The best thing here is the Melusina Overture from accompaniments were very skillfully suggested-to Mendelssohn. I confess to a great weakness for all of his music, above all other writers for orchestra so beautifully does he work up his themes, here and there passages continually coming in which always startle and delight, never expected, yet always wel

condition, which Mendelssohn, Schubert and Schumann still respect. Of interesting carrying through of a leading thought, of dramatic plan, which stakes the culminating point of a movement upon the single trump: the theme, there is no trace.

"Hence the themes themselves, in the majority of

to Beethoven," his Marcia funebre sul morte d'un eröe
with "added independent accessory melodies." " "And
Germany," says the Vienna Musik-Zeitung, " does
not shrink from printing such things!"

PRAGUE.-A new opera: "The Love Ring," by

instances, are not at all symphonic, although they Johann Skraup, has been brought out here.

often have a good orchestral sound, and often are not
without expression. Such decidedly is the theme of
the second, the slow movement, for which we might
envy the composer, if it occurred anywhere else than
in a Symphony, or if the art of the composer had
improved it in a true symphonic manner.
So too
the theme, a bit coquettish, of the third, scherzo-like
movement. Both would be capital in an opera, in a
melodramatic work, in a music to x, y, or z.
As
symphony themes they are not well applied, either
technically, or as regards expression; what follows
stands in no relation to them, and is itself incapable
of operating independently as counter theme. Herbeck
loses himself in the vague, as soon as he has played
out his theme; he shows himself from that time
forward only eager to heap effect upon effect kaleido.
scopically but the whole has no effect, because
expression and artistic means are utterly split up.

"As to the artistic means themselves, Schubert, Mendelssohn and Schumann appear to have contributed some material to this symphony, but still more R. Wagner and Berlioz; the former in certain harmonic turns and unnaturally impassioned, fondly repeated melodic phrases; the latter in the over ingenious instrumentation, and the screwed up, constrained polyphony," and so on.-Have we not heard orchestral novelties here in Boston, (not written here, thank God!), to which the above criticism would apply?

At the 5th Quartet concert of Hellmesberger and party the interesting feature was the performance of Schubert's Octet for stringed instruments with clarionet, fogetto and horn. Herr Dachs played Beethoven's Bb Trio, and the concert ended with Mozart's Quintet in Eb.

During the same week Beethoven's "Mount of Olives" and Mendelssohn's "Hymn of Praise," were performed at an academy" of the singing society; and Dreyschock gave his second concert in which he played Mendelssohn's G minor Concerto and Weber's Concert-Stück those classical parade pieces of every pianist.

MAYENCE.-At a concert of the Liedertafel on the 18th of December, Gluck's Aleeste was performed.

LEIPZIG. At the tenth Gewandhaus concert Mme. Clara Schumann played Mozart's C minor Concerto. The principal novelties were Reinecke's Salvum fac regem for male chorus and a concert overture by Jadassohn.-At the fourth Chamber Concert Mme. Schumann played a new work by Brahms: 25 variations, with a fugue, on a theme from Handel.-Sebastian Bach's motet: "The spirit helpeth our infirmities" was sung in the Themaskirche on the 14th.

A concert for the benefit of the orchestral pension fund consisted of the F minor Symphony (No. 3) of Emanuel Bach; an aria from Catarina Cornaro, sung by Fr. Reiss; a Concerto in C for three pianos by J. S. Bach, played by Clara Schumann and Professors Moscheles and Reinecke; a new overture to "Michael Angelo," by Gade; a Rossini cavatina sung by Frl. Reiss; several piano pieces by Schumann and Chopin, played by Mme. Schumann; finally, for the first time, a festival overture upon the "Rheine-wine song" by Schumann. Of the novelties Gade's overture seems to have won the most applause.

WEIMAR-The senseless example of Gounod's "Meditation" on a prelude of Bach has found an imitator! A certain J. B. Kamm has been shameless enough to publish under the title of "Memorial

BRUNSWICK.-The first Symphony concert was very successful. Weber's Oberon overture, Beethoven's 7th Symphony, Spohr's A major Concerto, played by Herr Blumenstengel, Mozart's Concert aria; O sogno, o desto, and several songs of Beethoven and Schubert formed the programme.

