no less than 65 feet, with keys as large round as a genuine Dutch pancake. Many more things have been rumored into our ears; but we wish not to anticipate the Chef ď Orchestres unis d'Amerique, and will therefore close our remarks here. But while we are sensible of Monsieur Jullien's endeavors, we cannot forbear mentioning another piece of his unequalled ingenuisy, which rumor has also conveyed to our ears. Monsieur Jullien is said to be most desirous of raising and directing the taste of the American public; and to accomplish his laudable desires, he has ordered of Mr. Stuart, the well known candy manufacturer, 50,000 lbs. of steam refined candies, to be done up in neat little packages, enveloped separately in a copy of Monsieur Jullien's Grand Mammoth Concert Volcano Quadrille, to be thrown from the bowels of the volcano at the ladies among the audience. This is certainly and indisputably the true and only way of insuring Č SHARP. success. Music Abroad. London. ROYAL ITALIAN OPERA. Since our last summary there have been representations of the Barbiere and Fidelio. On the 15th of May, I Puritani was performed, with Mario, Lablache, Ronconi and M'me Bosio, who is pronounced the best Elvira after Grisi. A Boston or New York habitué can conceive how gracefully she warbled such sparkling Bellini strains as Son vergine vezzosa, and the latter part of Qui la voce. As if enough was not as good as a feast, two acts of Masaniello were appended, for Sig. Tamberlik. - Verdi's Rigoletto formed the next attraction; never was opera more splendidly sustained in every prticular," so they say. Mario created the 66 usual furore with La Donna è mobile; and the gem of the piece, the dramatic quatuor: Bella figlia del amore (just about to be published here by our indefatiguable Ditson), sung by Mario, Ronconi, Bosio and Nantier Didiée, was repeated. In the repetition on the next night Mille Marai took the part of Gilda, Bosio being indisposed. The Barbiere and part of Fidelio made up the bill for an extra night; and again the Elisir d' Amore and two acts of Masaniello. ROYAL OPERA, DRURY LANE.-Here too Fidelio has been given by the German company, and of course in German. Great was the crowd to hear the thing in the original. The Rocco of Herr Formes was all that could be desired; but Mme. Caradori's Fidelio did not answer expectation; Herr Reichardt's Florestan, Mlle. Sedlatzek's Marcellina, Herr Hölzel's Pizarro, Herr Lane's Jacquino and Mr. Hamilton Braham's small part of the Minister, are all well spoken of.-This was followed on the next night, by English opera for the first time. The piece was "Fra Diavolo," in which Sims Reeves had an "uproarious" reception. Mrs. Sims Reeves was Zerlina; and Mr. and Mrs. Weiss were Lord and Lady Allcash.-May 22d, a German night again; Don Juan, with Mme. Rudersdorf as Donna Anna and Herr Pasqué as the Don, both new and not admired to the extent of their German fame. Mme. Caradori was Donna Elvira; Mlle. Agnes Bury, Zerlina; Reichardt, Ottavio; and Formes, Leporello. - ORCHESTRAL CONCERTS. The sixth Philharmonic Concert offered by way of symphonies, Mozart's in G minor, and Beethoven's Eroica; for overtures, Oberon, and Spohr's Der Alchymist; songs and duets by Clara Novello and Sig. Gardoni. The great feature in the fourth concert of the New Philharmonic was Beethoven's "Choral Symphony," directed by Lindpaintner, the vocal solos by Mme. Caradori, Sims Reeves, &c. This was preceded by the overture to a MS. opera by Benedict ("The Minnesingers "); a selection from Leslie's "Immanuel "; Beethoven's plano Concerto in G, played by a precocious young Master John Barnett; a scena (by Reeves) from Haydn's Orfeo ed Eurilice; and Lindpaintner's overture, Die Cursen. At the fifth concert were performed Mendelssohn's "Scotch" Symphony, Beethoven's Leonore overture, and three new overtures; one by Horsley ("Comus"), one by Silas ("Olivier Brussen"), and one by Praeger. Prudent, the pianist, played a fantassia of his own. The Orchestral Union, at its second concert, gave Beethoven s Coriolanus overture; one of Hummel's Concertos, played by Herr Pauer; a Symphony by Haydn in G; a Concerto for flute; and a MS. overture by Mr. Cipriani Potter. Conductor, Mr. Alfred Mellon. Beethoven's "Pastoral" Symphony, Mendelssohn's overture to Ruy Blus, and an overture ("The Templar") by Henry Leshe, were played at the fourth concert of the Amateur Musical Society, Mr. G. A. Osborne Conductor. The next programme was to be three parts English, including a symphony by Leslie, a selection from Macfarren's "Sleeper Awakened," an overture by Osborne, and a song by Miss Gabriel. CHAMBER CONCERTS still abound. Ella's Musical Union, the Quartet Association, Mrs. John Macfarren's Soirées, &c., &c., afford continued hearings of the quartets, trios, sonatas, &c., of Beethoven, Mozart, Cherubin, Mendelssohn, and all the so-called standard classics. The CRYSTAL PALACE, at Sydenham, was to be opened by the Queen, with musical, as well as religious ceremonies; the principal choral societies, to the number of 1,000 voices, taking part. The selections very wisely, were confined to pieces best adapted to the building, such as Handel's choruses, the Old Hundredth, &c. Germany. VIENNA. In honor of the young Emperor's marriage, an adaptation of Rossini's Cantata, "The Journey to Rheims," was performed at the Opera, with great splendor. There was a Jubilee Overture, composed for the same occasion, by Carl Haslinger upon Austrian and Bavarian melodies; and a Te Deum, by Hölzl, capellmeister to the Cathedral of Fünfkirchen.