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Les diagrammes suivants illustrent la mAthode. 1 2 3 1 2 3 4 5 6 ^i^ ■ ■ ■;■?-(■>..■•- ■Jjip,";,'' '^j;- m * ■I '^V ■VJl ■..'^• |iuai, iiaf, E0H:, Graduate in Music of New College, Oxford; Feliow of tho Musical Society of London; Pnpii of Schneider, Cliopin, Czerny and Ooehlcr; Fiauist and Composer to the Countess of Darnley ; and for some time Composer, Director and Conductor of the Royal English Opera, Theatre Royal, Drury Lane; of the People's Philliarmonic Concerts, Exeter Hall; and Joint Conductor with M. Benedict, of the Loudon Orchestral Association; A Member of the Council of tho Montreal Literary Club. ponlrtal: DAWSON BROTHERS. dotimloiW.C. CHEWETT4C0.; Quebec: MIDDLETON & DAWSON. *•>■■: tstes-^-^v-Vk^t .trt^ikiS:*,*?** I|jyj- w'W i m-p.M ik^| p ^-. i M^ i B yBf|wpi^ywi Pf5PwS?ppFP?|P!i! -^ ^ ■•::^*■•-■■, .- .1 The rnidersigned, members of the Board of Fellows, now in town,' have read with great pleasure Dr. James Pbch's " Analytical and Cri- tical Synopsis of a selection of Piano Forte literature," and cordially extend to it the Imfumatur of the Montreal Litei'ary Club. (Signed,) THOMAS D'AHCY McGEE, B.C.L., M.P.P. WILLIAM T. LEACH, D.C.L., L.L.D. HENRY ASPINWALL HOWE, MA. CHARLES HEAVYSEGB. J, W. DAWSON, LL.D., F.R.S. Club House, Cathcart Place, AprU 18th, 1865. t.- Iv-- |n«h««j««MM»ai ;own,' Cri- UaUy I. ',' P.P. To WILLIAM WOEKMAN, Esq., PRESIDENT OF THE MONTREAL LITERARY OLUB. My Dear Sir, — The kiadncss and consideration with which you have been pleased to permit your name to stand before the following pages, very greatly recon- cilc mo to the many difficulties and trials under which I have, during my residence in this city, pursued my favourite study, and laboured in my endeavours to advance a taste, and to establish a proper appreciation and respect for Musical Literature. Some professors of severer wisdom in this city have affected to depre- ciate the science of musical sounds, as something appealing only to the ear, and affording nothing more than a momentary and fugitive delight ; others of more cultivation and refinement have with justice admitted that the Art unites iutoUectual with corporeal pleasure, by a species of enjoy- ment which gratifies the mind and the sense without weakening reason ; and which therefore the learned may study with advantage, and the good enjoy without degradation. Those who have most diligently contemplated the state of man, have found it beset with vexatious which can neither be repelled nor eluded by obscurity : to the necessity of combating those intrusions of discontent, the ministers of pleasure were indebted for that kind reception which they have too indiscriminutuly obtained. Pieasiiru and innocence ought never to be separated ; yet we seldom find them otherwise than at variancOi except when Music brings them togetlior. 13y the election of one of the musical profession to be a member of the Council, the Montreal Literary Club have very gracefully added their testimony to the power and humanizmg influence pf Music and ita cultivation. By such a coui*se, tliey have done very much to assist in raising Music from that desponding condition, in which it has been for so long a period existing in Montreal ; and of elevatmg it to a standard by which it is better knovm and understood in the neighbouring States, and in European countries. To those who know that Music is among your recreations, and the study of your children, it is not necessary to say much'in behalf of its purity, or m assertion of its dignity. That Music confers delight and happiness on all around is undoubted. To the people (if placed upon an intellectual basis) it administers a pleasure and a fund of enjoyment at almost all times and all seasons. Even children are pleased and deUghted with Musio, because it affects the ear and the mind with an agreeable sen- sation. Later in life, Music yields an additional pleasure, associating with it certain agreeable fancies ; with the remembrance, perha])s, of the enjoy- ment it afforded us in childhood, and of its connection with many simple and interestmg adventures ; with the offices of friendship and love, and its association with numerous poetic and romantic images. < In some mmds Music becomes so intrinsically allied with those interesting sentiments, that it is received with still more delight than it afforded us in childhood. Indeed, the love of Music is implanted, more or less, in every human breast ; it is a humble affection of the mind that assists to render every thmg more humanized, elevated and happy. God never placed tlie poetry of sound and motion within the reach of man, yrithout intending it not only for his service, but for the more perfect enjoy- ment of all that is elegant and beautiful on earth. And who does not receive the highest gratification in the contemplation and enjoyment of the Arts ? And what especial Art finds its way more quickly to the tender and sympa- thetic sides of our nature, than Music ? What relieves us more readily from the cares and anxieties of the world, and refreshes us when our souls are borne down by grief and sorrow at the loss of some dear object of affection — our minds exhaust;ed by worldly conflict and disappointment — our bodies prostrate with disease and affliction, or with the changes and chances of this troubled life — than Music ? Poetry, Painting, and Sculp- ture wait as handmaids round her tlu-one ; *' they from her golden urn draw hght," as planets drink the sunbeams ; and through her the divinity of sound is revealed to our mortal senses. If the pleasure it imparts is soothmg and elevating, the impression it leaves is profound and permanent. Its excellence may not bci understood by every one ; the poetical charm, the something more than meets the ear, is not perhaps equally felt by all ; but the sentiment is intelligible to every mind, and goes at once to every heart. That it may long continue to amuse your leisure, not as a relief from evil, but as an augmentation of good ; not as a mere diversion from care alone, but as a variation of feUcity, will be the constant hope of Your obedient servant, JAMES PECH. St. Lawrence Hall, April, I860. g SJa w ftv fimk*»*.'*a- P i 5 ■-•■•*vli».>jin,^>»nii.i ! «l». a>«» .w«»....i«r ^»..«,.a», „!.;,.«»»«. « TAe greateit honuxgt you can pay to Mutic, is silence. t In every city on the European continent, the musical traveller will inva- riably fiud some locality consecrated to the intellectuality of Art, whore the performance of the best order of Instrumental Manic brings together the practical, theoretical, and literary members of the various professions, |ind the amateurs of cultivated and refined taste in Music ; affording the mutual advantages of social intercourse between men of genius and education, from the various schools of Music, as well as the noble, wealthy, and accomplished virtuoni Such a desideratum the Montreal Literary Club desires to supply by its efforts in this city. The Fine Arts ai*e not merely a luxury, — an elegant enjoyment, — but a necessity in the mental culture of mankind ; they are as necessary to the full enjoyment of our mental endowments as food, raiment, and light are to our physical condition. Viewed in this sense, anything tending to spread the iiitluence of these arts amongst the general community, must confer a benefit on society, by enlarging the field of enjoyment and elevating the character of our kind. By these means — and this 'in itself is a great consideration — we establish a common field open to all — ^high and low, rich and poor, when the cares of the world, and the dross of worldly pursuits are forgotten, amid aspirations of beauty, tending to communion with the Creator of all beauty and all good. And this position, we venture to advance, is no new one : it has been recognized long since, in the remote ages of antiquity. Plato spoke of " the beautiful, the good," if not identical and the same, at least as being hiscparably allied ; and he described the love of them which is implanted in the human soul, as '' the unextinguishablo desire which like has for like, wliich the divinity within us feels for the divinity revealed to us in beauty." This being recognized as a principle in nature, sliould it not be held as common to all, of universal infiuence through all possible forms of , manipulation 't ' Goethe said, " One ought every day at least to learn a little song, and read a good poem, and see a fine picture ; and if it wore possible, to speak a few reasonable words," implying that, that which is intended to elevate and purify the mind through the influence of images of beauty, improved the capacity for rational discourse. -i-n -»niMr»i'iiif"iT>~mnnrrn»iiiiHn»iiii[i«iiniiiiiT»«[W»ii »iifi>iiii laiiinnimriiiin iV-G rands, Pocket-Orduday and iSeini-Gi"dinlSy — which last are now very much in vogue in England. The next novelty was the invention of John Isaac Hawkins, who con- structed an ujjright instrument, with a detached sound-board, in an iron frame ; and the whole was so -arranged as to be able to meet tho atmos- phere with compensating powers. In tho Bass, it had spiral or helical strings, by which length was gained ; and in the Treble, three octaves of eijual tension were accomplished by an uniform size of wire. It was patented, but did not take with the public sufficiently to come into notice. Following Hawkins, wo had William Southwell, an Irishman, who patented an improvement in Upright Pianofortes, and gave it the name of the Cabinet Pianoforte. Tho name still remains in use. The Unique Pianoforte was introduced about thirty years ago by an English firm, the Messrs. Wilkinson and Wornum, and was the invention and patent of the latter gentleman. This instrument met the taste of tho day for instruments of little altitude ; it did not stand higher than three feet three inches, atid the strings were all placed diajonallij towards the floor ; the action was simple and eSectivo, but it did not content the mind of its most ingenious inventor, and in a short time gave way to a now proof of his mechanical and philosophical genius, in the production of tho Piccolo Pianoforte^ which he (Mr. Wornum) patented about twenty-five years ago, and which is now, perhaps, the most popular Piano in the four quarters of the world. Its action is equally applicable to both upright and horizontal instruments, and, for delicacy of tone and promptness of touch, it has not yet been surpassed. II pU grand omaygio alia Mwtica i net aUenzio. The perseverance of Mr. Womum's mechanicai geniua at length suc- ceeded in producing a down Hriking action, hj far the mo^t ingenious of modem improvements in the Pianoforte, inasmuch as both tone and touch are wonderfully improved by it — a result exactly the reverse of some of the European continental application of the same action. Then a Mr. Mott inti'oduced his Soatineiite^ which was an appUcatiou of a cyUuder and silk loops to an Upright Pianoforte. The loops were attached to the strings, and the cylinder, which was moved by tl)e foot, as it were, lowed them, and produced tones somewhat similar to those of the Sera- phine, Mr. Kirkman*8 octave iiring was applied as the third string of a Grand Piano, tuned an octave higher in pitch than the other two, and was some- what in effect like two diapasons and a principal in an Orgao. It pleased ' for a time, but is now thought of no more. I Messrs. Cramer, Addison and Beale, the then largo music publishers in liegent street, Loudon, produced a Pianoforte totally formed of ii'on ; and 'Considering that metal is not so sonorous as wood> the tone was ^azingly full and mellow. 