DWIGHT'S JOURNAL OF MUSIC, A Paper of Art and Literature. JOHN S. DWIGHT, EDITOR. VOLS. V. AND VI. CHICAGO SOCIETY BOSTON: PRINTED BY EDWARD L. BALCH, No. 21 SCHOOL STREET. 1855. INDEX. Bach and Beethoven,...... .............. Neue Zeitschrift, v. 9 Copying without Credit, .....V. 7, vi. 198 New York: v. 29. 91, 150, 205, 206, vi. 75, 83, 109, 124, 132, Germany: v. 52, vi. 37, 41, 60, 66, 67, 91, 99, 100, 108, 116, 123, 124. 148, 156, 164, 171, 178, 189, 196, 204. Greenfield, Mass., v. 86. Milwaukie, Wis., v. 110, vi. 117. White Mountains, N. H., v. 123, 141, 149. Chicago, Ill., v. 124, vi. 59. Washington, D. C., vi. 75, 109, 116. Worcester, Mass., vi. 172. Cromwell's Army in the Cathedrals,....... ......V. 140 Dance of Cuba,... Attacks on N. Y. Philharmonic; Metropolitan Hall to be DIARY ABROAD: Music in Berlin; Liebig's Sinfonie Concerts; Quartet party; Marcello's Satire...... ..... .vi. 180, 183, 206 .vi. 45 .v. 12, 20 ..vi. 51, 58, 131 (from le Menestrel,) v. 164 ......... v. 165 Don Pasquale,.. Dorn, Heinrich,. English Glee and Madrigal Union, ..V. 146 vi. 93, 101 ... Classical Form in Instrumental Music, The,.......v. 69 Fiddle with a Heavenly Croak, A............................................v. 27 ...(from Punch) v. 59 vi. 29, 36 ...V 147 .v. 133, 147 .vi. 65 Germania Musical Society,.. .v. 7. 14 Germania Musical Society, Sketch of. .................v. 187, 189 Gounod's La Nonne Sanglante, London Athenæum, vi. 57 Handel: his "Messiah" compared with the "Creation," ....v. 22, 79, vi. 150 How to make an Opera.........Journal pour rire, vi. 17 Local (Boston and New England): v. 15, 39, 47, 55, 63, 71, Philadelphia, vi. 14, 119. 183. England. v. 3, 15, 21, 36, 52, 60, 77, 92, 100, 116, 124, 132, Germany, v. 4. 29, 36. 52, 54, 61, 68. 77, 92, 125, 167, 195, Opera ard Oratorio Contrasted,....R. S. Willis, vi. 187 Opera, Italian, how far practicable and désirable in Orchestral Proportions, The,.. ...v. 117 Organs, style of Playing in Philadelphia, v. 60; Harmonica Society's O. in Phil., 62; Tremont Temple O., 63. 159, 166; Organ-building in N. England, 155; O. in Pittsburg, vi. 75; at St. Paul's, 102; in Somerset-st. Church, 151. Overdoing the matter (puffing artists,).. .................v. 206, vi. 5 Pacini's" Arabi nelle Gallie," Pedals, a hint to young Pianists,.. Phillips, Adelaide, Miss... .vi. 181 .vi. 22 ...v. 31 Piano Forte, The, and Pianists, History of by Fétis, v. 25, 35, 43. Wednesday Afternoon in Boston,.. The Valley Stream,. The Cupids,. Lovely Mary Donnelly,. Herre I Love, . Ganymede, From Goethe,. Ariette for Music, . Parables, From Goethe,. The Wondrous Well,. The Lover and Birds,. Critic and Dilettant, From Goethe, A Magic Concert,.. To the South Wind,. Putnam's Mag. v. 10 .Shelley, 60 ...J. S. D. 68 .69 .Allingham, 89 99 Spenser, 131 Charles Lamb, 139 .Elizabeth G. Barber, 140 ...... Fred. Tennyson, 148 Rinaldo, 164 Mrs. Browning, 180 T. W. Parsons, 180 Dean Swift, 188 ...J. Blanco White, 189 C. T. B. 189 H. F. Chorley, 195 ..C. T. B. 196 T. W. Parsons, 198 Do. 203 The Returned Tourists, From A. Grün,. Weber's Music: A Sonnet, . Three Colors, From A. Grün,. W. C. Bryant, vi. 3 John Ruskin, 11 Do. 11 .... T. Hill, 29 Serenades-I. Midnight: II. Cavalier's Serenade,......50 The Lotus Flower, From Geibel,.. ....W. H. H. 82 "My heart, my heart is mournful," from Heine,....Do. 85 Richardson's Publications: Mendelssohn's Two Part Songs, arranged; Song by Southard; Polka, by Dresel, v. 14; Mendelssohn's Six Songs; Etude and Sicilienne by C. Mayer, 78. Ditson's Standard Operas," v. 38, 104: vi. 102. G. P. Reed & Co.'s "Gems of German Song;" Songs by F. N. Crouch, v. 38; Waltzes, &c. 78; Selections from Verdi, vi. 103. Wollenhaupt's compositions, v. 38, 85. Mozart's Variations, Songs, &c.; Heller's transcriptions from Schubert (0. Ditson), v. 85; vi. 183. Knorr's Method for Piano, v. 102; Methodical Guide, 118. Moore's Encyclopædia of Music, v. 125. Chopin; Waltzes and Polonaises (Richardson's ed.) v. 204; vi. 103; "Berçeuse," vi. 