Special Notices.

DESCRIPTIVE LIST OF THE LATEST MUSIC. Published by Oliver Ditson & Co.

Vocal, with Piano Accompaniment.
Tears of anguish.
A. Reichardt. 25
Another capital new Song by the author of "Thou
art so near and yet so far.”

W. O. Emerson. 25

An effective Song for Tenor or Soprano voice.

A sympathizing heart. From Howard Glover's
"Ruy Blas." 25

AIX-LA CHAPELLE-Three concerts in aid of The friends of our early days. Ballad.
the orchestra fund have been given under the direc
tion of Herr Wüllner. In the first Beethoven's Fest
Overture in C was given; Ferdinand Hiller played
Mozart's Bb Concerto; and then followed Hiller's
Lorely and variations, and Mendelssohn's Scotch
Symphony. In the second were performed Schu-
mann's "Overture, Scherzo and Finale," Golter-
mann's violoncello Concerto; Mendelssohn's Soprano
Hymn; and Beethoven's Pastoral Symphony. The
third consisted of Handel's "Israel in Egypt."

One of the encore Songs in this new and highly successful Opera. It is a charming Parlor ballad, for a medium voice.

We are true sons of freedom. Chorus.

Pike and Scott. 25

A soldiers' chorus, the melody by Marshall S. Pike, which is a great favorite among the soldiers of the 22d Massachusetts.

MUNICH. For about six months no concerts of
any importance were given here, and now they are
following each other with unusual rapidity. On the
11th inst,, the Musikalische Academie began their
Subscription Concerts, in the Royal Odeon, with
Beethoven's Symphony in C minor, performed in a
manner worthy of the reputation already acheived by Forest Rose (Waldröschen). Nocturne.
Of the other pieces

the members of the orchestra.

in the programme Mendelssohn's Violin Concerto,
played by Herr Walther, was the most applauded.
He was called forward three times. The vocal selec-
tion consisted of the grand scene from Otello, sung
by Mlles. Stehle, Eichheim, and Herr Heinrich;
Herr Tombh undertaking the harp accompaniment.
There were about 2000 persons present, the King,
Queen, and Prince Luitpold being among the number.
A fews days subsequently Fauhel gave a Soirée at the
Museum, when the principal feature was Hummel's
Quintet in E flat major; M. Mortier de Fontaine
attempting the pianoforte part from memory. Shortly
afterwards, the Philharmonic Association gave their
second Matinée in the Royal Odeon. The most im-
portant piece in the programme was Mozart's Piano-
forte Quartet in G minor. If report speaks truth,
the members of the Musikalische Academie intend
giving-in addition to their four Subscription Con-
certs-a Grand Concert, at which they will perform
Herr Franz Lachner's Sturmesmythe, which was so
successful at the Vocal Festival in Nuremberg. M.
Gounod's Faust is to be produced on the 28th inst.
in honor of the birthday of his Majesty Maximilian
II.

CASSEL-Some few weeks ago a new Gesangverein was established consisting of ladies and gentlemen, and called after its founder, Herr Heinrich Weidt, formerly music director at court, the Weidt'scher Gesangverein. It has already given a most successful and most numerously attended concert, and, although the admission was gratuitous, a very respectable amount was collected in voluntary contributions at the doors, and handed over to the poor. In addition to Mozart's Davidde Penitente, the programme included two quartets by the lamented Dr. Spohr, and several solo pieces. The choruses went with great precision and pureness of intonation, and it was evident they had been rehearsed with extreme

Instrumental Music.