3ubsequently, at Paris, a Monsieur Montal produced a Pianoforte which, in a ^reat measure, supplies a quality that has long been a desideratum, and the want of Avhich has allowed other mstrumeuts to assert a superiority that, henceforth muit be ceded. It consists in a mechanism which the inventor called ** Q^Scfuinique d r^pdtition expremue^^^ because by it the louch is 80 % improved as to allow the performer to reiterate the tone at pleasure, witboijit raising the fingers from the keys. Some marvellous men, like Liszt, in the absence of this mechanism, contrived to pi'oduce the sostinuto and trenwlo, without apparently repeating their touch ; but non omnia posmmm omnes j and we cannot but be grateful to the ingenuity of M. Montal for an invention .that enables the less practised performer to produce such a desirable effect. The Pianofortes of Ji© continent continue to be mferior, generally speaking, to tliose of London. Those of Vienna, perhaps, are the best toned, although not powerful, and possessing too light a touch, at least for one accustomed to the English regulation; and those manufactured almost everywhere else are hard, metallic^ or tabby in their timbre. We must rot omit, however, to state that several foreign fabriquantt have establishments in the Metropolis of Jiighmd, where instruments of first-rate excellence are to be found : M. Pape, from Paris ; M. flrard, of Paris and Loudon ; aud M. Zeitter, have all—particularly the last two— produced most brilliant specimens of Grand f. kr % mn'^simi'. j.mmmualiMUMaauSBatt-Mdtity ■ 'JUtn greatest homage you can pay to A/utic, it lUence. ;th suc- oious of d touch )omo of atiou of ttached it were, B Seror Grwid s some- pleased • ihers in Q ; and azinijly which, ;ratum, priority iuh tho f it the tone at vellous ice the )ut non jenuity mer to i7. . ]'-■ ('-■ ) ■ )■■:. i; Horizontals. On the American continent, Grand Squares and Cottages are overstrung. This practice, although adapted for a long time in Germany and England, has been by most makers in those countries abandoned. The effect of this invention is considered by some to give the Bass a freshness and fulness Oi tone that is not produced in the old scale. It was also stated that the principal advantage to be gained, was that of a stronger tone effected by bringing the. strings more toward the centre of the sounding board. The objection, however, advanced against overstrung Pianos, is that the strings being placed above each other, though naturally not in contact, virtually impart tlicir vibration. By means of a new scale, and without over-stringing, the Houses of Chickering & Steinway,of New York, have succeeded in making their Grand Pianos model instruments, by which they have produced an extraordinary volume and beauty of tone, and by which the upper notes have been madcf more brilliant and the middle more ainging in quality. * And here we must not forget to mention amongst those struggling for position in Canada, the name of Mr. Hood, of Montreal, whoso Pianos, built much upon vhe same model as those of the larger houses in New York and Boston, deserve favourable notice. They are constructed upon a very perfect calculation of the conditions necessary to equality and power, and deserve attention from their (quality, volume and roundness of tone, and an evenness in the middle and upper octaves. They also possess a more congenial and sympathetic touch, reminding us very much of a Broad- wood. In short, the subject may bo dismissed now, with an assurance that such is the perfection of modern manufacture, that even the inexperienced are sure to find, not only in England and Europe, but also on this continent, respectable houses where instruments of every quality may be obtained, worthy of the first performer in the world. nerally werful, English hard, ;o state poUs of id: M. r, have Grand • To tho enterprising firm of Messrs. A. & S. Nordbeimer, the Ganadiua public ar« indebted for tho introduction into this country, some years ago, of these magnificent instruments. % „«t««p*tS»*ti«<->v1 Xe pluM gnuid hommage dUdla Aliuigue c'e$t It tilt^fce. THE GENIUS OF THE PIANOFORTE. The Pianoforte, above all other instruments, is best calculated to form a musician ; it is the epitome of an Orchestra — an abridgement — a muU turn in parvOf which can enable the performer not only to conceive, but express all possible harmonious combinations by himself, independent of the aid of others ; the degree of liis success, of course, being in proportion to his capabilities of developing the almost mexhaustible powers of the instrument. Even if he be not able to render them adequate vindication, he can ai'rive at a better notion of harmony and counterpoint by the help of the Pianoforte, and in less time, too, than is possible through the means of any single-voiced instrument. Melody may probably be sustained in a much higher degree on stringed instruments, by the possession of a pro- perty which enables them to claim superiority over the " hammer-struck sarcophagus of sound," as an enthusiastic vioUnist was heard by us to assert ; but a conjunction of many tones, even few hi themselves, it is admitted, will produce or generate a third quality, which may be delicious to the ear, and, mox*eover, please the judgment and learning of the auditor by the artful or ingenious manner in which they are opposed or counterpointed to each other. Now, on what instrument can we find the score or partition of a compo- sition in all its nuances^ Its delicate shades of meaning (in construction as well as expression), so well interpreted together, as on the Pianoforte, when it is under the magical fingers of a Henselt, or a Chopin, or is awakened into almost conscious musical existence at the Promethean touch of a Mendelssohn, a Duchler, a Liszt ! Who that ever heard this lust mentioned marvel iinff " Schubert's Serenade," or instrument llossini's magnificent overture to " Q-uillaume Tcll^^ on the Pianoforte, was not enraptured to the highest enthusiasm which the musical art can awaken in a scnsitivo mind? No Hautboy, or CW. Anglaise ever expressed the lianz de VacheSf in that delicious overture, with more soul-breathing tenderness or Sostenutof And yet we are told by some that tlie Pianoforte is incapable of sentiment, because neither the glissade or the thrill (close shake) of the vioHn tribe of iiistruments can be effected upon it. With respect to these latter capabilities, when used (as they generally are) to excess, they produce a disagreeable effect, usque ad nauseam ; while, on the other hand, the Pianoforte possesses enough power to express the most .delicate legato or crescendo passages, when under the treatment of bauds that " be cunning in their art" ; and as to power or strength of sound, we surely do not wish the scale, or portions of the sciUe, of a single instrument, to resemble those great guns in a fortification at Gronmgen, which (accord- ,i$«uf,4i»u*siR;.. j^HivUMiii^Sniii '■ie^ '^5!;- ■''^i,'*P- ' ..«.- to form —a 7nul- eive, but ndent of roportion a of the idication, the help le meaus lied iu a of a pro- er-struek ;o assert ; .dmitted, LIS to the )r by the L>iuted to 1 compo- Liction as [kiioforte, in, or is 1 touch of eutioned guificent raptured sensitive '{am de rness or icapablo lake) of spect to jss, they le other .delicate liat " be iirely do aent, to accord- The fjreatett hv^Miye you can pai/ to Muaie, U aitcnce. ^_— ^ — - — ■ — — — ——«———— ^ — , ing to Strada) had the names of ut^ re, mi, fa, sol, la, from the sounds uttered by them in their explosion. The Organ is certainly the noblest instrument, quoad majesty of sound, which, in a large-scaled structure, may be combined and varied with infini- ties of registers and qualities, at the pleasure of an ingenious performer ; but with regard to sentiment, it admits no more than appertains to strongly opposed Qontrasts oi forte and piano. It is true some beautiful effects can be produced by the use of ttie awdl, but still the touch has no power to communicate sentiment to an individual tone, the crescendo and dim- inuendo being too slow within operation to obey the sudden dictates of an enthusiastic musician. Yet let it not be supposed for a moment that tliis mighty construction of musical ingenuity — this congregation of giant seeds, 80 associated with the " capacious mouth " of the Polyphemus Handel, has been spoken of irreverently here. Forbid it, Music ! The pedal of a great Organ is the voice of sublimity ! ' . The Harp (the poet's musical idol) only presents to the ear a pizzicato tone, similar to the strings of the violin, 9o), dcmunstratud something still more conclusive : for be clearly proves, that if tbo scale were subdivided according to the Pythagorean system, once or twice ascending or descend- ing (or vice vtrisa), the eighth, or