22; Krüger, W. "Harpe Eolienne," v. 204. Stradella, A.: Song, Pietà Signor, (Reed's Ed.) v. 204. Liszt: "Scherzo und Marsch"; "Benediction et Serment," vi. 14. Henri Cramer: "Morceaux Characteristiques"; "Fantaisies Dramatiques," vi. 14. Moscheles: "Magyaren-Klänge," vi. 14. Litolff: Valse; "Spinnlied," vi. 14. Field, John Six Nocturnes (Richardson), vi. 22. Wolsieffer, P. M.: "Old Acquaintances in new dresses," vi. 183. Cherubini's Counterpoint and Fugue, vi. 199. Rossini: his Soirées Musicales, v. 118, 204, vi. 99; as a Composer, by Escudier, v. 203; with the Impresario, vi. 34, 42; Reminiscences of, by "Harrison," 49, 90; his Il Barbiere in Boston, 133; Semiramide, do. 150, 157; compared with Verdi, 154; his "Moses in Egypt," 175. Rubini, Death and Sketch of, v. 2: Do. by Chorley, 11; his Will, 28. Rubinstein, the Russian pianist,.... Satter, Gustav, the pianist,....... Schubert, Franz: his Operas,. Schumann, Robert,.. .......vi. 204 ....vi. 180, 188 ........V. 109 ....... vi. 29 ........ vi. 196 ...v. 22, vi. 29 .vi. 99 ....v. 175 ...... Untimely Encore,...... .vi. 189 .....vi. 116 SOCIETY Journal VOL. V. of Music. A Paper of Art and Literature. BOSTON, SATURDAY, APRIL 8, 1854. the second part, was added; and the whole of the Dwight's Journal of Music, music, in its renovated state, appeared in another PUBLISHED EVERY SATURDAY. TERMS ITS TS CONTENTS relate mainly to the Art of MUSIC, but with glances at the whole World of Art and of Polite Literature; including, from time to time,-1. Critical Reviews of Concerts, Oratorios, Operas; with timely Analyses of the notable Works performed, accounts of their Composers, &c. 2. Notices of New Music published at home and abroad. 3. A Summary of the significant Musical News from all parts; gathered from English, German, French, as well as American papers. 4. Correspondence from musical persons and places. 5. Essays on musical styles, schools, periods, authors, compositions, instruments, theories; on Musical Education; on Music in its Moral Social, and Religious bearings; on Music in the Church, the Concert-room, the Theatre, the Chamber, and the Street, &c. 6. Translations from the best German and French writers upon Music and Art. 7. Occasional Notices of Sculpture, Painting, Architecture, Poetry, Esthetic Books, the Drama, &c.8. Original and Selected Poems, short Tales, Anecdotes, &c. Back numbers, from the commencement, can be furnished. Also bound copies of the first year. POSTAGE, if paid in advance, for any distance within the State, thirteen cents a year; if not in advance, twenty-six cents. To all places beyond the State, double these rates. SUBSCRIPTIONS RECEIVED At the OFFICE OF PUBLICATION, 21 School St. By NATHAN RICHARDSON, 282 Washington Street. GEO. P REED & CO., 13 Tremont Row. "A. M. LELAND, Providence, R. I. "DEXTER & BROTHERS, 43 Ann Street, N. Y. "SCHARFENBERG & LUIS, 722 Broadway, N. Y. "GEORGE DUTTON, JR., Rochester, N. Y. "G. ANDRE, 229 Chestnut St., Philadelphia. "MILLER & BEACHAM, 181 Baltimore St., Balt. "COLBURN & FIELD, Cincinnati, O. "HOLBROOK & LONG, Cleveland, O. "JOHN H. MELLOR, Pittsburgh, Pa. After the Düsseldorf festival, the committee of managers presented the composer of St. Paul with an illustrated copy of his own work. The memorable incidents in the life of the Apostle had been selected as subjects, and the five artists who contributed were Schrötter, Hübner, Steinbrück, Mücke, and Hensel, Mendelssohn's own brotherin-law. Many important alterations were made in the score of the oratorio after its first production in public. Ten pieces were cut out entirely, and the first great air of St. Paul (in B minor), as it now exists, is scarcely half its original length. The short air for soprano, in F, which stands in and improved edition. Almost immediately after seasons. We have his harvest songs, his autumn songs; and, when winter comes, the morose and joyless will smile at those fragments, so full of delicate imagery of the flowers we can no longer gather, and