Th. Oesten. 35

This work contains complete instructions for full Camp Duty; the Reveille, the Tattoo, Calls and Beats used in the U. S. Service, with Engravings, Illustrating the use of the Drum; and a choice collection of National, Patriotic and other Music, all the Bugler's Call for Infantry and Skirmishers. It is edited by Keach, Burnitt and Cassidy, and recommended by the late Edward Kendall as the most thorough work of the kind. It is already adopted throughout the country and is universally recommended to all desiring either Instructions or Music for the Drum and Fife. As a correct book for Camp Service it cannot be excelled, if, indeed, equalled, and its use invariably leads to the greatest proficiency in the use of these instruments.

50

50

MUSIC BY MAIL-Music is sent by mail, the expense being about one cent on each piece. Persons at a distance will find the conveyance a saving of time and expense in obtaining. supplies. Books can also be sent at the rate of one cent per This applies to any distance under three thousand miles; beyoud that it is double.

ounce.

WHOLE NO. 515.

BOSTON, SATURDAY, FEB. 15, 1862.

Translated for this Journal.

From Felix Mendelssohn's "Travelling

Letters."

(Continued from page 353).

ROME, March 15, 1831.
have

The letters of introduction from R not served me here at all. L at whose house Buusen also presented me, has not taken the least notice of me, and looks as much away as possible when he meets me. I almost suspect, the man is an aristocrat. Albani received me,

with a Cardinal. After he had read the letter

already long since finished something new, and
If this
upsets entirely our æsthetic measure.
productiveness is not to be acquired, yet the
principle is a splendid one; and the cheerfulness
arising from it, the eternal freshness at one's
work is something of which nothing can supply
the place.

of introduction, he asked, if I then was a pen-atelier.
sionaire of the King of Hanover? No! said I.
But of course I had already seen St. Peter's?
Yes! said I. As I knew Meyerbeer, he declared
he could not endure his music; it was too learn-

VOL. XX. No. 20.

got beautiful wreathed palm and olive branches; the Stabat Mater of Palestrina was sung; there was a grand procession. It goes badly with my work for a few days past; the spring is in its bloom; a warm blue sky out there, such as at the most one only dreams of with us, and all the thoughts full of the journey to Naples; one has In the alleys of evergreen trees, where just not the quiet necessary for writing. C, who now in the blossoming time it smells really too otherwise is all pomatum, has written me an insweet, in the midst of the thicket of the garden toxicated letter from Naples; the driest men beof the Villa Medici, stands a little house, in come poetic, when they speak of it. From the which any noise is heard at a distance: scream- 15th of April to the 15th of May is the most who can and I had the honor of chatting half an houring or wrangling, or a piece blown on the trum- beautiful season of the year in Italyblame me, that I cannot transport myself back pet, or the bellowing of a hound:- this is the The loveliest disorder reigns on all to the Scotch misty mood. I have been obliged sides. Muskets, a hunting horn, a monkey, pal- therefore to lay the Symphony aside for the time lettes, a pair of hares just shot, or a dead rab-being, and I only wish I may be able to write out bit; on the walls everywhere half finished, or finished pictures. The putting on the national cockade (an absurd picture, which does not please me at all); portraits commenced of Thorwaldsen, Eynard, Latour-Maubourg, some horses, the sketch of Judith with studies for it; the portrait of the Pope, a pair of Moorish heads, pifferari, papal soldiers, my own littleness, Cain and Abel, in fine the atelier itself hang in the atelier. Lately he had his hands full of portrfiit orders; then he sees on the street ride about in Rome now, one of the peasants of the Campagna, who armed by the government. The adventurous costume amuses him; on the following day a picture is begun, which represents such a campagnard, as he stops still in the Campagna in bad weather on his horse and grasps his musket to bring down something;-in the distance a little troop of soldiers, and the dreary plain. The little details of the weapons, where still the peasant always peeps through; the bad horse with his shabby harness; the uncomfortableness in it all, and the Italian phlegm in the bearded fellow make a charming little pic