octave-note, would be a long way from being consonant with the initial one. This at once upset all the ancient theory of ratiosy and vindicated the opinion of Aristoxenus. The consequence or corollary of this demonstrated theorem was the introduction of temperament , which was obstinately opposed for a considerable time, and (strange to say) has its enemies still, but which has gradually made its way among all classes of nmsicians who ^* dare to have sense themselves." What can more offend tliQ ear than au Organ or Pianoforte tuned with perfect fifths or thirds ? And then, again, what ia an enharmonic change if it be not considered as an equivoque ? Suppose we proceed through a series of modulations, commencing at natural, thence, to G one sharp; thence to D two sharps; thence to A three sharps, so on to E four sharps, to B five sharps. Ft six shai-ps, C$ seven sharps, is not this last key more intelligible, and less embarrassing to the reader in the form of D [^ — five flats, which is precisely the same thing in interval, and which proves that C tf is D tjh ? It is no argument to say that the voice and stringed instruments are capable of more mmute sub- divisions ; the question is, are they ever used by any composer who knows how to write ? Handel, Haydn, Mozai't, Beethoven, Weber, Spohr, Mendelssohn, and Rossini, would not have written a G I2 iu one pai't, aa F $ in another, if they had not thought they expressed the same interval. At the same time it must be allowed that some deference should be paid to the eye : for instance the common chord of C would look very absurd if written in the foUowmg way : — 0= J ^iS^ ioBtead of although the interrals under different notation are precisely the same* Z ' '«^^*--h..-....^,|^Wr*1«8&>»«#«*(«Kf Tha greateit homage you can pay to Mmio, U tUence. isfactorily vai'iaiice i3i'e tuiicd , in a«i;ree- (borii in ;liiug still ubdividcd ' descend- way from icated the lonstrated y opposed still, but siaiiH who ir than au icn, again, [uivoque ? sing at C mce to A hai'ps, C$ rasaing to simo thing nt to say inute sub- rho knows r, Spohr, ) pai't, au ) interval. :d be paid ry absurd The. eye, in reading music, is a more delicate judge than the ear m hearing it ; an apparent anomaly, but the truth of which can be fully attested by many who derive more advantage and delight from the perusal of a Score than from its best executed performance. But let us ])roceed at once to our proofs. Harmony consists of but three fundammtal chords, namely: the Common Chord, the Dominant SiiVENTii, and the Flat Ninth, which with their inversions, are alike traceable in major and minor modes or keys to one common bacis. All other combinations are but suspensions or anticipations of these three primary or elementary principles, although false notation has for a long period bewildered the student in a maze of expletive, not to say erroneous, subdivisional terms and distinctions. In conch'ding, wo may just mention that Sir David Brewster has proved that the term primary colours, applied to the seven coroured rays in the spec- trum, is incorrect, as there are in reality only three primary ones, bluBf yelloiv, and red ; all the others bemg merely modifications of them. This bears an interesthig affinity to the theory above, and also corroborates the assertion of an ingenious writer in the Art Union * some twelve years since, who, in speaking of the harmony of Imes, says that it, with other harmo-* nies, such as^ those of soundtt and coburs, requires relation, opposition and subordination, — three quahties. ; •J, B. Pyne, Esq. bhe 8ame« l^x. ', I t 'Y. i J- i W^,^ ^.4lfimi«>m>K';t-*iim!k'im. P. ' [ ^vvi^v f^mm$ PART I. TABANIELLA, OPIU89. Uuodon Lahkr. CAYATINA, Beoit. and Arit, Tua oni.y ooMtosT... ) BOaQ, SritiMU ) PBELUOS ANDFUOUSoitttaon»aujofBAOH, J.S.Bach. IIEOES OHNS WOSTE, JJXD I No. 6, Hook 6, I (No. 4. Book 6, { iDr. Fe^ s$ho» Feiui Alendet- t$ho» BarthoU]/. . Stbiamlkt , J(me$ Peoh, Voice, Ciuriuet and llano. FUaA SCHEBZANDO, ...J. S. Book. PART II. VALSE CHANTANTE, La Jkunmsk Jamu Peek. Voice, Oboo and riano. EOT FKEVNOSCHAFTS KSANZ,- CAPBIGEet B£VXSI£, SKETCH, TwinouT. IllPBOMPTU,Opui.29. ,', ..ti-ederio Chopin. I'DED, Mabik. JaauBPeoh. Voice, Cliu-iuot and I'iauo. VALSE DECONCEET.Opua 34, Frederie Chopin. CAPBICE et BEVEEIE, .V.'.'j Jme$Pe , ... Mr. LAWFOBD. * FIAKOFOBTE, Dtt. JAMES FECU. To commence at 8 o'clock. m,iam0 JlpU grand omagyio alia Atusica i nel sUntuio. ^ ATTRIBUTES OF AN ARTIST BY ARY SCHEFFEB. ** Pour @tro, il faut avoir en soi un sentiment 6\e\6 ou uno conviction puiasante, dignes d'etre exprim^ par une langue qui peut-etre, indiff<;rem- mont, la prose, la podsio, la nusique, la sculpture, ou la peiuture. " Here, then, have we the hue of demarcation expressed which separates the mere prosaic, mechanical musician, from the ai-tist of miiid and elevated sentiment, who alone can rightly interpret the mtellectual works of the classical masters. Thus it is in music as in painting, many have excelled in the mechanmn of their art, but few have excelled in the ideal. Reflecting, tlerefore, on the many and various qualifications to con- stitute a really groat executant, we should ever welcome the presence of those elect who bestow upon us the gratification of admiring and appre- ciating their rare possessions. CLIQUE ET CLAQUE. How often for party purposes are the most incredible stories circulated regardmg artists ; by which it is hoped to take advantage of any failing m human nature', and which La Fontaine so pithily expresses when ho says " L'bomme est de glace aux v^rit^s ; II est de feu pour le mensonge." Musicians whose genius fascinates the public, " though they discourse hke angels." are after all but mortals ; and we are shocked to perceive with what avidity anecdotes concerning their artistic and social Ufe are received, purely the invention of persons interested in stimulatmg. public curiosity, and exciting a prejudice in favour of or against some particular artist or enterprise. In listening to the performance of one great artist, we should never allow ourselves to be betrayed by local feeling or sectional prejudices into comparmg him with another. By this precaution, we are seldom cheated of those good qualities in a player, which mark, not the mere velocity of finger, but the com^lmm of his mind. , A perfect Pianist unites with taste, neatness, power, and expression, that very rare faculty — rhythmical expreamn; and with powers of execu- tion unbounded, combines the utmost strength and rapidity with the moat exquisite finish and refinement in th« phrasing of cantaMle parages. TIte yrealmt homage you can pay to JUutic, U lUttiee, f- V Takanthlla Oruti, 39 Theodore DtrhUr. DiBliler's works arc calculated for the highest cxcoUeuce and the most delicate grace in pert'orraance ; they have brilliaat ditlicullioa and mutiy peculiarities, which can onl/ be overcome and appreciated by immense practice and study. Dcehler's style of Piano- forte playing consists in a degree of Bravura which can scarcely be exceeded ; in a highly refined expression, and particularly in effects which are produced by the pedal. Uii performance consists in the union and alternation of the utmost lightness with the greatest power, of the most tender expression with the most unbounded humour, of the most delicate softness with the most perfect facility. Added to which he is pariicu- larly distinguished for a high cultivation of talent and for employing already discovered otfucts in such an interesting manner that his performance has acquired several new features. Uii strength chiefly lies in a very accomplished performance of the scales, octaves and skips, and particularly of the shake, in every degree of rapidity. In the following, the Tarantella, the octaves must be light, di^jlinct and clear, in very quick time, requiring the command of great elasticity of wrist and perfect trauquillity of the i'ltsto AUtji'ammte, * .s}__q__ «/. ''— "s — sP — g= — i^ — sf. ^ «/•. •q j. i The skips must be made with the greatest possible rapidity aqd power; ^nd in the following example which takes place upon tho 51st bar: — Sva. I ij^ ^ i>M fftHisette XkrerbUtiMg da$ Man fur Mu$ik bezeigen kann itt Stiiiachweigen. m i ifejj£- i i. dexterity and lightness of the wrist and arm arc much more demanded than tboae of the finger. We must however remark that all the qualificatioDS necessary for performing pieces of premiire force such as the above, can only be gradually acquired ; and therefore, a progressive order mast be observed in the study of such works as Cramer, Dussek, Hummel, Moscbeles, Kalkbrenner, Herz, &c. In this modern school every advance- ment and change of taste is based upon the results and experience of former schools, and only those can become truly proficient therein who have studied the more an- cient, good composers. 