-Mme. Goldschmidt's concerts continued as attractive as ever.Verdi's Rigoletto has been the favorite piece this season at the Imperial Opera. His Trovatore also has been given for the first time, with good success, under the direction of Carl Eckert. Fräulein Demeric and Sig. Bettini were much applauded in the parts of the gypsey and the trovatore. Mme. Medori has distinguished her. self in Lucrezia Borgia; she is engaged for the next Carnival at the San Carlo, in Naples. A grand concert has been given by the members of the Akademie der Tonkunst, to the founders and supporters of that institution, in commemoration of the Emperor's marriage The concert began with a prologue written for the occasion by Dr. J. R. Vogel, and recited by Fräulein Purkinje. The principal feature of the evening was the performance of four choruses, under the direction of Herr Lorenz Hauptman, the master of singing, which were admirably given and well selectel. The first was from Handel's oratorio of "Hercules," the second from Rossini's Semiramide, the third from Herr Schumann's Pilgerfuhrt der Rose, and the fourth, with recitative and bass solo, from John Sebastian Bach's church cantata, "Am Feste der Beschneidung Christi." Among the solos were Susanna's aria from Figaro, some Lieder of Mendelssohn, Herr Schmidtler's Sängerkönig, and Fesca's "Wanderer," etc. The instrumental part of the programme consisted of one of Beethoven's sonatas for piano-forte and violoncello, and a Fantasie Brilliante, by Professor Benesch. WEIMAR-A new symphony, by Liszt, entitled Mazrppa, has been well received.-The last operas at the theatre were Euryanthe, Lucia, Montecchi e Capuletti, Lohengrin and Tannhäuser.-Vieuxtemps has given a benefit concert, at which he played with Liszt the "Kreutzer Sonata" of Beethoven.-Fier-à- Bras, an opera by the lamented Franz Schubert, will soon be brought out under Liszt's direction.-Liszt, in an article in the Neue Zeitschrift, claims for Weimar the honor of rescuing from oblivion "the second Fidelio" of the day, namely the Benvenuto Cellini of Berlioz. COLOGNE-Ferdinand Hiller has resigned his post as professor of singing in the Musikverein, the committee having asked that he would show more zeal in the discharge of his duties.-The Musik lische Gesellschaft lately gave a symphony by Schnyder von Wartensee, and Hiller's Traum in der Christnacht. CASSEL-Dr. Spohr has just celebrated his 70th birthday, in the enjoyment of the best health. The evening before, the members of the orchestra, and the different singers at the theatre, gave him a serenade, including his fine notturno (one of his most important works for wind instruments), and several pieces from his operas. The public had heard of the intended compliment, and com pletely filled the garden of his house. After the serenade three hearty cheers were given. Dr. Spohr has received the Order of Bavaria. BREMEN. Fräulein Johanna Wagner and Herr Tichatscheck have been creating a furore. On account of the high terms required by these two celebrated artists, the management was obliged to raise the prices, at which the good people of Bremen were greatly displeased. LUBECK.-Herr Ferdinand Hiller's oratorio, Die Zerstörung von Jerusalem has been produced, under the direction of Capellineister Hermann, with great success. FRANKFORT-ON-THE-MAINE.-Herr Wagner's Lohengrin has been performed three times. Fräulein J. Ney has created a sensation. DRESDEN.-The Faust of Hector Berlioz has been produced, under the direction of that gentleman in person. AUGSBURG.-Herr Wagner's Tannhäuser has been represented six times, with Mme. Moritz as Elisabeth. Dwight's Journal of Music. BOSTON, JUNE 24, 1854. The Musical Congress in New York. The Crystal Palace, last week, was the scene of a remarkable event. It was our good fortune to be present, and we shall treasure the recollection among our most gratifying musical experiences. The opening Concert of Thursday eveing, which was the " Congress" par excellence and the only one that we attended, was indeed a wonderful combination of a magnificent spectacle, of the ne plus ultra of Jullien-Barnum clap-trap, and of sublime musical effects, such as have never before been listened to on this side of .the Atlantic. The undertaking was bold, the undertakers were the very men to carry it through, and the success, spite of the limited time for preparation, was as complete and satisfactory as they could have hoped. The scale on which this entire project was conceived and executed was immense, both as to the place, the orchestra, the chorus, and the audience. The orchestra and chorus embraced the following societies: The Germania Society. ✔ The United States Military Band. ✔ And Delegations from The Musical Education Society. Of New York. 5 Here was an orchestra of nearly two hundred and fifty performers, in which separate organizations were all merged into one great body; in which the "Germanians" were but as a drop in the ocean, and even Jullien's present orchestra weighed only as dust in the balance. It was made up, as nearly as we have been able to ascertain, of 35 first violins, 25 second violins, 20 violas, 16 violoncellos, 20 double-basses, 7 flutes, 4 clarinets, 5 oboes, 5 bassoons, 8 horns, 8 trombones, 4 tubas, 2 ophicleids, 14 trumpets, 4 tympani, 20 small drums, two large drums, besides 40 in the military bands. The chorus numbered over a thousand voices, fresh and well trained; the soprani, conspicuous among whom was ANNA STONE, being 380 in number. Boston was well represented by some four hundred members of the Choral Societies, whose long familiarity with the choruses on the programme, contributed not a little to the prompt and perfect performance of them. Arriving in New York only on Thursday morning, the only opportunity for a general rehearsal of this great multitude was in the few hours of that morning; and such an unexpected