On Tuesday Mason and Thomas gave their fifth Soirée. Mendelssohn's posthumous quintette, in B flat, opened the programme. The first movement was a little marred by the instruments not being quite in tune; the effect, probably, of the very warm, damp atmosphere. Indeed, neither this movement nor the Finale were as clear and melodious as most of Mendelssohn's compositions and not by any means as pleasing as the Andante scherzando and Adagio, which were well worthy of their composer. This piece was followed by Beethoven's moonlight Sonata, played by Mr. Mason, and a Sonata for Piano and Violin by Raff, in which the same gentleman was joined by Mr. Thomas. This latter was interesting as a novelty, and showed a great deal of vigor and talent, but it had the fault of extreme length, and thus became wearisome. The whole concert would have been more enjoyable if it had been left out altogether, In that case, however, the audience would have missed the very fine performance of Mr. Thomas. An exquisite quartette of Mozart, No. 6, in C, verified the adage of "All's well that ends well," thus sending home the audience with the remembrance of only the mary enjoyable points of the concert, and forgetfulness of the few drawbacks which it presented. Another uncommonly fine concert was given on Thursday night, by the Arion Singing Society. The programme was excellent, as you may judge for yourself. 1. Symphonie No. 4 in D minor. .R. Schumann 2. Song of the Spirits on the Face of the Waters.Schubert Grand double Chorus with Orchestra. Chorus without accompaniment. 7. Concerto for Violoecello.. Fr. Liszt Mozart ...Haeser Goltermann Henry Mollenhauer. 8. March and chorus from "Tannhauser,"..R. Wagner by the "Arion" and the Ladies Chorus of the New York Singing Academy. The orchestra, consisting of the best part of the Philharmonic, under the direction of Mr. Bergmann did fullest justice to the beautiful Symphony, and Mozart's ever fresh overture. So also to Liszt's Goethe-march, which was, however the least enjoyable number of the programme. The Arion sang very finely, and gave evidence of Mr. Anschütz' spirited and careful training. The last chorus in which they were assisted by about 20 ladies, gave universal satisfaction. Mendelssohn's Concerto was not interpreted as well as it might have been by Mr. Noll, whose performance lacks entirely the delicacy, refinement and soul which this composition requires. In any thing where vigor and breadth are needed, Mr. Noll leaves nothing to be wished for, he should confine himself to such works. The concerto played by Mr. Mollenhauer was admirably calculated to show off the beauties of the instrument of which this artist is a master; which made his performances exceedingly satisfactory. -t PARIS, MARCH 15, 1861.-The new opera house will, it seems now decided, not be built on the site of the old one. The committee charged with making a report upon the plans submitted to them has pronounced the space allotted too small. For a capital as large as Paris, increasing daily in pleasure-seekers and art-lovers, a building larger than the one proposed would be required. The Grand Opera now accommodates 1,800 spectators, the new Academy of Music will, it is computed, not seat more than 2000. When it is considered that the 25 theatres of Paris and the 145 places of amusement are crowded nightly, the demands for a more suitable opera house than the temporary building now in use will be appreciated. There are few places more uncomfortable than the interior of the theatres of this capital. Even in the best places it is difficult to take one's seat without causing many persons to rise. There is no room : the lobbies are narrow and close. This is no new matter of complaint, and in consequence the Parisian shuns the theatre in summer. When the present government is displaying such magnificence in the construction of public edifices it will certainly erect for art a monument worthy of the reign that is transfiguring Paris on each side. The committee then have not accepted any of the plans proposed. These plans which were on exhibition for several days at the palace of industry presented some beautiful façades, though as a general thing there seemed to be a lack of originality. There was much of that classicism of the nineteenth century which stamps the architecture of the reign of Napoleon III. Great care was bestowed by the artists upon the entrances. The vestibules and stairways were planned in such dimensions that there was cause to fear that the new Academy of Music was to be all exterior. The hall was forgotten in the study for monumental effect. Prizes were awarded to the authors of five of the plans though none was deemed worthy of acceptance. The exigencies were indeed great upon the architect. The space too small. Carriage ways had to be provided, passages for pedestrians, a private entry for the Emperor all covered and made to tally with the monumental