3y this course alone can be obtained a solid style of playing with great and legitimate execution. Without this, even after years of toil and lost time, we should still play but imperfectly. The artists who invented this modern style. Bach as Pirkhert, KuUak, M«yer, Dreyshdck, Prudent, Liszt, and Thalberg, have been compelled to pursue the same course ; and it must not be forgotten that the latest musical works only produce a good effect when they are performed with the most masterly finish. Mediocrity in such a case ia only disgustful and ridiculous. The Tarantula or Tarcntula is a species of Wolf Spider, of South Europe, the bite of which is said to be extremely poisonous. It measures from IJ to 2 iuches in the length of the body. It received its popular name from being common in the viciuity of Ta- ranta, in South Italy. It mak«s no web, but wanders for its prey, which it runs down with swiftness. It lives in holes in the ground and crevices lin^d with silk. It has eight eyes, it is very active and fierce ; and the females defend their eggs uud young with self-sacrificing bravery. The Neapolitans, with which this species of music, the Tabantilla, is supposed tc have originated, believe the bite of the Turantulu, producing u nervous febrile condition, to be curable ouly bydauciug to lively music until the per- son so bitten falls exhausted. Some travellers in those parts, however, consider the ex- traordinary accounts in relation to the bite of this Spider us rather fabulous ; though in patients thus bitten, it is well to combat the terrors of the imagination by the musical remedy, which the popular belief regards as effectual. i Dr. Theodore Kullak, St. He'ller, Willmers, Chopin, Ch. Mayer, and others have writ- ten Tarantellat deserving the attention aud study of pianists of premiere force. But none require in performance more precision and power, united with lightness of hand and flexibility of wrist, than Doshler's Tarantella. Many attempt to play this charming piece, but very few succeed in a proper performance of it. To play noie^ is one thing, to impart the spirit of the composer is another. Any publisher will sell the idusic, but he cannot embody in his merchandise the soul and intetisi^y of the Compo- ser. It is only those who Lave had the good fortune to live and travel with Musicians that are able to hand down to dthers the method of imparting '..:e intention and mean- ing of the composer and of the effects to be produced by a perfect manipulation. These remarks apply to all things in connection with musical art, and those who cultivate it should think seriously and earnestly, not so much of mere mechanical display as of tbo influences which guided the composeir in placing upon paper those thoughts and senti- m«ot« whioh be endearotirg to impart through the medium of sounds. Tlie greatest homaye you can pay to Jiuaio, is tilence. For there exists no difference to an artist bow he expressea a sentiment, whether he does ao through the medium of notes aa in music ; or in a beautiful gradation of colors, as in painting ; or through the form of an elegant drapery of words, as in poetry. A poet in music, in sound and feeling, endeavours to appeal to the intellectual side of humaa nature, by means of a choice and well-arrauged combination of sounds, and by go doing he addresses himself to the mind and feelings as much as a Qoethe, a Schiller, or a Shakespeare, and deserves and obtains, in refined society, the same sympathy and con- sideration. The names of Doehler, Thalberg, Liszt, Mendelssohn, Schumann, Oarl Maria Von Weber, Benedict, Dr. Sterudale Bennett, and a host of others, and the positioa they now occupy in Europe, amongst the leai 3d and polite, are sufficient to show that ia imparting miud and sentiment, in vi^utever form, the only difference that we know is between those who understand, and those who do not. CAVATINA The only Comfort James Pech. r " wander not so fleetly past, thou gentle moon, " linger, grant unto us wretched onea " This only comfort!" " If e'er an ear thou lendest, " When love doth thee implore, " show me in thy mirror " The image I adore 1 " And when his eyes, o'erflowing, " Where tenderness enshrined, " Turn to thy orb so fair, " Let him, (0 to the prayer Regit. " Of gentle love be kind) I « Behold my imago there I " fe^jE^^ Wun-dlu nicht so schuell Yorii- ber, O Waa-der not so fleet - ly past, ^ IWjb^ S&- 9.^=—.-. --r-n Ja-ftrziqiiM Wan-die nicht so Wau-der not so I m ^^^ Jl piA grand oimtffifio iill0 Mmica i nei lilauio. jiML&.--'Mfidirato con MqUq SentmentQ. f f f p j^ z4zjr:jr=rj«=£ pi§i ;i^-:v:.p-^ frora-mea Liebe, love dutb thee im- mild, plore, So O zeig'in dei-ucm , abuw me iu Iby r ^- 1= r wandle niebt so scbnell voriiber. saafter Moud I Verweile I QdDn' una UDgliickseligca ^ Deneiuzigeu TrostI O woriit du je dem Fleben Der froramen Liebe mild, So zeig'in deinem Spiegel, Mir das gcliebte Bild I Ua weiin aieb seine Augen, Voo Zartiicbkeit ert\ilU, Nacb deiner Scbeibe drehen, Lasa ibm (0 aei dem Flebea Der frommeo Liebe mild i ) Meia Bild entgegen aeben I No one can dwell upon these beautiful lines of Wieland, pourtraying such superior sentiment and grace, and refinement and elevation of thought ; indicative of the most poetical and touching of all that appeals to human life and action, without becoming deeply impressed with a species of dreamy charm, which envelopes the whole being in a mist-like atmosphere of fancy. Combining aa they do wonderful fertility of conception with a magnificence of truth and grandeur of thought, uuiting the most luxurious tintg of the loftiest imagery with a mind trained to habitual sympathy with the beautiful and i^ good j Wieland in words and language, clothed in all the colours of the rainbow, The gretUett honuige you can pay to Atuaic, in $ilence. m 1 1 I. dazzles and iatozicates with the intensity of his feeling of woman's life and indlTidoal nature, which charms aud trauaports us. Seraphinu, a gentle maiden, embued by nature with every virtue, making love's soltest raptures full and glow like the sunbeams of heaven upon our very soul, affording the hei"t a perfect realization of settled huppiucss, at peace within itself and all the world; to the expression of which the medium of speech would rob the iutensity of our feelings of almost uU their glow and beauty; pusiiessed of uU that luft^ pathos which raises rather than depresses, and which purities while it softeus, has beeu against her inclina- tiou, perhaps without mature cousideratiou, placed within the sauctuury of the Ghurcu, the duties of which she fuels herself but ill-iitled and inadequate to perform. At midnight when truuquil slumbers have fulleu uDun the huly sisterhood, aud all sleep, she alone, like tcm])est's surges, rolls upuu her couch, aud in the bitterness of her cloistered seclu- sion, gives vent to grief and regret at being condemned in barren solitude to sigh for that love which has pierced her tender breast, and for u being frum which she has been so ruthk-y^jly torn. She sighs in thuugiits that breathe for relief, but in vain ; in burn- ing words she calls upon her God to aoothe her agony, the puin her sorrow causes her at so cruel a separation, aud to grant her that sweet repose which hitherto her sleepless eyelids have failed to vouchsafe. She has loved, us only a good and truthful woman can love. She has seen of all others that one alone who is to her affection's own idol, whose image is from her heart ineffaceable. Soul has yearned for soul, their hearts have thrilled with a mutual trem- bling delight, us in the contemplation of each other's eyes there shone the brightest reflection of the purest and sweetest momepts of their existence. But she is bound by oaths indissoluble. There is no soothing balm for their sickly souls, by night or by day. The variation of lime can afford no peace to two such bruised hearts ; for them there is no hope — no comfort. Both are o'erladen with grief— despair. Uer eyes in reverie directed through the vaulted casement of her room, full upon the pale moon, which to her appears umid sad and tearful clouds, to wander swiftly past, and to which she cries with eyes o'crfluwirg to linger, and to grant to them their only comfort, praying: — O thou! my only one, God knows that from my very soul I adore thee, and although with maidculy modesty, I could ne'er avow how mich, yet with looks alone, and with lips compressed to thine, have dared confess— I love thee. She then, in con- templation of her beloved uue, supposes him, too, sleepless and consumed with hupelesi longings, tu be guiiing upon the same bright urb us that above her, and upon which she, with languishing and tearful eyes, is still so intensely dwelling. She implores the geutld moon to linger and to grunt an ear to love's prayer, and in its mirror to exchange reflections of that imago which both so ardently adore. Ghristoph Martin Wielund was burn 5th September, 1733, at Holzheim, near Biberach, and died 20th January, 1813, at Weimar. ' SoNQ " SPRING. ijamet Pech. Gentle Spring has come, and now Blossoms fringe each spreading bough, 'Tis the time of joy and singing, Hope in every heart is springing, Hope to all fresh promise bringing, Spring and hope are come. Leplus grand hommaye dd&la JUtuique c'e$t U tilence. .' • ■ Welcome to each heart, fair Spriag, Is tby early blosaomiug, Infuoc/ with babbling glee; Youth with fervent ecslacy, Manhood calm rejoice to see| Spring and flowers cpnae. Visions of the future, bright, Fill the fancy with delight, Tet perchance such visions teeming, Are but idle empty dreaming ; Ml unreal, nought but seeming. Though with Spring they come. Soon will Spring's blight hour of promise Fade away and vanish from us ; ■ ' Ah ! not "II its blossoms surely, Will durvira the change securely. And expand to suit maturely, Spring will soon be gone. Hope, too, has its blossoms bright, Glusi'rine thick to glad the sight ; But alas! how few have flburish'd. Of the many Ilope once nourish'd. Aye for some, all,— all have perish'd, Hope, like Spring, has gone. Yet when Spring and hope are gone. Truth and duty still bold on, Humbly trusting, firm coafiding. Looking for those joys abiding, When all fear of change subsiding, Heaven's spring shall come. Allegretto ucherzando e tieiupre leggierisdimo. (M.M. ^ 92.) Voice. • ^i f m f I' t c . r AMa TktgreaUit h MutiCt it tUmtct. fr: I i- 'ii- ^•1 • ' Geu - - tlti upring has cuiiie, uhd uow. ^^^^^^p S .t^ .f3" p - l^^^i?^=^ Oh I wbu« pleaaurablo emotioua aro awakened by tbo return of Si'uiNa, unfelt at any other seaaou of the year, remiadiug U8 of those ,we might be supposed to experience upon a renewal of youth. Lit by her wand, the watch-light Hope seems to shine through the night of future years, spreading before our view lovelier suns and brighter skies. Her warm breath of life, as she sweeps over the face of the earth, awakens in us new life and energy. 