success of the evening's performance speaks volumes in favor of the wonderful skill of Jullien as a conductor of great masses of performers, and not a little of the proficiency and good training of the material with which he had to work. A Musical Festival on such a scale in Europe would have been the work of a year, and behold, in America, by the audacity of Jullien and Barnum, it is begun and finished within one single week! The Concert began at seven o'clock, the doors of the Palace being opened at four; and when the appointed hour had arrived, every available sitting or standing place that commanded a view of the orchestra was filled by an immense multitude, which is ascertained to have been not much less (including the performers and officials) than thirty thousand persons; the receipts of the occasion amounting to the sum of $17,000. The beautiful building, brilliantly lighted throughout with circles of starlike lights and a blazing pyramid suspended from the centre of the noble dome, filled thus with this great multitude, was a spectacle never to be forgotten by any who looked upon it. The colossal equestrian statue of Washington had been removed from its place beneath the centre of the dome, and the stage for the orchestra and chorus, commencing at that spot, rose high and steep, back into the Eastern nave of the Palace, high above the lofty galleries. Beautiful statues were grouped around the front of the platform, and evergreens and flowers completed the decoration of the stage. The orchestra and chorus completely filled this immense slope, the chorus overflowing in great waves of soprani and contralti far into the permanent galleries of the Palace. So much for the coup d'œil and the spectacle. To give an idea of the Concert, let us copy the programme. 7. Grand Chorus, "Hallelujah." 8. Air, "I know that my Redeemer liveth," Miss Maria S. Brainerd. 9. Chorus," Worthy is the Lamb." Handel's overture we hardly heard, being occupied in discovering an advantageous place in which to hear what was to come after. Then came the recitative and air " Comfort ye my people." And here we may as well dispose at once of the whole matter of solos. The vocal solos were assumed by persons entirely incompetent, as regards power of voice, if for no other reason, to attempt to sing in such a place. We know of no soprano, save ANNA STONE, who could have attempted such a feat with any prospect of success, and she, we are informed, prudently declined the undertaking. The instrumental solo performers, of course, cannot be questioned as to ability to do all that single instruments can do; but their performances were equally lost in the immense space. Such too, was the fate, as we learn from the experience of some persons, even of the grand orchestral and choral parts of the programme, on account of the place in which they chanced to be seated. The building is so large and so peculiar in form, so variously occupied in its different parts, that the most absolutely different acoustic effects could be found even in the distance of a very few feet. At one point the full power of the orchestra and chorus would be almost inaudible, while within perhaps ten feet of the same spot, one could get a majestic volume of tone such as we have never heard before. So the great features of this first part were the sublime choruses of the "MESSIAH;" and never have we found them so magnificent, so sublime, as when heard that night, at the very extremest distance from the stage, from this immense body of performers. The HALLELUJAH, was such a hallelujah as we never heard before and can scarcely hope to hear again. Between the first and second parts the United German Societies were to have sung, but this was wisely omitted on account of the great length of the performance, though much to the regret of every one. Then came the by the Germania Musical Society. 4. Solo, Violin,.... Symphony, The Minuetto, from the Symphony in E. flat, Op. 10, by the American Composer,.... 5. G. F. Bristow. 6. Grand Chorus, The Heavens are Telling,"..Haydn. 7. Grand Piece d'Ensemble,..... Dodworth's full Band. 8. Duo, Two Piano-Fortes, M'me Wallace and Mr. W. V. Wallace. 9. Quadrille..." The Fireman's Quadrille,".....Jullien. Composed expressly for this occasion as a companion to the American Quadrille, by M. Jullien. The Overtures "William Tell" and Tannhauser, we were fortunate enough to hear in a place where we got the fullest, finest effect that could be desired, and our readers are sufficiently familiar with both to know what that effect is. Not so with Mr. Bristow's symphony, of which we could hardly hear a sound. Then, again the chorus: The Heavens are Telling, which was magnificent in the full chorus, but inaudible in the trio. This part closed with the "Fireman's Quadrille," which we must take the composer's own words to describe. "The First, Second, Third, and Fourth Figures of the Quadrille are descriptive of the Annual Parade. The city is alive with the brilliant scene. The gaily decorated Engines and Hose Carts excite universal attention, as the companies pass in review, preceded by their military bandsnow heard in the distance, now close at handthe merry quickstep, the stately march, the sprightly fife and drum, waking the surrounding echoes, and then dying away, as the several companies recede from view. The Fifth Figure pictures the approach of Night. The mantle of darkness falls by degrees-the busy hum of the city is subsiding. It is night, and the Good Genius of New York hovers o'er it, carrying heavenwards the orisons of those now about to rest after the fatigues of the day. Not a sound is heard. reigns. Perfect silence When "The Fire Fiend," sweeping onwards through the night, breathes