ed for him; it was all so artificial, so without melody, that one instantly perceived he was a German, and the German, smon ami, do not even know what melody is! Yes! said I. In my scores, he went on to say, all sings. Not only must the human voices sing; but also the first violin, and the second violin, and the oboe sings, and so on to the horns, and finally in fact the double bass must sing. Of course I was most respectfully desirous to see something of that; but he was modest and would show me nothing; but said meanwhile that he wished to make my stay as agreeable as possible, and if I wanted to visit his villa, I might go there with as many of my friends as I pleased,-it was all one. I thanked him very much, and set out immediately to make free use of the permission thus obtained ; it turned out, however, that this villa was open to the public, and that anybody could go in. Since then I have heard nothing further from him; and

the "Walpurgis Night" here. That may be done,
if I have good days to-day and to-morrow, and, if
possible, bad weather, for the fine weather is al-
together too seductive. So soon as the work re-
fuses to go forward for a moment, one hopes it
will all come to him out there, goes out, but,
when he gets there, thinks of everything else
except his work, and idles round, and suddenly
the church bells ring, and it is time for Ave
Maria. But all I want now is a piece of intro-
the thing is whole,
duction; if that occurs to me,
and I can write it out in a couple of days. Then
I leave here all the notes, and the empty note
paper for it, travel to Naples, and do, God will-
ing, nothing at all.

The two Frenchmen have enticed me also to "flaner" (lounge) in these days. When you see the two together, it is either a comedy or a tragedy, as you please. * distorts himself, without a spark of talent; groping about in the dark, he deems himself the creator of a new world, then he writes the most hideous

things, and dreams and thinks of nothing but Beethoven, Schiller and Goethe; at the same

since this and some other experiences, which I have had here, have inspired me with a respect, mingled with aversion, for Roman high society, I preferred not to deliver the letter to Gabrielli, and contented myself with having all the Buona- presently puts in a little brook, then a couple of that all his enthusiasm is very questionable to

parte family pointed out to me upon the promenade, where I met them daily.

ture, and when one sees with what delight he
paints at it, goes to walk upon the canvass,

soldiers, then puts a button on the saddle, and lines the fellow's overcoat with green-one might actually envy him. Evreybody comes too, to look on; at my first sitting there were at least twenty persons there one after another; the Countess E had begged permission to be present at the very laying out of the picture; when he pounced upon it, like a hungry man blue sky, he wishes it were cloudy; if it is cloudy, upon his dinner, she could not recover from her

Miskiewiecz I find ennuyant. He has that sort of indifference, with which one wearies others and himself, and which the ladies like to take for melancholy and abstraction; but that helps me little. If he sees St. Peter's, he mourns over the times of the heirarchy; if there is a beautiful

he is freezing cold;-if he sees the Coliseum, he
wishes he were back in those times. I wonder
how he would have acted in the days of Titus.
You ask after Horace Vernet, and that is
really a pleasant theme. I think I may say, that
I have learned something from him, and that
every one perhaps can learn from him.
duction he is ease and unrestrainedness itself.
As he sees a form, which expresses something to
him, so he represents it, and while the rest of us
are reflecting whether it is to be called beautiful,
whether to praise it or find fault with it, he has

In pro

astonishment. The rest of the family too, as I
have said, are not bad, and when the old Charles
tells of his father Joseph, one feels a respect for
the people, and I maintain that they are noble.
But farewell, it has grown late and this must
FELIX.
away to the post.

Rome, March 29, 1831.

In the middle of the Holy Week. To;morrow for the first time I shall hear the Miserere; and while you on Sunday were performing Bach's Passion, here the Cardinals and all the priests

who for three months has been

working at a little Rondo on a Portuguese theme, putting it together all so neat and brilliant and according to rule, wants after that to set about the composition of six waltzes, and would fain die with satisfaction, if I would only play him a lot of Vienese waltzes,―he has a great regard

for Beethoven, but for Rossini also, and for Bel

lini quite as well, and certainly for Auber, and

so for all of them. Me also with the rest,- me, who would like to bite ✶✶✶ to death, until suddenly he raves again about Gluck, when I am forced to acquiesce ;—yet I like to go to walk with them both, because they are the only musicians here, and very pleasant, amiable peopleall that makes the most comical contrast. You say, dear mother, that after all* * * must attempt something in Art; there I am not at all of your opinion; I believe, he wants to marry, and is really worse than the rest, because he is more affected. Once for all I cannot endure

this inside-out enthusiasm, this despair presented to the ladies, this genius in black letter, black on white; and if he were not a Frenchman, (with them one always can live agreeably, and they always know how to say something and to interest you), it would be intolerable.