character of the edifice. The boxes were to be preceded each by a sitting-room, and room allotted for the imperial escort. These demands and others were from the first pronounced as incompatible with the space allowed. Several artists in fact sent in their designs disregarding the conditions. The result of the trial was the abandonment of the locality proposed. And where will the new opera house then be situated? A place contigious to the Place Vendome has been suggested. The garden of the Tuileries is seriously proposed. The Place de Rouen so far seems the most advisable, but it is not large enough. How ever, Paris knows how to demolish if needs be. Since 1852 streets enough have been cleared away not to be frightened at the demolition of some hundreds of houses. The new Theatre Lyrique and opposite to it the new Cirque Impériale will, it is hoped, be completed in The work progresses night and day. Those who cross the Atlantic in July may be in time to be present at the first representations. summer. The receipts for the month of February in the theatres of Paris are 1,751,362 francs. In the month of February last year the receipts were 1,765,398 francs, showing a decrease of above 14,000 francs. Of new pieces produced with the last two weeks may be mentioned "Une femme emballée" comedy by M. Laurencin played at the Folies Dramatiques. "La servante á Nicholas," operetta by Mm. Nérée Désarbres and Nuitter, music by M. Erlanger. "Je vous aime," by the son of Victor Hugo, M. Charles Hugo, at the Vaudeville. At the Opera Comique, Le jardinier galante by M. Ferdinand Poise has taken the place of Madame Gregoire, which it resembles in plot. Light, easy music, quick, gay action. Neither of these operettas have superseded the Circassienne which still draws as at first. At the Odeon Le portrait d'une jolie femme, by M. Rochfort is a weak comedy composed in a pretentious style. The Comédie Française has produced nothing new since Les Effrontés which are still being played, though with occasional rays of light along the rows that were so crowded on its first appearance. At the Theatre Lyrique, the representations of Le Val d'Andorre are drawing to a close. A new piece La Statue, opera in three acts is announced. The Massacres de Syrie, at the Theatre du Cirque Imperiale still attracts crowds among which the military are conspicuous who come to see the manoeuvres of the camels. A red placard is affixed to the bill posted at the door, informing the public that the camels will make their first entry at eight o'clock precisely, and besides, that "other camels from Africa appear in the grand march at ten." They are pealed, shabby looking creatures those "African camels," however, the spectacle is in its way truly "exciting," that's the word. But the massacres must give way next week to a new play by M. Alexander Dumas, "Le prisonnier de la Bastille, Fin des mousquetaires." Are we then to see the last of these Guardsmen ? M. Maquet unceremoniously interposes before the production of this last play of Dumas and demands "his share" in the honors and profits. The prolific novellist is not eager to accept the claims of his ancient collaborators, but Maquet has redressed himself by appeal to the tribunals more than once, and we shall probably see on the bills, in spite of the author of Monte Christo, "par Mm. Dumas et Maquet." M'lle Dejazet whom an indisposition had prevented from appearing for some time, has resumed her roles at her theatre of the Boulevard. Mme. Ristori has returned from Russia and is now in Paris preparing herself to appear in "The Madonna of Art" of M. Ernest Legouvé. She is to play at the Odeon and in French. Ravel of the Palais Royal is engaged for St. Petersburg at the rate of 70,000 francs per season. •Wagner's Tannhäuser has at last been produced— Wednesday was the first representation. The Emperor was present. It was at his special wish that this German" music of the future," is heard now for the first time in Paris. The first production of Tannhäuser is an event even here. Mad. Tedesco personated Venus, and Herr Niemann seems to have satisfied the most exacting. I must not remain silent concerning the scope of work that has called forth whole volumes of criticism in musical Germany. A magazine has been lately started which openly declares Tannhäuser to be the The enemies of the starting point of modern art. new style are bitter in the epithets they apply to it. I have heard a worthy professor in Munich, Riehl lose all patience when having occasion to mention that "new style which is enough to send dogs howling away." And Riehl is a talented eritic, and man of exquisite taste; his "musical letters" recommend themselves by the depth of their views and the application the author finds to the sister arts with which music is so intimate linked. The admirers of Wagner on the other hand, are no less celebrated. At any rate it has become a fashion to sneer at the "music of the future." I cannot be one of the sneerers, I have seen of late too many horrid puns and caricatures in the weeklies of Paris. There was opposition at the first representation of Tannhäuser on last Wednesday. There was some hissing, still [the applause drowned these demonstrations. The work has to battle against the ridicule of the press. A dangerous opponent in France. It is too soon to be able to know the sentence of these Sunday critics. In my next I shall recount the failure or success of the work of Richard Wagner. F. B. CHICAGO, MARCH 16, 1861.. -The fifth Concert of this Society on Monday, March 11, was, as usual, well attended, for the mere announcement of a Philharmonic Concert is sufficient to fill Bryan Hall. The Society, with their efficient conductor, HANS BALATKA, is doing a good work in the culti vation of a high order of musical taste in our city. 1. Overture, 66 Egmont Beethoven. 2. Scene for Baritone, “Page Ecuyer et Capitaine." Mr. De Passio. Membrée. 3. Solo for Violoncello. "Souvenir de Spa,"....... Servais. Mr. Melms. 4. Aria, from fourth act of Martha,"........... Flotow. Miss Smith. 5. a Notturno, "Midsummer Night's Dream" Scherzo 6 Overture, "Girondists.". 7. Trio, Finale," Ernani,". Mendelssohn. ... Litollf Verdi. Miss Dewey, Mr. Smith, Mr. DePassio. 8. Fantasia on a National Theme, for Orchestra.. Balatka. Madame FABBRI, we regret to say, has left us, and is now opera-ting with great success, in Detroit and Cincinnati. The best proofs of her popularity and of the great triumphs which she achieved during her For the next Philha monic Concert Mozart's Sym- NORTH WEYMOUTH, MASS., MARCH 12 - Pre- President: H. C. Webb. Vice President: F. B. Bates. Clerk and Treasurer: Oliver Lord. Directors: E. Hunt, L. Curtis, J. W. Bartlett, L. Conductor: H. C. Webb, of Boston. They brought out the "Messiah" and performed The concerts, although costing the Society about At a Town meeting held last Monday it was voted The performances this winter are an honor to the The Society is now rehearsing the "Creation," WARREN. Our Philharmonic ST. LOUIS, MARCH, 1861. One word here, as to an occurrence that happened; whispering all the time, but we came across this ex- "One who keeps his eyes and ears open,' makes in The After attending the Philharmonic Concerts of New York for The materiel of the Society proves to be excellent, The sixth Concert was Monday evening, March The solo from Der Freischutz, sung by Miss Tourney was the best that we have heard so far in these concerts; we confess to have entertained a pre- judice against her heretofore, but last night wholly removed it. The orchestral accompani- ment was just what it should be, and it all harmon- ized so well, that the girl behind me, who had a fine ear for music, exclaimed, "Why, how much her voice sounds like the violins, I can't tell when she is singing, and when she aint." "However," as the man said about St. Paul, "That's where you and I Mr. Carr's Flute Solo was received with genuine delight. We can say no more of this gentleman The grand Aria Mr. Sabatski sung very well, and the "song" by a pupil of his showed great training. The Overtures, Choruses and Finale could hardly have been better. Too much credit can hardly be A melodious, pretty ballad, bright as the genial at- mosphere and clear sky of the Southern zones. Got up in this cheap form for Singing-clubs and So- cieties. It is printed precisely as sung in the Opera without change of key or any attempt at simplification. This is only one number of a long list of "Operatic Selections" for Choral Societies which are now being published at low prices. Among those out already the "Market Chorus " from "Martha," and the splen- Adolph Baumbach, each 50 Since this new Opera of Verdi's has gained such a THE AMERICAN MUSICAL CLASS BOOK. De- signed for Female Colleges, Institutes, Semina- ries, and Normal and High Schools. Contain- ing Elementary Instructions, Vocal Exercises and Solfeggios, and a Valuable Collection of Duets, Trios, and Concerted Pieces. By T. Among the numerous works of the kind this can- not fail of a prominence, since its peculiar features are such as will commend it at once to the patronage of those for whom (it is chiefly intended. Its rudi- mental lessons proceed with a regularity of precision that cannot fail to fix permanently on the mind of the pupil the essentials of success in future studies- the exercises are in a form to attract the attention, and the selection of music one of the best if not the superior of all similar collections. Principals of Ed- ucational institutions, music teachers, and others in- WHOLE NO. 471. BOSTON, SATURDAY, APRIL 13, 1861. Translated for Dwight's Journal of Music Sketches of French Musical History. XII. THE CHANSON AND VAUDeville. 