destruction around, whilst the unsuspecting slumber. Suddenly, a shower of sparks glitter in the air, and awake the vigilance of the night-watch; whilst, in the distance, the deeptoned tocsin sounds the alarm of Fire! That dreadful word is echoed from mouth to mouth, and a few instants only elapse ere the rattle of Engines and Hose Carriages breaks upon the ear -now approaching rapidly, now fading slowly away. The Alarm Bell continues to toll, and is responded to from tower and turret, far and near, o'er the wide expanse of the city. They come ! they come! Engine after Engine is rushing onwards towards the conflagration-the leader of each gallant troop, trumpet in hand, urging on his eager followers. The scene is reached. The devouring element is raging furiously; a dull, red glare illumines the horizon, whilst the thousand forked tongues of the Fire-Fiend shoot hither and thither, bent on destroying all within their reach. Now begins the elemental war. The Firemen at once commence the attack on the gigantic enemy. Dauntless, they scale the surrounding walls and rooftrees, pipe in hand, bent on conquering, and, cutting off all retreat, they compel the Demon of Fire to stay his course. Streams of rushing water pour from all directions. Baffled he obeys; and as the crashing walls fall on the expiring embers, he acknowledges their sway, whilst the mingled cheers of the brave firemen and the assembled multitude, proclaim the Victory. There it is in words; and it was all there in fact! Two or three military bands, one or more fire companies behind the scenes at the brakes, (so we are informed and believe), an army of speaking trumpets in the hands of orchestra and chorus, the din of many great bells (all that the Palace contained), the crash of falling buildings (represented to the life by the rolling of many cannon balls through a great plank tunnel built beneath the stage), and last, real fire burning in safe places on the roof, shed a "red glare" &c., (see programme above) upon the great audience through the crystal walls. A thousand Yankee Doodle Quadrilles would be as nothing compared to this gigantic piece of most astounding musical clap-trap, such as JULLIEN alone could conceive and Jullien alone execute. And so it ended, conductor, orchestra, chorus and audience, all in a whirlwind of excitement. Jullien and Barnum are called for by the audience, and appearing upon the stage, perform an expressive pantomime, each attributing to the other, by most affecting and affectionate gestures, the entire merit of the success of the occasion. Each makes a speech, Jullien stating that had he known as he now did, the acoustic capacity of the building, there would have been an entire change of repertoire; and thanking the audience for their applause, styling them "the most indulgent public before which he had ever appeared." Then the Only one movement of the symphony was performed. The Adagio from Mr. Fry's Symphony we were glad to hear again, and given with such fine effect. The Wedding March by the whole orchestra closed the concert at halfpast eleven o'clock, and the multitude dispersed. It was indeed a remarkable occasion, which we shall long recollect with no little pleasure, and wish that with such material, and more time, a real Musical Festival could some time be held, which would be all music, and such music as demands and should receive treatment from a multitudinous array of talent. A Complaint on behalf of Native Composers. We have received so many ill-natured and illbred communications, (as our readers in times past have sometimes seen), from "native American" musicians, jealous of what they thought too constant reference to foreign music and foreign standards, that it is a pleasure now for once to answer one both decent in temper and in manner, and reasonable in the general spirit of its argument. There seems some chance of getting at the truth by temperate discussion with one who can write as follows: LAWRENCE, JUNE 14, 1854. JOHN S. DWIGHT, ESQ. Dear Sir:-I observed in the last number of your Journal that you noticed a song by Mr. E. B. Oliver, in these words: "A song of uncommon beauty, (at least for a young American,) conceived in quite a German spirit." Now I think that I have seen it distinctly stated either in your paper or that of Mr. Willis, that there is no exclusive nationality in Art, and that the names of Mozart, Handel, Beethoven, &c. belong to the whole world, as also the names of Washington, Isaac Newton, &c. If this idea was not originated by you, still I think you fully endorsed it in your paper of April 1, 1854, wherein you say: "As if Mozart and Beethoven could be foreign," &c. Now if the Germans developed the resources of the orchestra more than any other nation, so also have Italians investigated the art of singing more than the Germans, and the English have succeeded in marrying words to music in a manner not surpassed by either Germans or Italians. Why, then, give the impression, that to conceive a piece in the German spirit, should be the highest aim of an American composer? Is there not a great amount of poor music published in Germany, and a much larger amount written there? I have supposed the great aim of your Journal to be, the advancement of musical art in America particularly. Would it not be well to inquire how far such a criticism as the one in question tends to the accomplishment of that object. You praise the song, not for any absolute merit, for it is not "of uncommon beauty" itself, but uncommon for an American you praise the author not so much for any original excellence, as for imitating, and being imbued with, quite a German spirit. Does not this suggest the idea, that to be German in thought, manner, and