3be, with her wild-llower wreaths wending towards the bright gay frorld, cherishes the air she breathes, and speaks to us as a larum-bell of the loveliest things. With her the Flowers breathe sweetly through the lucid air, while with the hues and gweets they shed, we learn to bless our Qod, and to think of that pure heaven and the flowers of a land more fair. With bright skies ; with lovely suns and heaven of blue ; with sunbeams glowing upon the brightly swelling wave, or when the waveless flood lies on yonder shore reflect- ing sun and skies ; when the rose with its young leaves by her breath unfurled, in fra- grance breathes through the morning air; when the beauteous rays of the sun come flickering through mingling foliage, and the thrilling echos of the wild bird throw from every bough the sweetest minstrelsy ; when we roam along some flowery margin, drinking of the mountain's limpid tide, and many a flowret of the brightest hue gives to our walk the air of Araby ; then the heart forgets it once was sad, and life seems made of light end lovely things, all hope and gladness. Then can the gentler virtues, thrice refined, expel each care from life's capricious dream ; then, in the contemplation of an embryo bliss, when visions of dearly remembered joys crowd vividly upon the memory, Spring and Hope steal from life's despondency a part of those coavulaious, which muit tome to us on time's tempestuous and deceitful sea. I)itgfUt«U9Jtkrm*kkmt4mMmt^trilm^btMHi/mlKmmi»tStUltchweigeH. /PRBLDDE and Foqdi on the name of Baou.. John Sebastitui Bach. This Prsluos and Fuoui, from the miscellaneous pianofortework s of J. S. Bach, is No. 2 of a selection, published by Duncan, Davison k Co., London. The Prelude commenees as follows :— • . Leiiio MaejsioHO. :r I :^« i fe » r i. L ( It is one of Bach's less known fugues, and is remarkable for its light and essentially graceful character, and to the student and cultivated amateur will be found eminently Attractive. The Fugue runs thus : — FUQA.—AlUgro Modaaio. (J z 76.) / n h J mJ J j; S«^^4a 'M^^d^ tj . sBja ^ mE — .^^ For the information of the generality pf our reftd«ri| w« m$j here statOi tb»t H, tho iMt Ivttar of Bach'i name, repreaents our >B |] The greatest homage ynu eon pay to Mutie, i$ Menoe. Bach. 8. Bach, is te Prelude 11 ssentially iiuiaeutlj W^ i B,tb9 This first series condists of six. They ure Fuga Scherzando, in A miuor ; Prelude and Fugue, in B liat, (oii the uarue of " Bach ") ; Fantasia con Fughelta, in D miuor; Fan- tasia con Fuga, iu B Hut ; Preludio con Fuga, iu A minor ; and two Fugues in C major. And here, without running the risk of fatiguing our readers, wo mu/, in a brief way, gire an explanation of the words ruucs and canon. The word vvquk is derived from the Latin foqa, flight, and is a composition in which several parts are united as a whole, tliu first commencing with the chief subject, fol- lowed in close or free imitation by the other parts, iu accordance willi certain rules invented and observed by the great contrapuntal writers. The OANON is a kind of Fugue called " Perpetual," because the part that starts after the first always repeats the same notes. The different forms of Caaou are, Canon in the unison, in the second, in the third, etc. ; Canon circularis and infiuitus, or circle and infinite Canon; Canon in augmentation or diminution; Canon cancricaus; a Canoa which, by addiug a third, can be played in three parts, etc. Canon det Octavet de Carl Czerny. :fe1= "^--5- The best Oanoas, howerer, are written by Pbamebtini, Frbsoobildi, Fbobbbroi9i Skbastian Baou, Fuikdmabn Bach, Emandrl Baou, Handbl, Obaon, Eberlin, Kibmbbb* OBB, Marpubo, Fdx, Albrbohtsbbrobr, Mozart, Hatdn, Bbbtuuvbn, (excelleot riddle— Oanons,) Olbmbmti, A. A. Klrnobl, R. Sohomamn, Ofob 56. Mptt — »- E2; i SPRING. Wbo has not enjoyed those beayea*dropped moments, when reverie and pleasing solitude were with us while wandering along the side of some murmuring stream, flow- Idk at its own sweet will, in the virgin month of May, in all the early ripening ^f her charms ; when the landscape was clothed with trees and verdure ; when birds, warbling in harmonious confusion, are busy among the branches of the trees, rearing their tender offspring ; responding to one another in hesitating, plaintive, yet cheerful notes, while fitting and flickering through tb« trees, filling one's very soul with an intoxication of intense and pleasurable emotions. When soothing winds, wafted o'er us as if Canned by the gentle brerth of zephyrs, bring on their wings the sweetest odours from surrounding groves and orchards ; with luscious balminess and genial warmth of atmosphere— with troops at our feet of those dear fairy-visitants, the lowly violet, the gorgeous buttercup,, the modest daisy ; with the crocus, snowdrop, and yellow daffodil, already in the gardtns : when perfect calm prevails, when the beams of the son appear every now and again with ruddy glow, shining as it were through almost invisible haze, — it is then, when lost io the sensation of warbling birds, of delicious scents, of soothing breezes and lucid streams, all mingled together in delicious associations, wo turn to the ceaseless babble of our rippling stream, and on its shining silvery surface look for the reflection of that dear image, whoso heart,. like the spotless sun, pure as angels' holiest dream, is as our little streamlet, the sweetest thing in life that decks. our sad and lonely vale. ou J)U grUMuU Xkrerbittung dot Ma»J\ir M%uik bezeigen katm itt StilUchweigen. The foUowiog immediately- precedes the Air : — r . — g -rr : sU — y ^: P Pp 3^^^ ,^^ F=f ^ ^ .! ^. m ^ m P eaw a lit - ■ tie 3 ^ .. ' r ^ n;^ n^^ n^^ n-^ n . ' j^ j-lq -' ^^ -=» K=^ W is: i^^^o^id^ 1 ^*e i, r: Tkt grtattst Moma04iiferrodc, who admired and ])layed it to perpetuate Bach's style of playing. The vngrared German edition is from these manu- scripts. It opens as follows : — Schcrzaiiilo. 3 * f\ W f^e b=J*J-J=i r^ — bJS ^ "«^ 1 ■ — -ry-f- - — =1 EEE^a • m I ^^ and is one of the most interesting of all the minor Fugues of this composer. The two Fugues performed this evening, remarkable for their wonderful clearness in a contrapuntal sense, may be pointed out for the attractive character of their themes, and are most useful studies for equalizing the touch and for the attainment of fluency of execution. They are also very eervicenble as an introduction to the more difficult and elaborate works of Bach ; and the student who is zealous and industrious enough to master these with others comprising the set, will approach the Clavier lien Umplri and other great works of this master, with double confidence. This Fuga Schertajuio is as romantic as if it had come from the pen of Mendelssohn, and as full of melody and cliaim as it is ingenious and masterly. The revival and pursuit of such vigorous and healthy music in tbis country, will be productive of the greatest possible good to the public taste. [ I ENTR'ACTE. 9 Iflmorg fainting. With oyet entnnced, we gazed upon Uiose pale, dead features /—tranquil as the calm of even. On that marble brow, 'hoeo alumbering loclu and Bpoll , ami ol all tbe beauteous things which he loved best, and which in life around bim shone; all— all are lost to him. AU have vanished, fled on swift and noiseless wings ; while he, in blighted loneliness bath gone to his last homo, like the sun descending to his rest, through gathering clouds of faint and flickering hue; wrapped in the shadows of night's terriflo gloom— rep wing where tbe long grass waves in dreary sadness, to the sighing of theiitftil wind. Yes ! o'er that fragile flower, midst sunny smiles and golden hopes, have wither^ ing winds and seasons' bligiit passed, robbing that fairest manly form of all its beauteous hues, leaving nothing of life's wreck behind, but tl.>3 contcmplt.iou of those pale, compressed and tranquil lips ; around whioh,—ia deep— feileut— lasting gloom,— there played a placid smile which scorned to us tbe sweetest, happiest thing within earth's round of sorrowlngi.<. As if bis very soul, in its aerial transit, pausing at Ueaven's own portals, had turned to gaze, to take a last farewell of that forsaken tenement on earth, throw- ing back upon iu own dead iaco, the reflection of that ethereal bliss, in which tbit shadow of time disappears; and where shrouded in realms of eternity this bruised spirit, all care repelling, hath gone to live midst never dying strains of music's softest breathings. fiife, juii Jtbrasrg, moccclxv, g^v^ xxr:. L. The greate$t homage you eon pay to iluiie, 4$ tUenee. f MUSIC. It is a strange thing the subtle form and condition of Music. When the composer has conceived it in his mind, the muLic itself is not there ; when he has committed it to paper, it is still not there ; when he has called together his orchestra and choristers from the North and the South, it is there — but gone again when they disperse. It has always as it were to put on mortaUty afresh. It is ever bemg born anew, but to die aivay and leave only dead notes and dumb instruments behind. No wonder that there should have been men of shallow reasoning powers or defective musical feelings, who, in the fugitiveness of the form have seen only the frivolity of the thing, and tried to throw contempt upon it accordingly. But in truth, such critics have hit upon the highest argument in favour of the art ; for how deep, on the contrary, must be the foundations of that pleasure which has so precarious a form of outward expression ; — how intensely must that enjoyment bo interwoven with the God-like elements of our being, in which mere outward sense has so fleeting a share. The very limitation of its material resources, is the greatest proof of its spiritual powers. We feel its influence to be so heavenly, that, were it not for the gi'ossuess of our natures, we should take it in, not by the small channel of the ear alone, but by every pore of our frames. What is the medium of communication when compared with the effect on our minds ? It is as if we were mysteriously linked with some spirit from the other world, which can only put itself en rajjport with us, as long as we are here, through a slight and evanescent vibration of the air, yet even that all-sufficient to show the intensity of the sympathy. "Wlionco art tbou— from irhatcauBua dost thou apriag, . ' Ob music t thou (liviDe mysterious tbiu,'{?" We ask the question in vain, as wo must ever do when we would follow paths which lose themselves in the depths of our being. We only know^ and only can know of music, that its science is an instinct of our nature — its subjects the emotions of our hearts — that at every step wo advance in its fundamental laws we are but deciphering what is written within us, not transcribing anything from without. We know that the law which requires that after three whole notes, a half note must succeed, is part of ourselves — a necessity in our being — one