to reproduce. The real inventions of Beethoven are all single, of no school-having no connection one with the other, save by their surpassing loftiness, and the amazing affluence of invention they display. We may see, indeed, here and there, that he used certain instruments in his scores with a richer license than his predecessors, that he availed himself, when he pleased, of episode, to a degree surprising in one who could spin such wonderful poems out of such simple groups of notes as the one opening the C minor Symphony. We can recognize among his piano Sonatas one as an example of agitation (the one in D minor, No. 2, Op. 31); another (the one in D major, No. 3, Op. 10), as containing a wonderful contrast betwean the sublime sadness of its Largo e mesto, and the unbridled freakishness of its final Allegro. But this is all: for the slightest attempt to make any of these over again, conscious or unconscious, would betray itself, and subject the maker of it to such immediate indignities as awaited the bird in the peacock's plumes of the fable.

Some instinct of a truth like this has served the sagacious musicians of all countries, as regards the account to which the really great works of Beethoven might be turned. They have been resorted to as quickeners of the fancy, not as models of academical study. He would be a poor and meagre-minded architect who could gather no strength, nor food for future daring, under the shadow of the pyramids; but these would assuredly not take the form of a little pyramid.

Musical Correspondence.

From NEW YORK.

APRIL 18.-William Tell is certainly a great opera. There is no doubt of it. But then it should no more be called an Italian opera than HALEVY'S operas can be called German, because he happens to have been born in Germany. It belongs to the German or French schools. The first two acts are very fine. The third act is much poorer and contains a quantity of dance music. In the fourth act, again, there is a great falling off. But, take it all in all, it is one of the few operas to which you can listen four hours without tiring. In many passages it reminds one of Semiramide, but partly the libretto, and mainly the music, make it infinitely more interesting. And if it pleases so much with MARETZEK as conductor, what must it be with a first-rate Kapellmeister to bring out all the points and to really direct and manage the orchestra. Of the overture I could not well judge, as, from the opera beginning earlier than usual, there was much noise from the belated comers. It struck me, however, as far as I could hear, as being uncommonly fine. The solo performers and choruses, on the whole, did remarkably well. One portion of the opera, which could be much better is the scene in the third act where 'Tell' is ordered to shoot the apple from his son's head, and after having done so, drops another arrow (intended for Gessler') from his bosom. Neither the music expressing the fear and supplication before the act, or the intense joy and then dancing after it, was strong or significant enough. If ROSSINI had only studied Fidelio a little, he might have been inspired by that opera. (No adjective in the dictionary can express its merit, so I use none.) From the point where 'Leonore' steps between 'Pizarro' and 'Florestan' with command 'Zurück!' to the end of the unequalled duet: O namenlose Freude, I know of nothing at the same time more musical or more dramatic. Aye, never will I forget the 18th of March, 1852, when I heard JOHANNA WAGNER as 'Leonore.' I am not easily carried away by acting, I know how hollow it generally is, but when that glorious Tödte erst sein weib! sounded forth so nobly, so spiritedly, so truly, as if all her passion, her love, her intense suffering were concentrated in it, I fairly shouted

with enthusiasm. And not only I, but the whole house. Johanna Wagner is the greatest dramatic singer and the greatest actress in the world.

But, to return to William Tell; it has been given again on Wednesday, Friday and last night, each time to crowded houses.

At Niblo's, on Tuesday, Capuletti e Montecchi was given to a good house. The performance was better than I expected. Mme. SIEDENBURG made a very good Juliet.' Her voice is rather passé, but she uses it to the best advantage. CAROLINE LEHMANN sang finely. Her acting (a very essential thing in opera,) was like that of an automaton. It was all assumed, so that when the scene happened to last a few moments longer than she had anticipated, she stood there like a statue, not knowing what to do. She has lost much in the estimation of the New York public since she left the concert room. I place her acting much below MARIO'S. On Thursday Alessandro Stradella was given to a good house. The tenor part of Stradella was to have been taken by Mme. D'ORMY, (a contralto,) but this lady having become 'suddenly indisposed' (to sing) Mr. LibeRATI, of the chorus, took the part at short notice. This gentleman has a weak, but pleasing voice, and no doubt, when sufficiently accustomed to solo parts, will sing very acceptably to the public. Mme. Siedenburg did very well as 'Leonora.' But the gems of the evening were the duets between the assassins. Messrs. QUINT and MULLER, who sang and acted their parts capitally. It could not have been done better. The plot of the opera is as follows:

Stradella, a musical celebrity, professionally engaged for the musical education of Leonore, the ward of Bassi, an Italian nobleman, fascinates his pupil to a tender attachment for him. They elope, and Bassi, enraged at this, and determined to be revenged, hires two assassins to slay Stradella. They overtake the fugitives at Stradella's country seat, where, while watching for an opportunity to carry out the foul deed, they hear him sing and are charmed to a feeling of pity for him; they confess and abandon their design. Bassi, who enters to see whether his will has been executed, forgives his ward. The assassins, having previously received their hire, and glad to be released from their promise, join in the rejoicings of this happy termination.