expression, is the only road to excellence? : Now look at the effect of this; suppose a "young American," a student in art, forced to restrict his ambition to "playing second fiddle" to some sec ond, third, or fourth-rate German musician; continually told by those who profess to feel most interest in his progress, that it is useless to expect to attain even that proficiency, except by emigrating to that classical country, and adopting German teachers and German theories. Suppose his most successful efforts rewarded by a pat on the head, and a "Very well done, really," (at least for a young American.) How many young Americans would, under such a culture, attain even the questionable mediocrity of a third or fourth-rate German composer ? Yours respectfully, NEWTON FITZ. There certainly is some truth in the above. And yet the writer, in his sensitiveness at the very sight of certain names, which have unfortunately grown somewhat controversial hereabouts, finds far more meaning in our chance expressions about the song in question than we intended to convey. To say it was "good, for a young American," was not to deny that anything good could come out of this Nazareth. It was simply qualifying what might otherwise have seemed extravagant or vague praise. Without the qualification one might have thought we were speaking of a song that should take rank with the songs of Mozart, Schubert, Mendelssohn, or Weber; or of Rossini, Bellini, or the master geniuses of either school. Now this we could not say, and probably the composer himself, if we had intimated it, would have set it down as insincere flattery. Besides, while genius is not necessarily of any country, yet we do maintain that the production of a really fine song by an American is no common matter. We are a nation new in music; we have barely begun to sing and play and love good music; as yet we have not a composer of established fame (for fame in country choirs and singing schools and musical "conventions" is not necessarily any fame in the world musical); we are beginning to have competitors and candidates for such fame, but time is yet to pronounce on their (in some cases formidable) claims. To say, therefore, that a composition is uncommonly good for an American, is simply to say that it is uncommon for a scholar, but not so for a master, since masters we have none acknowledged as yet in this Art. Again, why assume that the term "German" was applied to it by way of praise? We meant it rather by way of description; although of course there is some praise implied in such description. To have said it was Italian or French in style would have been to miss its characteristic altogether. To have called it English would have been vague and ambiguous, since it may be a question whether there is a peculiarly English style of song. And to have said nothing would but have left the door open to the inference that the piece had a style new and original, peculiarly its author's, or peculiarly American; which would have been true only in a limited degree. Indeed the motive of the term "German" partly was to save it from the questionable praise of classification with what are commonly understood to be songs of the American stamp, that is to say "negro melodies," or namby-pamby sentimental ditties, sung and manufactured by the numerous singing" families" that traverse the States. That a young man should write a song which suggests comparison with songs that find acceptance with a race so musical and so familiar with the works of genius, as the Germans, instead of with the Hutchinson, or Woodbury, or Christie melodies, is certainly a fact worth mentioning to his credit in these times. At all events the mention is discriminating, and does not send him for his audience to the wrong class of admirers. We assure our critic that there is no such inconsistency, as he imagines, between our several statements. We did say, and we do say, that the highest genius is not national; that Mozart and Beethoven can be no more foreign to true music lovers, than is our English Shakspeare to a German. Mozart and Beethoven are great, not because they are German, but because they had genius and were faithful to its voice within them. And Germany we call in a peculiar sense the home of music, and defer much to the standard of its culture, because Germany had Mozart and Beethoven, and Bach, and Handel, and Weber, and Mendelssohn, and Schubert, and so on, and has had its taste formed by familiarity with their works, and enjoyment of their influence; although, thank Heaven, that influence cannot be çonfined exclusively to Germans. We have not said, nor do our words properly convey the intimation, that "to conceive a piece in a German spirit should be the highest aim of an American composer." We have often cautioned against poor and dangerous, as well as upheld good, German models. We praise no one for imitating; mere imitation, we well know, can never attain to the dignity of manly and original production. Indeed it is just the originality and genuineness, so much more common in the German music than in any other, that makes us point to that so often for inspiring models. Observe, we say inspiring, not enslaving. Now we have not praised Mr. Oliver's little song because it betrayed a German culture and a German leaning. It might do that, and yet lack any spark of inspiration or of inOn the other hand, it may do that, and yet not lack original merit wholly independent of all that. Mr. Longfellow's poems have continually reminded critics of his fond acquaintance with the German poets; he has been called a poet with a German leaning; but does any one pronounce him less American, less himself, fess originally and in himself a poet, for all that?