of the signs that distinguish man from the brute, but which wo shall never account for till we are able to account for all things. Again : Music » not pure to the pure only^ Die grV$$t$U Skrerbiettmg dot MtmfUr Mutik betuigem ktmm ist StiUtchweigen. she id pure to all. We can only make her a means of harm when we add speech to sound. It is only by a marriage with words that she can become a minister of evil. An instrument which is music, and music alone, enjoys the glorious disability of expressing a single vicious idea, or of inspiring a single corrupt thought. It is an anomaly in human history, how any form of religion can condemn an organ ; for it could not say an impious thing if it would ! ** Every police director,*' as Hoffman says in his Phantmie St'dcke, << may safely give his testimony to the utter innocuousness of a iiewly-invented musical instrument, in all matters touching religion, the state, the public morals ; and every music-master may unhesitatingly pledge his word to the parents of his pupils that his new Sonata does not contain one reprehensible idea," unless he have smuggled it into the dedication. Music never makes men thinks and that way lies the mischief ; she is the purest Sanscrit of the feelings. The very fall seems to have spared her department. It is as if she had taken possession of the heart, before it became desperately wicked, and had ever since kept her portion of it free from the cui'se, making it her glorious avocation upon earth to teach us nothing but the ever higher and higher enjoyment of an innocent pleasure. No measure is disproportionate to this end. How fortunate that an art thus essentially incorrupt should reign over a greater number of hearts than any other. If poetry and painting have their thousands, music has her tens of thousands ; indeed we should hardly deem that man a responsible being whose heart had not some weak point by which the voice of the charmer could enter, for it enters his better part. Not that it is possible to form any theory of the class of minds most susceptible of her influence — facts stop and contradict us at every step. The question lies too close at the sanctuary of our being not to be overshadowed by its mystery. There are no given signs by which we can predicate that one man has music in his soul, and another has not. — London Quarterly Review. 'r-. m Tht gnaUtt homage y■/ ■ i- ^t. ;; JtpiU gramt omaggio <^ia Mtuica 4 net tUmaio. M. FETIS ON THE REAL AND IDEAL. The indefinite power of Music in expressing ideas, has often a£fordedf mere matter of fact reasoners a plausible excuse for preferring what are termed more profitable and useful studies ; seeking for knowledge instead of pleasurable emotion, they attempt to decrj the art for that vagueness which constitutes one of its greatest charms. To such un« holy worshippers of the divine muse as pollute her sacred temple with utilitarian p dices, the learned theorist, Fetis, in his treatise on coun- terpoint thi lies : — ^^ Et qu'on ne croit point que le di^faut positif soit une imperfection de la musique ; car c'est de \k que vient la puissance do ses effets. N'ayant de r^gle que imagination du compositeur, et de bornes que les sensations de I'auditoire, son domaine est immense, ses formes in^puisables, et, bien que les impressions qu'elle laisse soient fu- gitives, la faculty qu'elle a de les reproduire, en les variant sans cesse^ assure son triomphe sur tout homme bien organist." r ■J'' i The greatetl homagt you can pay to Mutic, it tUmet. VALSE CHANTANTE. La Jeuoeue. Jam«$ Pich. TOIQI, OBOI AJiO PJAJIO. r ; i i; ^' HiM Eleoa de AQgelia, who reudera the Vocal portioo of the Programme, siogg the Yaltt CkantaiUe with apiquaacy and impulse, aod with au earueatneiis and trutbfulaeM ()f ezpreisioD which disarms criticism. What she attempts this eveoiug is tastefully acbiered, while her enthusiasm in the execution of the various pieces set down for her entirely absorbs and interests the bearer. Uer voice is flexible, her intonation true, and her CantabUe pure and expressive. With youth and no ordinary personal attractions, she combines a favorable organi- sation of nature composed of an association of the gentle and ardent, which enables her to pourtray with equal effect passages of tenderness, emotion and passion. Up to ibe present time she bus been entirely educated by her father Signor De Angelis. We extract the following from a glowing Uritiqiu in the MoiUrtal Gazette of 24tb Pectmber, 1864, with reference to this young lady's vocal talent:— X With a latent power of tracing some of the finest lines and lints of beauty in music, gbe possesses, in an eminent degree, even in this frigid zone, some of that Italian fervor which so much assists to command the attention and engage the sympathy of the refined portion of the audience around her. She also displays something more than mere passion, for she unites in her singing a great amount of dramatic rendering with an over- powering sentiment of beauty and patbethic fueling, which transports her audience, and lends to her efforts a subtle, soulful, and intellectual charm." Associated with her is Signor Baricelli, whose Obligato part on the Oboe he performs with grace and finish. Obuk. — Introduzione. Ltflm grand homage dUdla Mutiqtte ett U «t7ene«. I §Z ^^ ^ ^ ^s^m ss-^=^^^ i (■'•:: 1 I' *'* ' r. ■' ■J'-'. THJMPO DI VALSE. — Con abbandono ed expressione. Ah I que c'est joy • eux voir dauH scd beaux yeux ^ PuHO. -"5: J? * * ^i J»j^— ■■■■ I* »wiw P«l >P^-' ^ ^^^ -r— r— q- ^g ^i^^^^ ^EJ p tE=3=e a Bcil-lcr le eaint fea I^'^il-ror^ de I'a • luour i The greateit homage you can pay to Muiic, i$ silence. rP : U !?— fS- X 11 La Jiumbbsi is the name of a youthful maiden, a floweret of the brightest hue, buratiog forth into all the charms of virgin lorelioeBS. Ne'er deviatiDg from the line of peerless beauty, she is nature's fairest, best design. Each charm seems blended there— there nature wills perfection. Her auburn hair, her polished brow, the lustre of her deep blue eye— pure as crystal ; her lips, her cheeks, her neck of snow, are fairy sweetness. With cherub cheeks ; with love so archly peeping from her angel eyeE , with agile form and tiny foot so light ; in transient ecstacy, she flies with rapture through the mazy woods; full of mystic witche.-y and gayest revelry. Through the orchards ; through the mottled shades and sunlit alleys ; through flowery dell and mossy path ; through mingling foliage and lonely sighing lilacs ; beneath the mountains barring north and south and west, so bright with glittering olumpi of verdure ; through yon long vista opening to the east, shewing the ocean wilu its towering folds of snowy canvass, she flies as a thousand airy spirits skim the green- drinking in long draughts of pure delight. Happy maidt we hear, even now, her sweet clear voice, with laughter's sallies comlng^ o'er the breeze like aurs of paradise, and in our mind, the silken tresses of her gauzy hair gtill float in many a golden gleam, dallying with the southern wind, spreading luxury HDon its wing9, as she stoops to pluck and kiss through glossy curls the Queen of lioses, which on her breast reposes, in fragrance breathing, all through day and nighl. Her life all love ; her love all flowers and happiness. RoMAMOB. — " Bin Freundschafts Kranz." Janu* Ptch. MUgro Moderate. rr~rr HZ cr r.0^ ^ — .._ — It was a strange delight we experienced when composing this little "Flower of friend- ship ; " when^ without an instrument over which our fingers «;ould trace the lines of melancholy which invested us as with a garment — we felt mystically sympathetic. Dreaming of a happy past — mourning over a sad present— yearning for an undefined future \ the contemplation of it during its performance by one for whom it was written, '^■iif §i1ttma»M t»i w* i a m ff dat Mtimftr Mfutlk beMeipm teim M StUUehweigtn <■■: V .-I, ill ' .:*•"! * seemed to laj, m it were, an entire life before ui ; depicting all the most comprebensire feelings of which we are luaoeptible. An even, gentle, flowing stream of intense, soul- ful melodj, gliding, as it were, into some far ocean of infinite sound, whose all divinest •traiag are floating like naiads on the bosom of the waters — a draught of veritable nectar — « heart's feast of passion and beauty, filling one's soul with an atmosphere of luscious firagranoe ; peacefu., refreshing, contentful — a perfect Ldllabt. OAniOM IT RsTWUi •• James Pech. Mlegro fnoUo expreuivo. " '' ^^ii -4^-0 I I I' ! J iF In this Caprice the opening movement is wild esd gloomj. We felt as if hurried into regions mountainous and dreary, where no presence but that of the vulture reigns — where the storms are asleep, wrapped in the embrace of the clouds — where the torrents, tor- mented into a thousand courses \y the jagged precipices, twisting and twirling, rising and falling, smiling and frowi ing, rush hither and thither with a gushing sound of despair. The scene becomes, as it were, one of mil \'led sublimity and horror, when, just as the imagination is to the highest pitch excited, i: calm cnmes over us as a dream —a Reverie, and envelopes us in the soft embrace of a Cantabile :it=it ^d_=Ei ^: ^ «■ 7%e grettte$t homage yomeanpay to Uuaie, U lilenee. preliensire leose, soul, ill divineat able nectar of luscious Pech. ^ » ffit &c. arried into na — where reuta, tor- iag, risiag i sound of tor, wlien, i3 a dream m ^ w . whose courae, felt in the heart and flowing through the blood, causes a quiet, grateful eojoyment to steal over the senses. The performance of this Caprice must not be slovenly, scrambling, or uncertain in the mode of playing ; while the performer should possess the power of giving a reality to bis impulses through the medium of perfect manual dexterity. A Skktou. — " Twilight." « Jamei Pech. Molto expretsivo. ^^m This sketch was composed by us upwards of ten years since while studying under Czerny in Vienna, for the young Baroness You Kosenbeig. It is the offspring of a mind buoyant and bright as it beheld the visionary forms of unborn joys ; when the crimson flood played around a heart that flowed pure from the springs of innocence. At a time when surrounded by beauty unsurpassed, when sweet glimpses of a world unknown