A week from to-day, then, I shall probably write my last letter from Rome, and after that from Naples. It is still very uncertain whether I g0 to Sicily; I doubt about it, since in no case would I go there unless in the steamboat, and it is not yet settled whether that is to go. In haste your

FELIX.

Rome, April 4, 1831.

The Holy Week is over, my passport is procured for Naples, my room begins to look empty, and the winter in Rome belongs to the recollections. In a few days I expect to set out, and my next letter, God willing, will be from Naples. Bright and inspiring as the winter has been, it has closed with a week never to be forgotten; for what I have seen and heard, has far surpassed my expectations, and since it was the end, I will attempt, in my last letter from Rome, to give you a description of it.

seen Pius VIII. enthroned (cide Raphael's Heliodorus, where he is depicted); the Cardinals, two and two, with their palms begin the march ; the folding doors of the chapel are opened, and so they move slowly out. The singing, which thus far continnally surrounds one like an element, grows gradually fainter, for the singers go too, and finally you hear it in the distance from without, but very softly. Then suddenly a choir in the chapel inquires very strongly, and the other answers from a great distance, and so it goes on a while, until the procession approaches again, and the two choirs unite. Here too they may sing what and as they will, it makes a glorious effect; and even if it be true that they are very monotonous,nay formless hymns, all' unisono, without true connection, and fortissimo throughout, still I appeal to the impression, and that it must make upon everybody.

Cre do in

As soon as he has

u num De um. and all the earnest monks about me began to speak so zealously and loudly, I was regularly frightened, and yet it is always my favorite mo

The first ceremony is on Palm Sunday. So great was the concourse of people, that I could not quite penetrate into the midst of it to the prelates' bench so called, where my usual seat was, but had to stand back amongst the guard of honor, where I saw the solemnities quite well, but could not clearly follow the singing, since they uttered the words indistinctly, and that day I had no book. So it happened, that on this first day the various Antiphonies, gospel and psalm melodies, the sort of singing reading. which all comes before you there in its primitive After the procession comes the Gospel, deform, made the most confused and singular im-livered in the strangest tone, and then the Mass. pression on me. I had no clear idea by what Here I must mention my favorite moment, namerule the strange inflexions and closing cadences ly, the Credo. The priest places himself for the were governed. But I took pains gradually to first time in the middle before the altar, and inseek out this rule for myself, and I succeeded so tones, after a short pause, with his hoarse, old well, that by the end of Holy Week I could have voice the Seb. Bach Credo. The ceremonies of Holy Week have been sung with them. By that means I escaped the done, all the priests stand up, the Cardinals leave much praised, and much found fault with, and tedium, generally complained of, during the intheir seats, step into the middle of the chapel, people have, as it so often happens, always forcessant Psalms before the Miserere: for while I form a circle, and all speak aloud the continuagotten to say the main thing, namely, that it is a paid attention to the difference in the monotony, tion: patrem omnipotentem, &c. At the same whole. And that is the only thing, that prompts and instantly wrote down a cadence which I time the choir falls in and sings the same words. me to tell of it. Other descriptions might re- heard with certainty, I by degrees got out of it When I heard for the first time my well known mind father again of Mme. de R., who after all eight psalm tunes, (correctly, as it proved), noted only did the same that most do, who write about down the Antiphonies, and so forth, and was music and Art, when she undertook at the table, continually occupied,and on the strain. But on the with a hoarse, prosaic voice, to give us an idea first Sunday, as I have said, I could not get into of the clear, beautiful choir in the Pope's chapel. all that, and only know that they also sang the Many others again have isolated the mere music, chorus: Hosanna in excelsis, and intoned several and are disappointed with it, because it needs hymns, while the beautifully braided palms the external show, to produce effect. They may were handed to the Pope, which he distributed be right; but so long as this necessary externaliamong the Cardinals. These are long wands ty is there, and in its complete perfection, so long decked with many ornaments, buttons, crosses, it has effect; and as positively convinced as I am, and crowns, but altogether made of dry palmthat place, time, order, the great human multi-leaves, and that gives them an appearance as if tude, who await in greatest silence the moment of beginning, all contribute their share to the impression, so positively hateful is it to me purposely to separate things which belong together, in order to depreciate a part. He must be an unfortunate man, on whom the devotion and reverence of a great assembly would not make a devout and reverent impression, even if they were worshipping the golden calf; for he alone may dash it to pieces, who can put something better in its stead. Now whether one repeats it after another, whether the great celebrity once acquired does it; whether it lies merely in the imagination, it is all one; enough, that you have a perfect whole, which has exerted a mighty impression for centuries, and still exerts it every time; and before that I feel reverence, as I do before every actual perfection. The sphere of judging I am willing to leave to the theologians; for whatever one may say about it cannot go deep. Mere ceremony is not the whole account of it; enough for me, as I have said, that something in any sphere be executed with fidelity and conscientiousness, according to one's powers, to make me feel respect for it and take delight in