1050-1860. " According to Berquin, in the Petite Encyclopedie poetique, the Romance de Roland is the earliest piece of verse known in the French language. This song of war, which of yore animated the soldiers of Charlemagne when marching to combat, gave way very soon to the romance of love which flourished among the Provencal Troubadours. From Provence, the " gay science spread into Languedoc, then into Picardy and shortly after even into Normandy. About 1050 the joyous science was known throughout France. As poets of the middle ages we have already cited the names, Abelard, Helinand, and Thibaut Count of Champagne. The courts of love became numerous in the 12th and 13th centuries, and the Roman de la Rose appeared Ou tout l'art d'amour est enclose. This fine old poem began by Guillaume de Lorris, who died in 1262, was finished by Jean de Mehung, surnamed Clopinel. In 1324 the celebrated Clemence Isaure founded at Toulouse the Academy of the "Jeux floraux" which is still in existence.* Under Charles V. (of France) a new impulse was given to literature; the royal Library was founded-containing then only 900 volumes. Soon after, Alain Chartier, (born 1386, died 1458) gained the title Father of French eloquence. To him the old story refers, of a poet, who one day sleeping in a gallery of the Palace, was kissed by Margaret of Scotland, wife of the Dauphim (afterwards Louis XI). The maids of honor expressing their surprise at such honor being conferred upon the poet, Margaret replied, "I do not kiss the man but the lips, which flow with such sweet and beautiful thoughts." Martin Franc, author of the Champion des Dames and Francois Villon, celebrated for his ballets and rondos, flourished in the time of Charles VIII. Georges Châtelain, educated at the court of the Dukes of Bourgogne, Guillaume Coquillard an official at Reims, René d'Anjou, Count of Provence, and Clement Marot a pupil of Villon, successively attracted the public attention. Jean le Maire born in 1473, Octavien and Melin de Saint-Gelais, came upon the scene a little before the birth of Francis I., which took place at Cognac, Sept. 12, 1494. Of this gallant and cultivated king's epoch the poetical works now most esteemed are those of Bonaventure Desperiers, Marguerite de Valois, Clement Marot and Ronsard. The latter, born in the Vendome in 1525, received, as a presert from the magis tracy of Toulouse, a Minerva wrought in massive silver. A celebrated club in the time of Charles IX., called the Pléiade, consisted of Ronsard, This academy offers a prize for the discussion of the question, "Why in our times does the high comedy disappear from the stage, and give place to hasty improvised dramas in which morality is no less outraged than Art?" Jodelle, du Bellay, Baïf, Thyard, Belleau and Tous deux je les également nous portons des couronnes, At length Malherbe comes and then the poets of the great century: Corneille, Moliere, La Fountaine, Racine, Boileau; in the 18th century, Voltaire, by his fecundity, wit and facility ruled the French literary world. The chanson [song, ditty] which had reached great perfection in the 17th century in the rhymes of Master Adam, a carpenter at Nevers, who died in 1662, came into new life in the last century in the merry numbers of Collé, Favart, Gallet, Lattaignant, Florian, Panard, Piron, Vadé and Marmontel. Moncrif and Berquin wrote delicious romances, and this form of poetry-so often wrecked on the rock of insipidity-has been continued to our own day by the labors of Romagnesi, Berat, Masini, Panseron, Loisa Puget, Paul Henrion, Etienne Arnaud, &c. But the chanson got the better of the romance. By turns gallant, erotic, bacchnal, satyric and moral, it gained new life at the dinners du caveau [of the wine cellar] founded in 1773 by Piron, Crebillon the younger and Collé. This Society which at first met at Gallet's, was increased by the addition of Crebillon the Elder, Sallé, Fuze lier, Saurin, Duclos, La Bruere, Bernard, Moncrif, Boucher, Helvetius and Rameau; it after wards transferred its Penates to the rue de Buci, not far from the café Procope, near the carrefour. This epicurian association lasted ten years. In 1762, it was revived by Piron, Crebillon the younger and Bernard, and met at the cabaret de Landelle. The most distinguished members during the second period of its existence were Panard, Laujon, Lemiere, Favart, Colardeau, Vadé, Dorneval, Salieri, Goldoni, Freron, Delille the writer of fables, Philidor, Albanèse and Vernet. Crebillon suppressed the penalty of a glass of water, to which authors of epigrams either unjust or silly had previously been sentenced. A rolling fire of joke and jest filled up the sitting, and all was wit, gaiety and humor. This club continued but five years. Then come the chanson writers of the transition period, Garnier, Laborde, Lattaignant, Boufflers and Parny. Sept. 22, 1796 the first of the Vaudeville dinners took place. Of the twenty-two members of this jolly company the more distinguished were Laujon, Piis, Barré, Radet, the three Segurs, Armand Gouffé, Dupaty, Dieulafoi. The breakfasts