broke in upon us, — that world whore " Music and moonlight and beauty are one;— when the dear confession of a bashful mind, retiring within the mantle of its own loveliness from very modesty of its own purity, soothed an anxious hour, healed our mental grief, flattered a despairing love ; raising up dreams of all that was most heaven- ful ; transporting us to distant realms of bliss ; when the world and all that it contains lost sight of, left the heart to rerel in a being, lovely — gentler-melancholy — consolatory ; «ver acting as a reposeful opiate to an embittered mind, as balm to a wounded heart ; a very fragrant bud of joy and sadcnas ; innocent aa childhood, tranquil as unborn desire, but who now sleepa like the mt'.odiea of early daya. If death were to summon ua to . our last home, we should be happy in its embrace, could our loul but be soothed into eternity by the gentle breath of her from whom was gathered this noaega/ of aweetand •jMlmy melodiea— redolent of fragrant thought. m n^-t- >••■■■ luftMunv 29 IV^derie Chojm, The Impromptasof Gbopia are remarkabla for the laiuer aller which sboold iavarUbljr characteriM compositions partaking, in a great measure, of the essential of improviza* tion. They also present, in an eminent degree, another feature no less necessary to the strueture of such pieces, riz., a continuity of feeling distinguished from monotony by the skilful manner in which the artist develops his resources. Thus a certain subject is given out, and is diversified, modUied, beautified, intensified, simplified, Ac, kC; ad inJinUum — not through the medium of fugal treatment, but simply by the artful man- agement of its progressions and the various contrivance of its harmonies. Nothing cab be more delicately playful than this impromptu commencing :— tJ-: r. i¥ i Allegro assai quasi Presto. ^^^^^^^^m mr^^^^ m ^f^m Pbd. ^ Ped. ^ Ped. <MmW— llll ■». . ■ n$ gnaUtt homag* yow«ai» pay to Muaio, it mIonm. :?3psr Fed. Ped. Pw. wherein Ohopin, bj the bappy usageof the omamen/oi, shows bimgelf a perfect muter of tbiS} as of all other modificatious of stjle. I f-:' f- M LIED. MARIE. Voice, Olarinet, and Piano. Marie, by that trembling star, Smiling on us from afar, Swear you love me, and I'll be Sun and Moon and Star to thee, " If you love me, tell me so ;—• Say you Iota me ere I go : Swear it by that crimson ray, Slumb'ring on the couch of day. I would lore thee ; but, you know, If I do, and " tell you so," Trausicat then would be thy lore As that fading light above. Man forgets us when we tell That we love him, and how well :— Not to be forgotten so Ever will I tell thee— No 1 " Imtboocczioni. Andante ma non troppo e con trittezza. tt Clakimgtto im BI> James Peek. ;?E H: :^ Voice. pi Piano. ■ ri X -••-r-^ U: m £» _ - :/■.'. ^ UM»f Itt fu id *«■■ #» O < to JftMtgiM ttt h tUme*. =^ I 4^: «2= ^ 3 JUegro a/fUato con nolto MentimerUo. \\ Piano, sempre staccato e marcato il accompagDymento. r— ♦f— :iefe= ii^^^ i^^ ^^s ^^^^^ «;' !(?- I ^T^ I ?• F The gr«ate$t komageiftfaeir superior elaboration— their ampler resources of harmony— and other characteristics of an elegant and cultivated mind. Of these there are five, all of extreme beauty, and singular originality — and far superior to anything else of this class extant. The poe we present this evening, and for which we entertain a preference, is an exquisitely plaintive morceau in A (2 ViVACK. ^^^^^^^ Pkd. ^S Leading on to the opening Theme :— 5,^ 7 I.- ^rt^ipH Pici). * Pkd. * Pku. and from the first bar to the last is one of the most unspotted loveliness, an animated torrent of exultation, and which, for continued and energetic brilliuucy, for fresh and invigorating melody, has scarcely a parallel. The estimation in which Chopin is held on the European continent may be tested by the enormous sale of bis works and by the unanimous and enthusiastic testimony in his favour of the most celebrated musicians, literati, and men of general learning, including among them artists of many various and opposite characteristics. The mystical Robert Schumann, with his charming and talented wife, the then beautiful, admired, aud uni- versally wooed Clara Wieck, amongst many many others, with the passionate Georges Sand at their head, united in oft-reiterated and unmodified opinion of tlie musical supre- macy of Frederic Chopin. Though admired as a composer and highly respected as a master, Chopiu never became popular. So afiectcdly distant was he in his manuers— at times even to men not much, if at all, his inferiors in intellectual endowments, that, in purely artistic circles his name was by no means cherished as a household word. He held himself aloof from the most celebrated persons in Paris ; their noisy c<»r/ ing eccentricity. 4. t- The ffr«€Ue*t homage you can pay to Mu$ie, it rilmut. reoaon of |ir ampler liad. or iperior to rbicb w» m i B Bis riunioni bare been likened to an assemblage of fairies, tt^e secrets of whose aspir- ing and tender hearts be could read without difficulty. When unconsciously his fingeri ran over the keys of the pianoforte, drawing from them a succession of touching bar- monies, he was able to divine in what manner the secret tears of enamoured girls and young neglected wives were sbed ; how the eyes of men both given to love and jealous of glory, became humid with emotion. How often bus a lovely girl, petitioning for a simple prelude, leaned her beautiful arm on the instrument to support her dreaming liead allowing Chopin to guess from her looks the strain her heart was singing. Chopin was a professed hater of literary women, and bad a great disinclination at first to make the acquaintance of Madame Georges Hand, but with whom, however, Bubse<^aently be formed an intimacy which, fur some years, wholly absorbed him. During an alarming and protracted illness ho was tenderly nursed by the authoress of Lelie. " The remembrance uf the days passed in Majorca," says Dr. Liszt, " was graven on the heart of Chopin like that of a rapture, an ecstasy which fate accords but once to the most favoured." <'Ue was not," to quote the words of Georges Sand, "oa earth, be was an empyrean of golden clouds and perfume; bis fine and exquisite imagi- juition seemed drowned in a monologue with God himself; and if, perchance, on the radiant prism when he forgot himself, some accident caused the little magic lantern of the world to pass, he would experience the most frightful uneasiness." Although be lived to survive the complete rupture of his intimacy with this eminent novelist, Chopin often asserted that this ti^, this long friendship, in breaking, broke bis heart. «£n afl'ection il n'y a que des commencements," was one of the cynical mots of the the authoress of Lelie. In such instances what a pity there should ever be a beginning. Chopin died, Oct. 17, 1849 in the fortieth year of bis age. In Shelley's three exquisite lines we seem to bear the typification of Chopin's existence, ooral and artistic :— " I could lie down like a tired child. And wuep away this life of care. Which I bare borne and still most bear." animated fresh and tested by )uy in hid ncluding li Robert and uni- Georges al supre- r became }t much, lis name the most (uriosity >f seem> ItptAgnmdmatgioaUaMusieaiittltikHito. }•{■■ ,..-».> ■ ■•\ • ■ HARMONY AND COUNTERPOINT. The term Counterpoint takes its origin from the ancients, who, before the invention of musical notes, made use of points, placed one ag^nst the other, whether to designate harmony in general, or to distinguish one or more subjects composed on a given theme ; hence, harmony is synonymous with counterpoint. Th& given subject may be placed either in the treble, bass, or tenor. The counterpomt, therefore, b as effectual under as well as above the subject. Guido Aretinus, a monk of Arezzo in Tuscany, is supposed to have invented counterpoint in the year 1022. There are two kinds of counterpoint, Simple and Double. Simple counterpoint denotes a species of composition of which the notes forming the counterpoint cannot, without transgressing the rules of harmony, be inverted or placed above as well as below the given subject or plain chant. In the composition of counterpoint of two or more parts there are five species, viz. : 1. Note for note ; 2. Two notes to one ; 3. Four notes to one; 4. Counterpoint in dissonances by syncopations ; and, 5. Florid counterpoint. In the composition of three parts, which is most perfect, being composed of triads, its explanation is best understood by the study of enchaining of perfect harmonies, affinity of keys, movement of parts, and triple counterpoint. Double Cguntehpoint is a species of composition in which two or more parts of the same nature may, without transgressing the rules of harmony, be placed at the distance either of an octave, a ninth or second, a tenth or third, above or below a given subject, as, for example : 1^ •it • -^ i^=iE 1 r-,- •■ ■ F m \ "Si; ■■ " E3=.^ When the counterpoint is so composed that the inversion or evolution of the parts cannot be made without transgressing the rules of good harmony it is called simple counterpoint. The evolution of parts denotes the employment of the treble counterpoint in the bass, or reciprocally, that is, the employment of the bass counterpoint in the treble, for the purpose of producmg another species of harmony, or simply changing the complcidou ■ ?i 'v S m^- Tk« gnatut kemagt yoM om pay to Miuk, i» $Uimet. •m^' 10, before gainst the ah. one or [iou^mou» lie treble, 3r as well uticaiiy, is the notes harmony, or plain there are ?'our notes 5. Florid }t perfect^ the study of parts, ^0 or more harmony, i,a tenth :Si olution of harmony lotes the ', that is, irpose of mpleiuoa 1-^ of the piece of music. Double counterpoint is divided into four principal Bpecies, as : 1. By direct movement^ that is, when each part, in its evolution, preserver ^Q same movement in regard to its notca. 2. By contrary movement^ when the parts, in their evolution, alter their movement in respect to notes. 3. By retrograde movement^ when the parts, in their evolution, take the subject from left to right. 4. By retrograde and contrary movement^ when the parts, in their evolution, not only take the subject d rebourSj that is, from left to right,, but that by contrary movement. Xs there are but seven notes, so there are but seven species of double counterpoint, viz. : , j . 