. B. NEWHALL, MANUFACTURER AND DEALER IN PIANO FORTES, No. 344 Washington Street, Boston. PIANO FORTES REPAIRED, TUNED, & TO LET. Apr. 10. I Goods, Novelties, Perfumery, Stationery, Cutlery, MANCAL Instruments, Umbrellas and Parasols. Articles for Presents for the use of Travelers of Utility and Ornament, constantly for sale at the lowest prices. 129 WASHINGTON ST., four doors north of School St. Apr. 10. tf HEWS' PATENT AMERICAN ACTION PIANO FORTE. THE MANUFACTURER is in possession of numerous testiTmonials from distinguished Musical Professorerous teste used the greatly improved ACTION PIANO, commending it in high terms. The attention of purchasers and amateurs of Music to an examination of its superiority, is solicited. GEO. HEWS, 365 Washington St., Boston. tf Apr. 10. T containing a Complete Elementary Course, (in which 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 Job & Fancy Printing. T. R. MARVIN & E. L. BALCH, Hine with neatness and despatch, solicit the patronage of |