_ terest. But we do not "praise the song for any absolute excellence."-In one sense we do, and in one sense we do not. To say that it is good at all, even with a German sort of goodness, is to recognize a real, and therefore an absolute goodness, if by "absolute" is meant a goodness inherent in the song itself, and not reflected on it merely by some good thing not itself, which it resembles. We find in it a goodness, which is not less its own, because it reminds us of a similar goodness in songs that are German. On the other hand we do not give the song credit for absolute excellence; since we find it only comparatively excellent; we know of many songs which we consider far more excellent. This we thought a song" of uncommon beauty," as coming from an American, (since in America we are all but beginners, scholars, and not masters in this Art); we should not have thought it so, if it had come from Mendelssohn, or Schubert, or Rossini. Again, one may praise some verses, a stray lyric from a minor poet, without pronouncing him the equal of the great bards. For that were presupposing genius, which we were by no means prepared to predicate of the little song in question. As to the question (truly an important one) about the encouraging tendency of such criticism, and the true way to encourage native musical talent, we prefer to leave it till we can treat it at a greater length than we can now. Meanwhile we will only submit: first, that genius, if it really be in a man, will always contrive to maintain and show itself, however closely it may study and however warmly worship models left by others; genius imitates and learns from everybody, and yet it ever must remain itself and shine forth with its own innate fire. Secondly, those who have not genius, will and must produce only at second or third hand at any rate, and had better be referred to the best models, than to poor ones. Finally, we wish with all friendliness to suggest to our young native American musicians and professors, that they embarrass and thwart the proper and beneficent mission of all Art-criticism or journalism, by their over-sensitive propensity to construe whatsoever may be written into an in tention of praise or blame. We assure them that in nine cases out of ten, in our humble and often (we are aware) very imperfect attempts to characterize a composition or performance, we have no thought either of the one or of the other. The epithets we use are not all drawn from twó vocabularies, the one of eulogistic terms, the other of the contrary. If we chance to express pleasure in some person's work, it is not because we would assign him rank above others. We trust we may speak, sometimes, and quite often, without taking We often use terms upon us that invidious task. simply to describe or characterize, or give utterance to a chance suggestion, possibly a fancy, and behold A or B starts up aggrieved, that we have not praised him enough, or that we have praised C too much. We claim no sovereign patent for the dispensing of degrees of merit; we only write of music and musicians, as we love and feel about it, as we like and dislike, trusting that it will add some impulse to the right and earnest study of so invaluable an Art. The GERMANIA MUSICAL SOCIETY are engaged at the Crystal Palace until they go to Newport in the middle of July. There are sad rumors about their disbanding at the end of the summer, which we trust will not prove real. THE HARVARD MUSICAL ASSOCIATION have just received the third volume of the splendid edition of the works of JOHN SEBASTIAN BACH, published at Leipsic by the Bach-Gesellschaft. One volume is published annually by this society, whose object is to perpetuate, by this superb edition of his works, the memory of the great composer, deeming this to be the fittest monument. This edition is supplied to subscribers only; among the list are five from Boston. This volume, containing works for the piano, is the last issued, and is presented to the Library of the Association by the thoughtful liberality of Mr. NATHAN RICHARDSON, the well known publisher of this city. VOCAL MUSIC IN CLASSES. The undersigned proposes to give instruction to YOUNG LADIES IN CLASSES, to FAMILIES, and to INDIVIDUALS, as may be desired, in the Elementary Principles and Practice of Vocal Music, According to the Pestalozzian or Inductive Method. The plan proposed will not interfere with instruction in the higher branches of VOCAL EXECUTION, STYLE, EXPRESSION, etc. nor supersede its necessity; but the great object will be, by the establishment of a systematic, well directed, and adequate elementary course, to enable pupils to READ even the most difficult music with ease and fluency-and thus eminently qualify them to receive and profit by their instructions in the more advanced studies of the Art. New classes formed whenever a sufficient number of pupils shall apply. The price of tuition will be regulated by the number of pupils in a class. Families and small classes met at their residences, if desired. Apply between the hours of 2 and 3 P. M,, at the rooms of George J. Webb & Co, No. 8 Winter St. E. R. BLANCHARD, Teacher of the Piano, and Vocal Music in Classes. Residence, No. 24 West Cedar St. Boston. References: Messrs. George J. Webb, Lowell Mason. A. WERNER & L. J. HOEFFNER, -DEALERS IN——— je 17 USICAL INSTRUMENTE, No. 265 WASHINGTON STREET, Pors, Violoncellos, Basses, Clarinets, Flutes, Piccolos, IANO-FORTES, Seraphines, Melodeons, Guitars, Violins, Fifes, Accordeons, Strings, Bows, etc. We shall keep on hand a great variety of the above named instruments, and shall endeavor to give satisfaction to all purchasers, whether they desire the best and highest priced, or the cheapest instruments. Orders by letter will be carefully attended to. PIANOS TO LET, TUNED AND REPAIRED. Mr. WERNER will also continue to give instruction on the Piano, Organ, Flute, Violin and Guitar. Mr. Werner can be seen at the Sales-room, or in the evening at his residence, No. 976 Washington St. May 27. 