In the first act occurs a comical scene, in which a very comic and well executed 'Pierrot Dance' was introduced, by eighteen 'New York children a la Viennoise."

'Buckley's Minstrels' are really doing very much for the cause of music in New York. You may laugh at this assertion, but it is true nevertheless. They were the first to substitute arias, etc., from Italian operas for the common negro melodies, and also first introduced the burlesques on popular operas which retained the music, though they burlesqued the words. And now they have commenced giving comic operas with white faces, and, as I have heard, really do it well. I know that several of the members of the company are excellent instrumental and vocal performers, and some indeed I believe to be true musicians; and I contend that they are doing as much for the elevation of musical taste among the people as the Philharmonic Society is doing in a higher sphere.

Quite a curious serenade came off last Wednesday night. It was intended for a newly married couple, and consisted of six powerful grinding organs, all playing different tunes at the same time. First you would hear 'Pop goes the weasel' predominating; then after a short struggle, 'Wait for the wagon' would conquer it; again ‘Jordan' would gain the mastery to be overpowered in its turn by the Prima Donna Waltz,' the Marseillaise,' etc., ad infinitum. This 'concourse of sweet sounds' continued more than an hour, and occasioned many an awakened sleeper to exclaim, in a testy voice, 'List, 'tis music stealing.' Myself, it reminded strongly of an almost forgotten opera, I had once heard in Germany. There are rumors of difficulties among the German troupe. Is it possible for an opera company to exist without

APRIL 18-EISFELD'S Quartet Soirée, the last of the season, took place last night. The programme was less attractive than usual, and the whole,-as a friend remarked,-was like 'Hamlet with the part of Hamlet left out;' as, though it was 'Eisfeld's Classical Quintette Soirée,' there was no Mr. Eisfeld, no Quartet, and no MOZART, or BEETHOVEN, or other strictly classical composer. First came a Nonetto by SPOHR, a quite pleasing composition, in which the combination of instruments is peculiarly happy. Two numbers were filled by the two halves of HUMMEL'S Septet in D minor, the piano part to be played by Miss ELIZA BROWN. The initiated knew that Miss Eliza Brown is a young amateur pianist, a pupil of Mr. TIMM, who can be seen at every concert, plays very well, and takes a vivid interest in music generally. And, indeed, report had not said too much of the young lady's powers; perfectly calm and self-possessed, she really played remarkably well, combining great fluency and accuracy with a degree of force very unusual in a young lady. There might have been more light and shade, but on the whole there was a truth of conception of the music, and an entering into its spirit, which was very creditable both the young pianist herself, and to the master who guides her.

The performances were very much shortened by the omission of Mr. Roor's vocal Quartet, on account of the sudden illness of one of the singers. We consequently were deprived of a Quartet by Mr. Eisfeld, which I have heard very highly spoken of, and Mendelssohn's beautiful Hunting song.

This was almost the last of our regular concerts. They end with the fourth Philharmonic next Saturday. Was there ever a finer programme than is promised us for that? If one could only enjoy the rehearsals more. But they are getting more and more to be merely an occasion of rendezvous, so that there is hardly a place in which one is not disturbed by the shameless talking and flirting by which most of the audiences amuse themselves. It is a real nuisance: would that something could be done to abolish it. BORNONIS.

From WASHINGTON, D. C. APRIL 12.-After having for some time, "Winter lingering in the lap of Spring" (a thing much more poetic in the saying than the experience,) the welcome season seems to have come at last. It is now delightful to take a stroll. The mornings sparkle, and with such a river as the Potomac rushing past us, with such heights as surround our city, with such grand public buildings,-Washington is worth living in.

It would be much more so if we had more good music. But, alas! most people here are in the ty phoid state on that subject. I advise all the Bostonians who ever contemplate the possibility of leaving their city, to engage a perpetual seat at the Music Hall, for they'll find themselves when they go away hunting about after music like Diogenes after an honest man.