it.

So do not expect of me a measured criticism on the singing,- whether the intonation was pure or false whether they flatted or not,

they were of gold. The Cardinals, who sit
round the interior of the chapel in a parallego-
gram, with the Abbés at their feet, now come
singly and receive their palm wands with which
they return to their places; then come the
bishops, monks, abbots, all the other priests, the
papal singers, the chevaliers of honor, and what
not, and receive an olive branch tied up with
palm leaves. That makes a long procession, dur-
ing which the choir keeps on singing. The
Abbés hold the long palms of their Cardinals,
as the squire holds his master's lance, and then
they stretch them all upon the floor before them-
selves, and at that moment there is a splendor of
color in the chapel, the like of which I never saw
in any ceremony. The Cardinals in their gold
wrought garments, with their little red caps, be-
fore them the violet Abbés with the golden palms
in their hands, farther off the motley servants of
the Pope, the Greek priests, the Patriarchs in
most splendid costume; the Capuchins with long
white beards; all the other monks; then too the
Swiss with their parrot uniforms, all with green
olive branches in their hands; and then the sing-
ing-verily one scarcely can make out what they
sing, and enjoys only the sound.

Then the Pope's throne is brought to him, upon
which he is borne in all processions, and upon
which I on the day of my arrival in Rome had

ment.

After the ceremony Santini presented me with his olive branch, and I promenaded all day with it in my hand, for it was lovely weather. The Stabat mater, which they interpolated after the Credo, made the least impression; they sang it uncertain and false, and they abbreviated it ; the Sing-Akademie sing it incomparably better.

On Monday and Tuesday there is nothing, and on Wednesday at half past four the Noctes begin. The psalms are sung verse by verse by two choirs, but always by one class of voices, basses or tenors. And so for an hour and a half you hear the most monotonous music; only once are the psalms interrupted by the Lamentations, and that is the first time for a long while that you hear a perfect chord. This chord sets in very softly, and generally the whole piece is sung pianissimo, whereas the psalms must be shouted out as loud as possible, and indeed always upon one tone, upon which the words are uttered with great rapidity, and to which a cadence is attached at the end of every verse, which forms the dividing line between the different melodies. It is no wonder again, if the mere soft sound (G major) of the first Lamentation affects one tenderly. Now it goes on monotonously again. At each verse of the psalm a candle is extinguished, so that in an hour and a half the fifteen burning about the altar are all out. There still remain six great ones burning high above the entrance; the whole choir with altos, sopranos, &c., intones a new psalm melody fortissimo et unisono: the canticle of Zachariah in D minor, and sings it very solemnly and slowly into the deep twilight;