8m John Bunyan Still Lives! THE GREAT AMERICAN PICTURE. THE ENTIRE AND INIMITABLE ALLEGORY OF THE PILGRIM'S PROGRESS, In one Picture, 24 by 39 inches, most elegantly engraved on STEEL, by Andrews, containing 280 human figures, besides all the scenes through which Christian passed, on his journey from the city of Destruction, to the Celestial City, so admirably portrayed by Bunyan. Every Christian family should have this splendid production of human genius. TESTIMONIALS of the strongest nature, too numerous to publish, have been received by the publisher, from the most distinguished men of England and America. JOHN P. JEWETT, Publisher. GEO. E. SICKELS IS THE ONLY AUTHORIZED AGENT FOR BOSTON. His rooms are at the Am. S. S. Union, No. 9, Cornhill, where he keeps the Engraving for Sale. Also Plain and Ornamented Frames, designed expressly for it, at the lowest prices. Nov. 12. GEORGE J. WEBB & CO'S PIANO-FORTE WAREROOMS: Chambers, No. 3 Winter Street, Boston. AT this Establishment may be found an elegant and exten sive assortiment of PIANO FORTES, at all prices, warranted equal to any in the American market, in the essential properties of Tone, Touch, Power, Durability, Style, and Finish. None others will be kept. Also, an assortment of MELODEONS AND GUITARS. Mr. Webb's long experience in the profession of Music, enables us to assure those persons residing at a distance, who may find it inconvenient to visit Boston for the purpose of selecting an instrument, that they shall be as well served by letter, (naming the price of the instrument desired,) as by personal examination; and those who may favor us with their orders, can implicitly rely upon the exercise of Mr. Webb's best judg ment in their favor. Any instrument ordered can be ex changed if it does not suit. SOLD AT MANUFACTURERS' PRICES. .... AGENTS FOR.... Lighte, Newton & Bradbury's Pianos, New York. LESSONS IN SINGING. FREDERIC RUDOLPH RESPECTFULLY announces his intention to remain in Bos ton and give instructions in the art of Singing. Orders may be addressed to him at his residence (United States Hotel), or at the music store of Mr. Wade or Mr. Richardson. 8m Feb. 11. Mlle. GABRIELLE DE LA MOTTE INSTRUCTION ON THE PIANO, Feb. 4 8m GIVES AND MAY BE ADDRESSED AT 55 HANCOCK STREET. OTTO DRESEL Gives Instruction on the Piano, and may be addressed at the tf JOB PRINTING, In all its various branches, NEATLY AND PROMPTLY EXECUTED, BY EDWARD L. BALCH, Office Journal of Music, No. 21 School St. The MEDAL AND DIPLOMA awarded him by the Mass. Charitable Mechanic Association for superior workmanship, may be seen at his office. MUSIC prepared for Stereotyping. GREAT BOOK IN PRESS. MOORE'S ENCYCLOPEDIA OF MUSIC: COMPILED BY JOHN W. MOORE, With the assistance of other distinguished men in the musica! world. The intention of the author is to make a most complete and thorough work of the above, which will be a desideratum in the world of music. It will be published in one elegant Royal Octavo volume of about 900 pages, double columns, and will contain a complete Dictionary of Musical Terms, A HISTORY OF THE SCIENCE OF MUSIC, from the earliest time to the present, a Treatise on Harmony and Thorough Bass, a description of all known MUSICAL INSTRUMENTS, with the names of the most distinguished makers, and a complete Musical Biography of over three thousand of the most distinguished Composers and Musicians who have ever lived. Mr. Moore has spent several years in compiling this valuable work. It is now going through the press as rapidly as will comport with accuracy. P. S.-The above splendid work, which will prove invaluable to every professional musician, and to every amateur, will be ready this spring; we hope in the month of March. It has been delayed on account of the immense labor bestowed upon it, and the difficulty of stereotyping a work so full of examples. The delay, however, will enhance the value of the work. The price, bound in cloth, will be.....$4 00. Publishers, 17 and 19 Cornhill. Boston: JEWETT, PROCTOR & WORTHINGTON, - Cleveland. Will be for sale by all the book and music dealers in the country. Feb. 11. 2m THE MODERN SCHOOL -FOR THE PIANO-FORTE, HAS MET WITH THE GREATEST POSSIBLE SUCCESS and has created more excitement among Instruction Book makers and publishers than any other Method before heard of; for the reason that IT IS SOMETHING NEW, AND THOROUGHLY ADAPTED TO ITS PURPOSE. It is a Yankee" invent on, and the only work in existence that is universally commended notwithstanding the great opposition which has so long been maintained against every musical work from the pen of an American. The Author feels much flattered with the interest both foreign and American Professors have taken in introducing his method; it certainly is its best recommendation. The "MODERN SCHOOL" is not only known in this country, but in Germany, France and England. Publishers, both at home and abroad, already feel the influence of this Instruction Book, and it has induced them to overhaul their old and long-forgotten "Methods," shake off the dust and disguise them in a modern suit, and present them to the present generation as something new. In fact, every work less than a hundred years old is now making its re-appear ance. THE MODERN SCHOOL FOR THE PIANO-FORTE is bound to sustain its reputation and we challenge any publisher in this country or in any other, to produce a method for the Piano that has stood or will stand the