We have however the next best thing to good music, i. e. a good music store. Messrs. Hilbus and Hitz have located themselves in a most favorable place on Pennsylvania Avenue, where with neatly arranged music, fine instruments, best music, busts of the great composers, etc., they await the "good time coming." Sometimes, too, in loafing there one picks up some bonne bouche in the way of music. For instance, no longer than this morning, whilst I was sitting about five minutes there, I heard a bow drawn with a flourish across the strings of a violoncello

with a right brave hand, and looking up, beheld two good-looking German friends,-one at the piano, the other with violoncello,-and in another moment found myself gliding along the liquid sweetness of SCHUBERT'S Ave Maria! vierge du Ciel! Ach! It was good, or I'm a heretic. One should have a thousand ears here, by way of compensation for the little to be heard; as the Roman cried: What a pity one hasn't a thousand lives to give for one's country. (After the air of Schubert we had performed skilfully the Souvenir de Spa of Servais.)

I lately stepped into the copyright bureau in the State Department, and examined the collection of music there. I came away fully convinced of the truth of the American Proverb which says

The greatest nation

In all creation.

Here are collected about 150 volumes of music, all innocent of foreign hands; such as the most patriotic K. N. might conscientiously hear. And what is it? Have we here intricate operatic airs, or puzzling “Sin-funny?" Have we Sonatas that put one's teeth on edge? or any other of your fiddletuning pieces? I answer, No! We have here music for the million,-music dear to the national heart. We have music here, (Pythagorically speaking) the μουσικη of the τὸ πᾶν. That is the music of the (as Lowell translates it) great toe. That which the great American toe hath polked and waltzed and danced every way is here. These dance pieces are positively infinite, and imbibing the spirit of our country constantly expanding. We have Fairy, Fairy-bell-dell-yell Polkas, Blues, Greys, (Green) Quicksteps; Miller's Maid, Ben Bolt (and others bolting) Schottisch. But the great central volcanic fire in the National Musical Heart would appear to be these: Few Days, Jordan, and Pop goes the Weazel! The last of these especially is found in every variety. The Weazel pops forth in quick step, waltz, polka song-always the same cunning and interesting animal. One piece on a hasty glance seemed to me pathetic; perhaps we shall one day shed tears at the funeral march of Pop goes the Weazel.

The people of Richmond, Va., have been regaled by a Musical Convention; such perhaps as we shall have here May 8th. The Richmond people are fond of good music and support the opera well.

The friends of Mrs. RITCHIE (formerly Mrs. MOWATT) in your city may be glad to learn that she is in the midst of many kind and appreciating friends in Richmond. I do not suppose that I transgress the proprieties of private sources when I state, that lately she has been delighting a circle of friends by reading the text of celebrated scenes (taken from "The Corsair,” "Bride of Lammermoor," etc.) apropos of accompanying Tableaux Vivants representing them. Her society is in this as in many ways as an acquisition to that city.

C.

The

genius, and one to test both the mechanical and genial qualities of the interpreters. It was finely rendered, the members of the QUINTETTE CLUB doing their part in their happiest manner. pianist played it as if he loved and felt it, which, considering the infallible neatness, freshness, strength and delicate shading of his touch, and the ease and elegance of his execution always, leaves little more that could be desired. We believe this is an early work of Mendelssohn. In the delicate, lightly running staccato of the Scherzo, one seemed to trace the genesis, as it were, of his peculiar, fairy, Midsummer Night's Dream vein. Here it was something, on the one hand, as romantic and fanciful as that, and on the other as abstractly musical as BACH; showing how what is most poetic and original, most of the fairy world with Mendelssohn springs in a direct and vital manner from what is most abstract and learned in his severe musical studies.

Next, Mr. Satter played a brace of pieces too entirely heterogeneous for contrast. One was the little happy, tranquil, June-like minuetto from MOZART'S E flat Symphohy, which charmed everybody this time, as it did in the first concert. The other was more of the hacknied "prodigious school,”—Liszt's transcription of the Lucia Sextet, an imposing piece, however, and superbly played.-Miss LOUISE HENSLER next claimed the attention of the audience and held it to a charm, through all the tender cantabile introduction and the long and florid development of Com'è bello from Lucrezia Borgia. The delicious, Spring-like, richly vibrating quality of this young voice, wins steadily upon all sympathies; and we were more than ever surprised at the degree of skilful, tasteful execution, at the truthful feeling and conception of such music, shown by so youthful a débutante. It gives one the pleasant thrill we always feel in recognizing a rare promise.

Mr. Satter closed the first part with one of the lighter and earliest Sonatas of Beethoven, that in F minor, from his second opus, embracing the three Sonatas dedicated to Haydn. We have never heard it played so elegantly and so expressively. The unity of the work was completely preserved in the rendering. The impassioned, but gracefully self-possessed Allegro; the flowing, Mozart-like melody of the Adagio; the delicate, piquant humor of the Minuet and Trio, and the swift, fiery Finale, with its songlike episode, were all brought out with the utmost truth of rhythm and of coloring. We cannot conceive why a Sonata of Beethoven, really well played, should not always prove the most attractive thing that can be presented to an au

BOSTON, APRIL 21, 1855.