beauty which must be hidden for a time. Here was the secret of the artist, here the talisman of the poet: Felix loved nature, and told of her; the fruits of his converse with her he has left to us; possessed of these, we should adore her likewise. The tender and pathetic strains in the opening of the Elijah : · "The harvest now is over, During his stay in Frankfort, Felix was intro- In the October of 1836, Felix returned to Leipsic, and opened the Gewandhaus Concerts, assisted by David, Graban, and others already mentioned. The only failure of this season seems to have been a Sinfonia Appassionata, by Franz Lachner, which was condemned by the most learned and severe judges, as unworthy of the author and the performers. The resources of this celebrated company of musicians were displayed to great advantage in Handel's Israel in Egypt, on which Felix bestowed the most ardent pains, NO. 1. adding full organ accompaniments, and repeatedly rehearsing the mighty chain of choruses which stamp this oratorio as one of the most enduring works the world has ever heard. It was finally executed in the Pauliner Kirche on the 7th of November, 1836, by a body of 250 singers, with a powerful orchestra and organ. The solos were given by Henrietta Graban, Augusta Harkort (an amateur), Stolpe, Hering, Pögner, and Rich ter. The last concert of this season was on the 12th of December. After Beethoven's concerto in E flat had been played by Mendelssohn, the overture called Meeresstille und Gluckliche Fahrt awoke the old enthusiasm, which rose to tremendous applause in the last chorus of "Fidelio:" Wer ein holdes Weib errungen, stimm' in unsern Jubel ein. In these words there seemed a pointed allusion to a certain Frankfort lady, whose fame and attractions had reached the ears of the Leipsic folk; and Mendelssohn, conscious of the good wishes of all before him, seized the moment of inspiration, sat down at the piano-forte, and extemporized in a wonderful manner on the subject of Beethoven's chorus. When he had finished, genuine and hearty as was the applause, it seemed almost a sin to disturb the last echo which his fancy had inspired with such enchanting sounds. I should have mentioned before that this winter was remarkable at Leipsic for introducing to the public a highly accomplished pupil of Mendelssohn's, whose compositions and piano-forte playing had attracted much attention. William Sterndale Bennett had shown good proof of the reality and earnestness of his studies under Mendelssohn by his piano-forte Concerto in C minor; and an overture, Die Wald-Nymphe, added considerably to his reputation in Germany and elsewhere. It is no depreciation to this artist's justly-acquired fame and well earned laurels, when we say, that in his subsequent productions it is easy to see the influence of his great master; nor can it be thought strange that a pupil so deeply versed in Mendelssohn's works should insensibly be led to select them as his models. The Gewandhaus Concerts this season terminated with a grand performance of Beethoven's Ninth Symphony; and Felix gave his undivided attention to the rehearsals of his own oratorio lately brought out at Düsseldorf. The choral bodies of Leipsic mustered all their strength, and bestowed the same labor and patience upon the concerted pieces as, on a previous occasion, on those of Handel's Israel in Egypt. Felix attended all the rehearsals, and accompanied the music on a wretched piano. Still, the most powerful impression was made on the listener by the various choruses and chorales which have since become as " familiar as household words." The oratorio was given for the first time, at Leipsic, on the 16th of March, 1837, in the Pauliner Kirche we have before spoken of. Unhappily, a temporary illness deprived Mendels *Mr. Sterndale Bennett was never at any time a pupil of Mendelssohn. His third concerto was composed before he went to Düsseldorf (in 1836) where Mendelssohn heard it for the first timd.-ED. Lond. Mus. World. |