same examination and criticism as the Modern School for the Piano- Forte. The Author, Mr. NATHAN RICHARDSON, has just returned from Europe, where he has met with the most flattering success with his Instruction Book, it having passed a critical examination by the most distinguished teachers, and been pronounced a great improvement upon all other methods by the highest authority of the old country. Among the many Professors who examined this work, and gave their written recommendations, we will mention JULIUS KNORR, (well known in this country,) who admitted to the Author personally that there is no instruction book at the present day that will compare with the MODERN SCHOOL as regards true merit, and will answer so fully its purpose. He gave his written testimonial as follows: After a careful examination of "The Modern School for the Piano-Forte," by Mr. Nathan Richardson, I am convinced that it presents a full and accurate compendium of all that is most essential to the acquirement of a good execution. It has, moreover, the merit of entire consistency in its system of fingering, which is occasionally new, but always there ughly adapted to its end. The work cannot be sufficiently recommended, especially to those players who make vi tuosity, or briliant execution, one end of their studies. An interesting feature of the book will certainly be found by many in its anatomical descriptions of the bones, muscles, and ligaments of the hand. JULIUS KNORR Those who are about to purchase an Instruction Book for the Piano-For:e should not fail to examine this work before any other, and they will be satisfied that it is the most thorough, progressive and comprehensive method ever published, and those who practice out of it will improve wonderfully. It is also decidedly cheaper than any other. Why? Because it contains 248 pages, and is printed upon the finest paper, embracing several beautiful colored plates, and bound in splendid embossed cloth, full gilt; presenting the most magnificent appearance of any music book ever laid upon the piano. Single copy,................ To satisfy the Public that the $4. The name of KNORR in commendation of an Instruction Book has often been sought, and when obtained considered a leading inducement for Teachers and Scholars to adopt the work. Here we have a Method by Knorr himself, in which is comprised all that vast accumulation of Musical Knowledge, as it relates to the Piano, which has made his name so celebrated, and his word of approval so desirable. THOSE, THEREFORE, WHO HAVE ADOPTED A WORK BECAUSE JULIUS KNORR RECOMMENDED IT, WILL NOT FAIL DULY TO APPRECIATE A VOLUME OF INSTRUCTION DIRECTLY FROM THE PEN OF THAT TALENTED ARTIST. THE MOST COMPLETE PIANO-FORTE INSTRUCTION BOOK OF THE AGE. A. E. MÜLLER'S METHOD FOR THE PIANO-FORTE: REVISED BY JULIUS KNORR, TRANSLATED FROM THE GERMAN BY G. A. SCHMITT. The Musical World and Times says of this work: "It is admirably suited to promote the study of the Piano-Forte, for it is one of the most complete works, in this line, ever pub. lished in this country, while it is based on the soundest principles of teaching. Müller seizes upon the pupil from the earliest age, and from the simplest lessons leads him, step by step, methodically to the fullest development of his physical powers, and to the highest acquirements of the instrument. There is one part of this Method which cannot be too highly praised; this is the developement given by the author to the Exercises with the hand in a quiescent state. Explanations on embellishments, musical elocution, and other matters are given with particulars entirely new. An excellent chapter is devoted to the performance in two and more parts (strict style) of each hand separately; a novelty in instruction books as yet published in this country. We recommend the book to the attention of both professional men and such musical amateurs as are desirous of becoming able and correct players on an instrument whose resources are boundless, and whose popularity is daily increasing." Numerous letters have already been received from distinguished Professors of Music, copies of many of which will soon be published. There is but one opinion expressed respecting Müller and Knorr's Method, and that is earnest in its praise. From lengthy notices of the Boston press, the following are selected: "This volume contains all that is required to make not only a good, but an admirable pianist."-BOSTON ATLAS. "A pupil who shall follow the rudiments here given, cannot fail of becoming an accomp ished performer."-TRANSCRIPT. "A legacy of inestimable worth to our growing love of the Art."-POST. "An elaborate and valuable directory to the art of pianoforte playing."-TRAVELLER. "It contains a plainer system of instruction than we remember to have ever met with in any similar publication."-Ax. UNION. "One of the best, if not the very best (notwithstanding the acknowledged excellence of Bertini's Vethod) Piano Instruction Book ever published in this country."-PRIVATEER. "Best and most thorough Method for the Piano ever published Even old players will deem it a valuable companion." The FIRST PART contains the Elements of Music, as applied to the Piano; a systematic synopsis of the Rules of Fingering; explanations of different modes of Musical Elocution: interwoven in all of which is a useful Guide to the Teacher The SECOND PART treats of Mechanical Matters, or all that belongs to the department of Fingering exclusively. More fully carried out by Knorr in this, than in any of his other works. Published by OLIVER DITSON, Boston: BERRY & GORDON, New York: J. E. GOULD, Philadelphia: D. A. TRUAX, Cincinnati: and by Music Dealers generally. Copies can be sent by mail. No. 21 School St. |