CONCERTS.

I. MR. SATTER'S THIRD CONCERT drew a much larger audience. Indeed the Chickering saloon was nearly filled; and a more enthusiastic audience is seldom found at a piano concert. The programme was of a somewhat lighter and more heterogeneous quality than before; yet it contained some very choice and admirable pieces. It commenced with the Quartet in B minor, for piano and strings, by MENDELSSOHN, a work uniting all the peculiar charms of the composer's

taste.

We were obliged to leave after the first part, thereby losing the Scherzo and Finale from CHERUBINI'S Quartet in E flat, by the Mendelssohn Quintette Club; another song by Miss Hensler; some Mendelssohn "Songs without Words," (Number one of part one and the Duet,) a Lisztian arrangement of ROSSINI'S Tarantelle (which we hear made quite a furore),

a Nocturne and March of Mr. Satter's own composition. His Casta Diva, "for the left hand," we can scarcely imagine to have been a loss; surely such a concert could not be made any more complete by introducing Norma !

2. MENDELSSOHN CHORAL SOCIETY.-The Complimentary Concert for the Ladies of the Society passed off quite successfully on Saturday evening. In spite of the wet, warm day there may have been some twelve hundred or more people in the Music Hall. The first part contained the principal "pith and moment" of the programme, consisting simply of BEETHOVEN'S Seventh Symphony, in A. All the other eight Symphonies had been played in the Music Hall this winter, either by the Orchestral Union or the Musical Fund Society; the Ninth stands by itself, and to our shame we have not had it since the days of BERGMANN, which argues a sad sinking of the tide of musical aspiration here since that time. The Seventh stands next in grandeur and fullness to the Ninth, and we came to it with an appetite after so long an interval. The orchestra of forty instruments, under the firm and energetic lead of Mr. ECKHARDT, played it on the whole about as well as we have ever heard it. We only questioned the taking of the grand and solemn introduction so very adagio. The third and fourth movements were particularly well played; and throughout the whole we felt buoyed up and sustained at a height of strong, harmonious, all-alive and all-related consciousness, of which few things in Art or Poetry give one such full experience as this divine, grand music. One lives much in listening to such a symphony!

It was rather hard to come down to the miscellaneous remainder of the entertainment, good as much of it was. Young Mr. GROVES played a solo on the viola, written by Eckhardt, with the tenor air from Freyschütz for its theme, and played it very clearly and truly, with a fine rich body of tone. BISHOP'S well-known Glee Quintet: Blow, gentle gales, was sung in good style by Miss BOTHAMLY, Miss TWICHELL, and Messrs. ADAMS, GILBERT and MOZART. The contralto was particularly rich and telling. This Glee was given with the author's orchestral accompaniments, which, after listening to Beethoven's orchestration, sounded rather tame; and indeed a Glee seems more complete in and by itself, than in such incomplete attempt to enlarge its sphere. A cornet solo, by Mr. KLAESER; a florid Catholic trio: Regna terrae, by Misses BOTHAMLY and TWICHELL and Mrs. MESTON, very pleasingly sung; Mr. ECKHARDT's horn Quartet, of which we spoke last week; the elaborate bass air: Sorgete, &c., from Rossini's Maometto, sang remarkably well by Mr. WETHERBEE; and the overture to Masaniello, played with immense fire and spirit, concluded the evening.

English Opera.

The Pyne opera troupe began an engagement at the Boston Theatre on Monday last, and have performed Cinderella through the whole week to large and delighted audiences. The English opera, so called, is a queer heterogeneous medley of beautiful music, (generally Italian,) imposing spectacle, and mediocre comedy degenerating invariably into Harlequin buffoonery; the whole being by turns delightful, amusing and ridiculous. When such a singer as Miss LOUISA PYNE assumes the principal rôle, the most captious and critical of critics must surrender at discretion to the rare excellence of her performance. As an English singer, or rather a singer of Eng

lish, she has been equalled by few and excelled by no one who has sung here. Her vocalization is perfect; scales, runs, trills, cadenzas, every thing is executed with perfect finish, in the purest style; no note ever escapes her lips that is not sweet, fresh and pleasing in quality, in the whole compass of her voice. Her execution constantly reminds one of Sontag, and then her voice too is not unlike.