1. The second or ninth. 2. The third or tenth. • 3. The fourth or eleventh. ! ; 4. The fifth or twelfth. ' j ' 5. The sixth or thirteenth. ; 6. The seventh or fourteeuih. 7. The octave or fifteenth. * In the composition of counterpoint, in the octave; it is necessary to know how the notes change by their inversion or evolution ; it is, therefore, thus ascertained, ; 12345678 87664321 when unisons become, by inversion, octaves, seconds, sevenths, &c., for irhich reason the octave and unison are seldom employed, as they produce no satisfactory harmony, uuless by syncopation. 2nd. That because the fifth becomes, by inveraion, the fourth, it cannot be used but by supposition. The eighth must not be exceeded. In the composition of double counterpoint, in the ninth or second, unisons change into the ninth, &c., thus, 123466789 987. 6 64321 The fifth in this species being the principal note, it requires the greatest attention, both as regards the commencement and finishing, the prepara- tion and the resolution of notes, not only of themselves dissonant, but those which are rendered such by inversion. Double counterpouit in the tenth or third is thus designated : 123466789 10 10 987664(321 ■■ I L*phu grand homag* dfe d to Mu»iqH» e$t U aUmce. . When unisons become tenths, &c., two following thirds or tenths, by direct movement, must be avoid J, because two octaves or two unisons are the result, which is forbidden ; two following sixiiiis also must bo avoided by the same movement, because they produce two following fifths, which are also forbidden. The fourth and seventh are employed; but conditionally, or by supposition. J)ouble counterpoint on the eleventh or fourth is thus expressed : 128466789 10 11 11 10 987654821 Thu unison changes, by inversion, to the eleventh, &c., the sixth here being the principal note, it is only upon that note that not only dissonances but even consonances, which change into dissonances by their evolution, must be prepared and resolved. The double counterpoint in the twelfth and fifth : 128466789 10 11 12 12 11 10 987664321 The unison chang(^s, by inversions, to the twelfth, &c., the sixth, because it becomes the ninth by inversion, must be prepared both above and below, and the bass descends one degree. The ninth should be treated as a fiecond, unless it be resolved by the seventh. Counterpoint in the thirteenth or sixth is thus expressed : 1 2 3 4 5 6 7 8 9 10 11 12 13 13 12 11 10 9 8 7 6 6 4 3 2 1 Unisons become by inversions thirteenths, &;c. The sixth and the octave here are the principal notes ; the direct movement of sixths must be avoided because they become by inversion consecutive octaves, which are forbidden ; the seventh,, not being capable of regular resolution, is dispensed with only by supposition ; the second, third, fourth, fifth, and ninth must be prepared by the sixth or by the octave, above and below, and afterwards resolved by one of these notes. Tbe double counterpoint in fourteenth or seventh is thus expressed: 1 2 8 4 6 6 7 8 9 10 11 12 13 14 14 13 12 11 10 9 8 7 6 5 4 3 2 1 Unisons here become, by inversion, fourteenths ; the third and fifth are the principal notes ; two following thirds must be avoided as they produce two following fifths which are forbidden. All dissonances by inversion must be prepared or resolved either by the third or fifth notes. The word double is often omitted and the term d Voctave is placed in its stead ; as Contrepamt d Voctave^ d la dixieme^ etc. ContrepoirU double also ofteQ. exprosses triple and quodrupU counterpoint. \ ^ % I Si- ll hj 8^ ■**" The grtcUctl humayt you oan pay to Utuk, U tUtnee. tha, bj loua are lided bjr (are alao Ty or by f« DEGllEES IN THE FACULTY OF MUSIC Ur TBR UNIVERSITIES OF OXFORD AND CAMBRIDGE, tli here ouauccs solution, o 1 because d below, ;ed aa a 13 1 e octave uust be bich are iapensed th must erwards sed: 14 1 ifth are produce I version Bleed in \ dovUe I The Candidate must matriculate in the University, and enter his name upon some College books, and, before proceeding to the first degree of }3acu£L0r in Music, have studied and practised the artand science of Qiusio for Seven y£ar«, and have passed all other examinations in Arts which the various statutes demand. Before proceeding to the superior degree of Doctok in Music, five yean must have elapsed from the time when graduating Bacuelob. To give our readers some idea of the ordeal to bo passed though before obtaining the degree of Doctor in this faculty, vro quote the following : the candidate is required : 1. To compose in an extemporaneous manner, a prelude, with the iojuuction that the piece sliould commence in one key, and terminate in a totally opposite character, and at a great distance from the primitive key. j^or example, to commence in D.Minor and end in F.Sharp Major, and that in the space of three minutes. 2. Below a plain chant, (or melody) chosen at random, by the examiners, to compose a piece of harmony in three and four parts ; the pedals only forming the part of the bass, the left hand filling, upon a particular clavier, the intermediate parts, and the right hand ornamenting occasionally the plain chant or melody. 3. To accompany a figured bass ; to deduce a subject from that bass ; to treat the subject in the imitative style ; and to introduce the various effects of organ-stops. 4. To compose a fugue upon a plain subject, which subject must be heard alternately, and in a satisfactory manner, by each of the four harmonic parts, and the pedal. As for example, to treat the following subject marked A : S ^ g~T zz: 2a: % ' JHtfftifitateXKrerbktungdasMim/ttKMttiiliUztigwkaMHittsmMchweigeth P To make the aof wer a fifth below, as at B ;- B ■ -^ 3 m ^- ^ -JO. 22: 22: ;^^ Join to this answer a chromatic progression as at C :•— > P ^W qzicz 35 £ -- 7^-r-^ ^-^ Place, in the course of the fugue, this chromatic progFession in the other parts, as at D : — g§^^ :»=z=: itps: iz^^^^^feS^^S - ^■« g I 6-g>- Change the ascending notes of the first subject into descending ones without alteration of intervals, and place also the inversion of tliis subject a sixth below, as at E : — E P p -^ ^^ TSL r = > g > I 22: -m. r;: Make the changing of the subject, by contrai'y motion, accord with the first subject aa at F : — 1! F. 3 zz ^ /S^ 22: 22: -^ m lic: ** ■ ' ■'■■ 4 ■ ' i ■■ *j.u -Ji n—P zz: ■«>- ^ -ir* Iflf: ^: iV ft r- 4 r .. S'!i>>Jofci-SB£KiKrjs,i^i*')jCif^-vis;*^^^^ 9 Em I in tho 1 H^ . ling ones iS subject -*♦* i >vitli tho ^1 Br* I. » K: !■ ^- jfAe yrea- 22: ^ -^ 3E S :;=t: a: :z2: ^--•-; S ?= :pa= t TSL Having thus acquitted Iiimsclf to the satisfaction of the examiners, the candidate is then requested to treat of the subject of Fugue in writing. It is only after having passed this rigorous examination that he is permitted to receive his teatamur. For the Bachelor^s degree the candidate must also produce a composi' tiou for, full Band and Chorus, some one or more of which choruses must be written in six real parts. For the Doctor's, a similar composition written In eiylit real parts foi- Band and Chorus must be submitted. These Compositions, in University parlanccy are called Exercises, and are minutely examined by the professor and other examiners in the faculty. At Oxford, if approved of, they are performed in the Music school, or if the Band and Chorus be very large, in the Sueldonian Theatre. On all occasions tho Yice-Cuanoellor, and the PuocTOUS with other dignitaries of tho University, attend in great state to listen to the performance. The following are the Public Professors of Music in England, Ireland, and Scotland : University ok Oxford : The Rev. Sir Frederic Arthur Gore Ouseley, Bart., Mus. Doc, Mus. Prof. Oxon. University op Cambridge: WillUam Sterndale Bennett, Mus. Doc., Mus. Prof. Cantab. Tub University ojf Trinidv College, Dublin: R. ? Stewart, Mus. Doc. Dublin. Grbsham Colleqe, London : Henry Wylde, Mus. Doc. Cantab. University of Edinburgh : Dr. Donaldson. Chairs in music have been recently created in the coi^^paratively new Universities of Londjn and Durham. Vi': ^ .... ■ -^v ■ ■::-,?'^.;i :/ MATERNAL ADVICE TO A YOUNG LADY. ^F^ ^"iF /> r i -i ., V 1 d ■■■■ 1 ,>■■> »*,.*, i*i -l The greatest homage you cau jMy to Muno, ia lUmu. h f i$l nl €Qntj[ia$iliQtt$ BY DR. JAMES PECH. p Ma. GBANO 0BCHE9TBA. I OVEBTUUE DBA1IATIQII£ to Abmold's Oxvouu NuwuitaATi Puizi Poix— CBOX\irBLL,(M.S.) OVBBTUKE DBAMATIQUE to Uobkbt Bolwkb Lytton'b Pokm— Luoilb, (U. S.) {Dedicated to George Murray, Eaq., li.A., late Lmby Hdtolariif the Univertity qf Oj^/brd.) OVKBTURE to Cuhibtoph Wibland's ¥oitM.^iiitaAHiiA, (U.S.) POLKA DE CONCEUT, Woodvillb. [Dedicated to the Counteaa q/' DanUey.) PULKA DE CONCEBT, Snow Dbop. {Dedicated to Mita Amy Gordon.) VALSE DE CONCEBT LBrncK, (M.S.) PIANO SOLO. SKETCH TwiLioHT. {Didii d son amie Mademoiaeile la Baroneaa t*OT» Roaeiii^ rg.) CAPBICE £T BEVEKIK. BOMAMCE, Em Fkbuhdschavts Kbamz. {Dedicated to Mrt. WUliam M. Itogera.) POLKA DE CONCEBT Woodtillb. ( Dedicated to the Counteaa qf JJanUey . ) POLKA VE CONCEBT, Snow Dbop. (Dedicated to Miai Amy Gordon.) POLKA DE CONCEBT, Hat Db w. VALSE DE CONCEBT, LsmcB. (M.S.) PABT SONCiS. LA UAUINABI-XLA, (Tlu) Horinon,). .fur Mixed Voices. LOVE'S MESSENGEB liE TBUE, Words by EllerUm, for Mixed Voicea. BBIDAL MOBN " 2^A., B.C.L.) ■ ■■ » "VM 0,;. ' '■. Ltplu$ grand komag* dudia Mittiqut tat U MUtHct. CLABINET, VOICJV AND PIANO. UlSD Uabji Words by JametPech. OitOJS, VOICK AND PIAMO. VALUE CUANTANTE La JxmrKSSB. Didk d $on amic Mademoiteik Eletut Dc Ahgelis. VOICE AND PIANO. Soiio. FABE TUEE WELL, WordabyDynm. {Dedicated to and Sung by Madame Ctara Novello.) Bono. WEEDS AND FLOWEBS, Worda by Mrs. Alfred V. Newton. (Dedicated to Miaa Annie Jay.) SoMa. SPBINO, Wordaby a, E.Shirley. (Dedicated to The Lady Ekho. ) SoKO. THE PASTING Wordaby Ueury J. Braham. (Dedicated to the Couuteas of Lucan.) - SOMQ. I AM WEAKY, TAKE ME UOME {Dedicated to and Sung by Madame Catherim Jlayea.) SoKO. TO THE VIOLET, Worda by Jama Pech. SOMO. THE CONSTANT UEAUT, SONU. I SPEAK NOT, I TRACE NOT. Worda '>/ Jiyron. Souu. SIGH NOttTEAlt Wor;• " " t!Sj-«ffl m 's .. «