of the "Garçons de bonne humeur "- jolly companions-were eaten by a club of ten persons, Etienne, Desaugiers, Sewrin, Perisus, etc. Dec. 20, 1805, the dinners of the caveau moderne were established, which given on the 20th of each month at the Rocher de Cancale. Piis, Laujon, Cadet-Gassicourt, Gouffé, Desaugiers, Jouy, Ducrai-Duminil were the heroes of this monthly meeting. Beranger was admitted VOL. XIX. No. 2. member in 1813, and the year folllowing succeeded Gouffé as perpetual secretary. But the events of 1815 put an end to the Caveau moderne. A second series of meetings began in 1825 at Lemardelay's under the presidency of the witty Desaugiers. In 1835, a new Caveau club was formed at the instance of Albert de Montémont. The Ancelots and Scribes have not desdained to join these witty and interesting meetings, where excellent wine fires the spirit and warms the feeling of friendship. But now, the goodhearted Desaugiers and the immortal Beranger have departed leaving their mantle to Gustave Nadaud, incontestibly the most remarkable of our present writer of chansons. At the same time poet, musician, singer and accompanist, he by his fourfold talents is a worthy heir of his many and illustrious predecessors. The chanson, that eminently national product of the French mind, was parent of the Vaudeville. The invention of this form, is generally attributed to Oliver Basselin, a fuller at Vire in Normandy, who lived about 1450. The Chan sons of this author used to be sung at the foot of a bill called les Vaux, which rose from the shore of river Vire. The words Vaux de Vire became by corruption Vaudeville. The chansons of Basselin were revised in the next century by Jean le Houx. The Vaudeville is essentially of a satyric character; hence the saying, that Ancient France was a monarchy moderated by chansons. The court, the members of the Parliament and high personages were always exposed to the rhymes. They all declared war against the chansons and their authors. Then the comedies made upon the events of the day or upon scandalous anecdotes took the name of Vaudeville. At a later date the same term was applied to the couplets sung in turn by the actors at the close of a play. But the Vaudeville, properly so called in our day, originated in the Italian comedy and at the fairs of St. Germain and St. Laurent. And so followed chronologically the theatres of the Vaudeville, the Varietés, the Gymnase, the Palais Royal, &c. In 1737, Panard brought out at the Fair of St. Germain a piece entitled Le Vaudeville. Momus opened the play with his daughter dressed in a costume representing the Fair. She tells her father that she is sad because she loves the Vau Momus consols deville, which is a kind of literature which the comic opera will not recognize. his daughter and obtains the consent of Bacchus and Joy, father and mother of the Vaudeville. Upon which she, in her character of the Fair of St. Germain, puts on an advocates robe and pleads the cause of the Vaudeville before Apollo; she proves that it has been well received every where else, that it is droll, playful satyric, amusing, witty, in short that it will please as well in the city as in the village. Fully convinced, Apollo issues a decree by which the vaudeville is put in possession of all the rights of Parnassus. Sedaine, who detested this kind of play, afterwards introduced into one of his comic operas, a song expressing his detestation of the Amours d' été and the Vendangeurs, vaudevilles by Piis and Barré, which were then attracting crowds to the Italian comedy. This song* led Piis and Barré to build the Vaudeville theatre. But we must go back. In the Theatre Italien" of Gherardi (Paris, 1717), there are few songs; in the "Nouveau Theatre Italien" (Paris, 1773), there is a considerable number of very pretty vaude villes. About 1739 Favart devised the 'pastoral' or village vaudeville. Annette et Lubin had a fine success. The verses were not without affectation, but were written with elegance. In 1780 Piis and Barré gave the vaudeville new and vigorous life. Down to that period prose and verse had been mingled, Piis made vaudevilles entirely in verse. His essays were well received and at the comedie Italienne were played successively Les Amours été, Les Vandangeurs, and La Veillée villageoise. But Sedaine, who was giving melodramas, was disgusted with the success of the vaudevilles, and his strenuous opposition led by degrees to the disappearance of the vaudeville from the posters of the comedie Italienne. The first work of this form by Panard, Piron, Favart, Vadé, Lesage, d'Orneval, Fuselier, Anseaume, &c., were played at the fair of St. Laurent. The comic opera having been joined with the Italian theatre, the vaudeville was subordinated there to Italian pieces, to pieces with ariettes, to comedies and dramas, and was thus at length driven from that stage. The verses of Sedaine, spoken of above, led to the establishment