She wants life and wants passion; she pleases and satisfies you as an executant, but never excites or stirs you as an actress. The music of Cinderella she gives delightfully throughout, introducing Benedict's Sky-Lark, in the third act. Miss PYNE and Mrs. W. H. SMITH presented the sisters very satisfactorily, and Messrs. BORRANI and HORNCASTLE gave all the music of Dandini and the Baron Pompolino exceedingly well. Mr. Horncastle is a valuable addition to this troupe, and made a very favorable impression. Of Mr. HARRISON it is flattery to say he is "tolerable and not to be endured," but he is evidently an indispensable excrescence of this troupe. The orchestra gave the accompaniments very well, and the chorus, (especially the male) was large and well drilled. The charming Mrs. JOHN WOOD makes as charming a fairy queen as one could wish to see, and Mr. WooD as usual made a buffoon of the faithful Pedro. The spectacle was very fine, the scenery new and effective, and the transformations and diablerie being done very expeditiously and well. The opening scene was a very felicitous and happy effort of the scene-painter, and the appearance of the vision in the beautiful cascade elicited much applause. When it is seen how impressive is the effect of beautiful scenery on a large scale, well conceived and well executed, we wonder that our theatres are content with the shabby, paltry daubs that are generally displayed before our audiences. Where illusion is the object, the resources of Art cannot be too carefully employed. The subject of scene-painting has received too little attention here, and we are glad to see that some steps are taken towards improvement at the Boston Theatre, though very much remains to be done. In London and Paris, there is no end to the pains taken in the matter, both as respects artistic, picturesque designs and the most elaborate and pains-taking execution. Eminent artists furnish the designs, (which are real pictures,) and the most skilful hands execute them.

The scenery got up for this opera, is a decided improvement on any that we have yet seen at this Theatre, and so too, is that painted for the Priestess, recently played there, founded on the story of Norma. The altar scene (after Stonehenge) is an exceeedingly effective picture and would be a great addition to the attractions of an operatic performance. The landscapes of the Boston Theatre and the exteriors are invariably good and picturesque in their effect. The interiors, on the other hand, are generally preposterous and impossible, both in perspective, and in architectural plan, detail and ornament. Of the first, the exterior of a castle, (used in the statue scene of Don Giovanni) is an illustration; of the second, an apartment in the Baron's chateau, and the Prince's saloon in Cinderella, where the splendor is almost grotesque, where it might and should be beautiful. We find in the New York Tribune the following notice of the scenery of the Broadway Theatre, which is a fair specimen of the ab

surdities and anachronisms which are palmed off upon American audiences in establishments that ought to do better:

In the first act of the Gladiator, where it is intended to represent a street in ancient Rome the side scenes exhibit the architecture of the fifteenth Century, with the winged lion of St. Marks on one of the wings, while on the flat there is a view of a distant church steeple; the next scene is the interior of a modern drawing-room, with a French window, and the third is a pretty view of an Elizabethan country-house, which changes to the interior of the Coliseum, the side wings of which are parts of a modern ecclesiastical edifice. If such incongruities and solecisms satisfy the aesthetic requirements of a New-York audience, how little cause the actor has to value himself upon the applause which he receives from such easily gratified judges.

And in another New York paper we find this criticism on the scenery of William Tell:

All the world is going to see William Tell at the Opera House. The scenery is splendid, but it is not Alpine. The dresses are showy, but they are not Swiss.

We have begun with music and got insensibly upon painting. But in the opera they are inseparably connected, and the latter has had too little attention paid to it. To return to our text-Cinderella is put on the stage in a style superior to anything we have had in Boston, very creditable to the management of the Theatre, and will doubtless be seen and heard with delight by large audiences. We have not learned what other operas this troupe will perform during their engagement.

Musical Fund Society.

We shall, we trust, appear before our city and suburban subscribers in ample season to induce them to attend the Concert of the MUSICAL FUND SOCIETY, which will be given this evening at the Music Hall.

After a disastrous season, this society, which has now become an established institution among us, appeals to its subscribers and friends to show their good will once more, and endeavor to make up, in some degree, for the small receipts of the previous concerts of this series, which the society has been compelled to bring to an abrupt close, without giving the full number of concerts promised in its announcement, at the opening of the season. The circumstances under which the series began were apparently unusually auspicious. The instrumental concerts of the previous season had been attended by large and remunerative audiences. The tide of fashion seemed to have set strongly that way, and there seemed no doubt but that popular favor would reward similar efforts this year. The Musical Fund Society had the coast clear, without a rival to interfere with its success; it had been thoroughly reorganized; incompetent members had been replaced by others, equal in their several departments to any artists among us; a new President had taken the chair, a gentleman widely known in our community as a liberal patron of the Fine Arts, himself an accomplished and thoroughly educated musician, and an untiring friend of musical artists and of the interests of the Art among us.