of the theatre in the rue de Chartres. Piis having sought and been refused a moderate salary at the Italian comedy conceived the idea in 1790 of removing to another theatre. There was at the time in the rue de Chartres a ball-room called the Winter Vaudeville. Here the architect Lenoir built the Theatre Vaudeville, which was opened Jan. 12, 1792 with a piece by Piis in 3 acts entitled Les Deux Pantheons. Barré, Monnier and Chambon became associated with Piis and Rosiéres in carrying on the undertaking. Radet, Desfontaines, the two Segurs and others, sson began to write for it. During the revolutionary period Radet and Desfontaines were imprisoned six months for a bold sentence in their Chaste Susanne; they had put into the mouth of the judge the following words addressed to the two elders; "you are accusers, and cannot therefore be judges." The entire audience saw in this an allusion to the case of Maria Antoinette, whose trial was then in preparation. The two authors finally gained their liberty by some verses of a different tenor. It was long the custom at the vaudeville upon occasions of a new piece to sing a sort of a prologue, which was often written to celebrate this or that remarkable circumstance, and the two imprisoned poets took such an occasion to gain their freedom. Fanchon la vielleuse, a piece by Bouilly and Bonhomme Vaudeville Joseph Pain had a prodigious success. Madame Belmont created the beautiful part of Fanchon by her talented performance. Dieulafoi, Desaugiers, Moreau, Francis, Rougemont, Dumersan, Theaulon, Dartois, Dupaty, Merle, de Jouy, Dupin, &c., brought out at this theatre parodies and satyric pieces of exceeding piquancy. Virginie Dejazet and Jenny Vertpré distinguished themselves among the first comic actresses of their time. In 1816 Desaugiers became director of the Vaudeville. Then Scribe came upon the scene, and with him a new generation of authors; Melesville. Delestre-Poirson, Mazeres, Carmouche, de Courcy, Saintine, Bayard, Dupeuty, de Vilneuve, Vanderbursch, Delurieu, Sauvage and others. In 1819 Delestre-Poirson obtained the Gymnase and drew Scribe thither, who wrote at that time his charming Repertoire du Theatre de Madame. De Guerchy and Bernard-Leon succeeded Desaugiers, and they were followed by Etienne Arago in 1829. Then followed the dramatic successes of M. and Madame Ancelot, and in 1838 the Vaudeville Theatre in the rue de Chartres was destroyed by fire. At present the Vaudeville is established in the theatre on the place de la Bourse formerly occupied by comic opera. [Translated for Dwight's Journal of Music by THOMAS RYAN.] A Cure Effected by Music. part in medical cures, and our most celebrated phyThe imagination has often played an important sicans do not hesitate to make nse of some ingenious ruse to help and cure invalids. It would be easy to multiply the examples of happy effects obtained with pills of micapanis, acqua saccharifera and the use of twenty other substances, insignificant in themselves and without any virtue in pharmacy. The greater part of the so-called miracles effected by homœopathy and the infinitesimal doses employed by it, have no other cause than the effect produced on the minds of invalids by the attraction of the marvel ous and by strong faith. Be that as it may, Dr. Gorré Gassicourt corres ponding member of the Academy of Medicine, has communicated to that learned body, a curious and somewhat dramatic case in which the art of Thal berg and Batta has replaced the purging and bleeding so much laughed at by Moliere, who we know consulted his physician, following none of his directions and yet became perfectly well. It is not enough known that Moliere was as hypochondriac as he was jealous and in railing so much at the "malade imaginaire" and "les Maris ridicules " he reproduced and mocked his own weakness. Let us return to Dr. Gassicourt, whose little work is entitled, "Some Generalities on the Subject of Medicine of the Mind." After having developed some very ingenious and true ideas on moral effects as a means of cure, Mr. Gassicourt recounts the following: "In June 1837, I was called into an English family of which I was the medical adviser, to see a young lady of sixteen or seventeen, who had been recently brought from England, and whose health caused her family the most serious fears. Having tried every expedient, the doctors advised her removal to the continent, hoping for some benefit from the change of air. I found my young patient in bed; she had not quitted it for two months. Her complexion was as white as ivory, blue eyes deeply sunken and without any life, hollow cheeks, lips without color, voice completely gone, everything betokened profound decay. To my questions she only replied by monosyllables, and when I wished to feel her pulse, she could hardly raise her arm to allow me so to do. A constant fever sapped her drop by drop and a few spoonfuls of broth was all that for several