But for some reason or other all the expectations founded upon these elements from which it was not unreasonable to hope for a brilliant success have proved empty, and the society finds itself, with a considerable deficit in its treasury and unable to fulfil the promises it had made. Its claims on the public, aside from the great merit of its performances, are therefore very strong; and we most earnestly hope to see the Music Hall crowded to-night with an audience that shall pay, and relieve the society from the pressure of the embarrassments that have pursued it through this season.

It is unnecessary now to speculate upon the probable causes of this bad fortune. Hard times, the caprice of the ever changing public, strongly enticed at one time by the potent bait of the Italian Opera ;

perhaps an unwise judgment in the formation of the programmes-all these elements may have conspired, some more, some less, to bring it about. We will not pursue the subject, but hope the Society may have its burden somewhat lightened by the concert to-night, and look forward with good courage to more prosperous fortunes another year.

The programme offered is certainly an inviting one. Though there is no Symphony, yet we have the E flat Concerto of Beethoven, with Mr. SATTER for pianist, which will go far to make good the omission. A manuscript overture of Mr. J. C. D. PARKER will also be performed for the first time. Mrs. J. H. LONG and Mrs. ROSA GARCIA DE RIBAS will assist the Society as vocalists.

"WILLIAM TELL." Our New York correspondent gives some account of the performance of this opera in New York. We shall, next week, give to our readers at greater length, our own impressions of this opera, and of the manner of its performance. We shall act as our own correspondent, and write of such things as we shall have the good fortune to hear in a short visit to the Metropolis.

Novello's Musical Library.

The Organ and its Construction; a systematic Handbook for Organists and Organ-builders, &c. Translated from the German of J. J. SEIDEL, organist at Breslau.

The object of this work, as expressed in the preface, is, it seems to us, but quite indifferently attained. The author says:

The design of the book is two-fold:-1. To acquaint organists, etc., with the mechanism of the Organ, and to enable them thereby to discover and remedy any little faults that may arise; to prevent greater ones; to give due information to the respective authorities in case of a repair being necessary, and to keep the instrument in good condition.-2. To warn those who undertake the erection of an Organ against errors, and to furnish those who superintend such an undertaking with the requisite knowledge. How far the author has succeeded in this, he leaves to competent judges to decide.

The short history of the Organ is very short and very meagre. The description of the construction of the instrument is of organs of German manufacture only, and these are so unlike the American instruments, that a novice would not gather much information from this work. Organists who live at a distance from manufactories, however, may learn something useful from it, and may find it of some service. The book is also designed for the use of organ builders, but for such persons it is entirely too meagre and superficial. An ingenious carpenter, or a misguided plumber smitten by an ambition to build an organ, (and some of our builders are no better than such) might, perhaps, get some glimmering of an idea how the thing could be accomplished from the plates and text of this book; but we can hardly imagine that any well educated builder could derive much information from it. The methods of construction described are old-fashioned and antediluvian, and we are sure that no Yankee need look to Germany for anything new in the department of ingenious mechanical contrivance.

Shower has been for some time on exhibition. This picture represents a group (life size) of three young ladies, escaping from a sudden shower from which they are inadequately protected by a single umbrella. The subject is a trivial one, but the picture has very considerable merits of drawing and coloring and is well worth a visit. In the same room is a winter landscape of CHAMPNEY, which fairly divides the attention of visitors with Mr. HALL'S April Shower, and is to our mind a much more intesting picture. It is a view of Mt. Washington from North Conway, which, often as it has been treated by our artists, we do not ever recollect to have seen before represented in its mid-winter grandeur. The frozen stream in the foreground, with its banks covered deep with snow, the tall bare elms standing out naked against the sky, contrast finely with the darker middle ground of pine covered hills, and the grand mountain glowing in the distance, in the rosy light of a winter sunrise. Mr. Champney has in hand, we hear, a companion to this picture, giving the Summer scene from the same point of view.

Musical Intelligence.

Local.

MR. SATTER performs for the last time, we believe, at the Musical Fund Society's Concert, and those of our readers who have not yet heard him play should not lose this last opportunity. He will perform BEETHOVEN'S grand Concerto in E flat, with full orchestral accompaniments by the Society.

MR. E. BRUCE'S Concert at the Tremont Temple, on Thursday evening, was attended by a large audience, and gave much satisfaction. Haydn's Mass in D was performed by a large chorus, with organ accompaniment by Mr. J. H. WILLCOX.

THE DORCHESTER MUSICAL ASSCCIATION last week gave a very excellent concert in presence of a large audience. The pieces were mostly selections from the standard oratorios, rendered by a chorus of amateurs, under the direction of Mr. CHARLES ANSORGE, who is exerting himself with good effect in creating a taste in Dorchester for really good music. We learn that other concerts of a similar character are to follow.

THE CAMBRIDGE MUSICAL ASSOCIATION gave a second Concert on Thursday evening at the Athenæum. Haydn's Sixteenth Mass was the principal feature of the Concert. Some choruses by the Society, together with some four part songs of MENDELSSOHN, made up the remainder of the programme, with an Allegretto and Minuetto by Haydn, and other pieces by an amateur orches

tra.

It is truly refreshing to see our amateur musical associations giving their audiences on their programmes such music as the Masses of Haydn and Mozart. These compositions are entirely within the means of such societies, and there can be no surer way of developing a sound taste for what is really good and great in the Art, than to make people familiar with such works as these. A chorus of forty or fifty voices, such as we heard at Cambridge, is large enough to give such music with all proper effect, and we venture to say, that in any chorus of such a number there will be found voices equal to a sufficiently satisfactory rendering of the solos, in most cases. Some, indeed, such as the solos of Mozart's Masses, demand voices of a somewhat extended compass and tax the resources of the amateur singer not a little; but, in the present state of musical cultivation, are by no means impracticable. At the concert referred to, the female voices were quite up to the requirements of the score, and gave the music with spirit and expression. love of this music increases immensely with increased familiarity. The same composition should be heard repeatedly, till the hearer takes in and really understands the solemn religious character of the text, and thus is led to appreciate the fitness and take in the full effect of the music that is the medium in which: the tremendous import of the words is to find a voice. When the hearer

The

has come to this point of cultivation and attained this familiarity, (which he can do, nor will it take long;) he will find nothing in the whole range of Art more moving, more deeply penetrating the soul than this sublime service of the Roman Catholic Church. There is more religion in one good Mass than in a dozen dull sermons. There is no word that is not full of the highest religious sentiment, and no tone that does not give point to the written word and carry it right straight to the heart. The field opened to such associations to select from, is almost boundless, and we hope to see many gleaners in this harvest. 64 Haydn's Symphonies," says the London Musical World, "are just the thing for Amateurs. Fine and spirited music, without being difficult, full of variety and masterly elaboration, together with a general clearness and simplicity of style, that place them within the reach of universal appreciation-nothing can be better suited to bring up gentlemen-excutants iu the way they should go." The Cambridge Association (from conductor down) is strictly amateur, and we can therefore only speak in general commendation of its performance, which both in the vocal and instrumental departments, was a most satisfactory specimen of home-made music.

PROVIDENCE.-A friend (he is every body's friend) writes us from this city: "We have two musical men here, AHNER and WEISE, late of the Germanians, aud there is some spasmodic musical enthusiasm." With any ex-Germanians we cannot but feel sure that the Providence enthusiasm will become chronic and be something better than spasmodic or intermittent.

A NEW ITALIAN OPERA COMPANY.-On the 30th April there will be a new Italian Opera Company at Niblo's. From the prospectus of the management we make the following extract:

"In conclusion, the Managers beg to say that they do not anticipate a full house on the opening night of the season, for experience has unfortunately shown, that without having recourse to, or bowing before the omnipotence of pufling,' no matter how exalted the rank of the artist, and unsurpassed as may be the talent which gave that rank, not a little of what may be termed 'out-door influence' is required to awaken the curiosity of the masses. Owing to the suddenness of her engagement, Madame de Lagrange cannot have the benefit of this out-door influence,' which consists of preparing the way by means of advertisements, portraits, critical notices, 'biographical sketches, early and continuous announce ments through the medium of the press, &c., during the space of an entire year, and sometimes more, prior to the advent of the artist, as was the case with Jenny Lind, Madame Sontag, Madame Grisi, Signor Mario, &c. But the managers are prepared for, and fully rely upon the attendance of one of the largest audiences that has ever been collected in this country, on the second night of Madame de Lagrange's appearance, when the public will find in this cantatrice the ne plus ultra of modern vocalization-a singer equally great on the stage and in the concert-room-in the florid music of the Rossinian school, the passionate bursts of Meyerbeer, the tender melancholy of Bellini, and the classic simplicity of Mozart or Beethoven; and, withal, a woman of such distinguished appearance and lady-like demeanor, that she not only will compel the admiration of the public, but is sure to enlist their unanimous sympathies. And this the managers say, without the slightest fear of the disastrous result which would be the inevitable consequence, if the debut of Madame de Lagrange shall fall below the great expectations they boldly and unhesitatingly call upon the public to entertain.""

PHILADELPHIA.-We take the following from the City

Item:

PROF. CROUCH, (formerly of Portland, Me.) gave another Musical Entertainment at the Assembly Buildings, on Tuesday evening. We were pleased to notice a large and discriminating auditory in attendance. The entertainment was extremely delightful. Mr. Crouch is one of the finest ballad-singers living, and his execution of several familiar airs charmed all present. Mr. C. will give another entertainment on Tuesday evening next.

HARMONIA SACRED MUSIC SOCIETY.-The Thursday evening rehearsals of this popular society are now exclusively devoted to the preparation of the chorus parts of the new Oratorio, called The Cities of the Plain,' by Frank Darley, which will shortly be produced with the care and accuracy peculiar to the Harmonia. This great novelty has wisely been deferred until the close of the season, so that the interest felt in the association may be sustained, and its final concert leave a pleasing impression upon the minds of those able to attend. Among the performers will be Professors Bishop and Crouch, several favorite soloists, whose names are withheld, but whose voices are agreeably familiar, the large chorus of the society, and a full choir of boys, which will be something quite new to a Philadelphia audience.

Advertisements.

BOSTON MUSICAL FUND SOCIETY. The Government of this Society have the honor to announce to the public of Boston and vicinity, that their LAST CONCERT OF THE SEASON

WILL TAKE PLACE

This (Saturday) Evening, April 21st,

AT THE

BOSTON MUSIC HALL,

On which occasion they will be assisted by Mrs. J. H. LONG, Mrs. ROSA GARCIA DE RIBAS, and

MR. CUSTAV SATTER, The eminent Pianist, who have kindly volunteered their valuable services.

A manuscript Overture by J. C. D. Parker,-Finale to Don Giovanni,-Duet from William Tell,-Overture to Semiramide, and Beethoven's Grand Concerto in E flat for Piano, with Orchestral Accompaniments, will comprise part of the Programme on this occasion.

Tickets, 50 cents each, may be obtained at the usual places. Doors open at 7-Performance to commence at 7 o'clock. N. B-On account of severe losses this season, it has been found impossible to give the three remaining Concerts of the Subscribers are therefore requested to use their remaining tickets at this Concert. LOUIS RIMBACH, Secretary.

season.

L. O. EMERSON, Teacher of the Piano-Forte, Organ, & Singing,

ORGANIST AND DIRECTOR OF MUSIC AT BULFINCH STREET CHURCH. Music Room under the Church...... Residence, 12 Indiana Pl. BOSTON.

Applications may also be made at Oliver Ditson's, 115 Washington St., to whom he is permitted to refer.

A

YOUNG American Gentleman, of unexceptionable character, with good business attainments, wishes to obtain a situation in a Music Store; has had an extensive experience in the Piano and Melodeon trade, is an excellent tuner and repairer, and can influence some trade. Wages not so much an object, as an opportunity to obtain a thorough knowledge of the business. Address "MUSICIAN," at this Office.

ORGANIST. A situation wanted as Organist in some

church in Boston, by a gentleman who has had a number of years' experience. The best of references as to qualifications can be given.

Address "ORGANIST," Box 186, Worcester, Mass.

NEW COURSE OF HARMONY,

BY L. H. SOUTHARD.

The Publishers call the attention of the musical profession to this work, as one eminently calculated to lighten the labors of the teacher, and rapidly advance the pupil. It is emphatically a PRACTICAL work, serving both as a Manual of instruction on the ore hand, and a Text-book on the other; and it is believed that the peculiar arrangement of the work, together with the very large number of exercises and examples, presents great advantages, to both scholar and teacher, over any similar work yet published. Price $1.50.

GEO. P. REED & CO., 13 Tremont St.

New and Valuable Music Books. TECHNICAL STUDIES For Piano-Forte playing. By LOUIS PLAIDY, Teacher in the Conservatory of Music at Leipsic. Translated from the German, by J. C. D. PARKER. Price $2.

THE VOCALIST'S COMPANION:

Or Exercises for developing, strengthening and equalizing the Voice. Designed as introductory to and to be used in connection with the celebrated Solfeggio Exercises of Panseron, Crivelli, Lablache and others. By EDWARD B. OLIVER. Price 75 cents

Published by Oliver Ditson, 115 Washington St.

WANTED, A situation as Organist in Boston or vicinity,

by a person who has for many years held such a situation, and had charge of a Choir. Inquire of Mr. DWIGHT, at this office.

THOMAS RYAN,
TEACHER OF MUSIC,

RESIDENCE, No. 15 DIX PLACE.