weeks her stomach consented to admit. The peculiar character of her physiognomy, indicated to me some moral malady, some heart trouble. I was not mistaken. A brother, tenderly beloved by the young girl, had three months before, lost his life while sea-bathing; she received the distressing news without a sigh or even shedding a tear. Since that terrible day, she had fallen into this mournful, overwhelmed by accidents beyond our power of beardeaf and dumb state, that Montaigne speaks of, when ing up under. Medicine What had been done thus far for her? of course had not the slightest success, the most affectionate care, the language of heart, even the recitation made by my advice, of the unhappy event that had so terribly stricken that young soul, affected her not at all, and it seemed impossible to renew the delicate thread so nigh breaking, of that existence but lately so rich in the future and so full of hope. To escape from that concentration of the grief that was slowly but surely undermining the springs of life, required soe shock, a movement of expansion, something to break up the centralisation of thought; anything that loosens grief and will cause tears to flow, following the expression so true of Montaigne, gives release to the soul, separates it more at large and puts it at ease. I wished to cure my young patient. The wish, in the practice of medicine often gives the power. The idea came into my mind to inquire if she was anything of a musician, they told she loved music passionately. For that reason, replied I, she must love the best music. Mozart and Beethoven completely possess her! Good, cried I, Beethoven and Mozart will save her! They thought I was dreaming, but allowed me full play. That same evening, at the desire of the patient, a piano was installed in the adjoining room, and the next day during my visit, while seated at her bed side, the marcia funebre by Beethoven, played with a sentiment worthy of the work, revealed itself all at once to our ears. While charmed myself by that admirable piece, written by the master under heavenly inspiration, I followed and studied with an anxiety easy to comprehend, on the visage of my fair patient, the expression of the sensations that were working within her. Inert at first, I soon saw attention depicted on her physiognomy; then, like a flower exposed to the rays of the sun brightening on its stem, her head, lowered the instant before, was now raised. She listened! Suddenly her eyes sparkled with an unusual light, her cheeks were white and red by turns, her respiration became freer and more frequent tears in abundance (the first-shed since the deplorable catastrophe) fell mingled with sobs; at last, convulsively agitated a cry escaped, “Let her come!" and immediately her arms opened to give a sisterly embrace to the dear friend who had just caused her to taste the unexpeeted benefits of those delicious emotions. From that day, her life was saved, Mozart and Beethoven aiding, for music, you may well believe was not abandoned. I could follow with pleasure the gradual coming back of strength and vigor to her frame. Some weeks after, my young patient, her mind serene, happy to return again to that life which is so charming at sixteen, beautified with all the graces of her age, left France and returned to the mother country, leaving in my memory an impression the most profound, yet the sweetest perhaps, that a physician can enjoy in the exercises of his profession. Behold the power of music; behold another example of the marvels performed by the medicine of S. HENRI Berthoud. the heart. Rossini lives on the Boulevard des Italiens, at the corner of the Rue de la Chaussée d'Antin, in a magnificent suite of apartmenes, au seconde. It is here he holds his court surrounded by a galaxy of brilliant women, whose wit and conversation are more sparkling than the diamonds of any duchess in St. Germain, and a host of chevaliers, from whose button holes dangle the gaudy decorations of every potentate in Europe. The hour of reception is nine o'clock, the amusement of the evening, music; no tea or coffeee, no ices are allowed; the entertainment is purely intellectual, practically musical. And the tea and coffee are not missed; the music and bon mots of the amiable host offered far more enjoyment that the most refreshing ice. The principal salons are thrown open to the guests. As I entered the first room, and tried to make my way through the crowd which blocked up the entrance to the music hall, peering over the shoulders of the visitors, I saw Rossini seated at the pianoforte, accompanying the Sisters Marchisio in a duet he has composed for his two protegées. In a brown shooting jacket of the loosest fit imaginable, the sleeves almost covering the tips of the fingers, a very bad wig, nearly of the same color as the coat, the figure at the pianoforte might, at first sight, have been taken for that of an old country gentleman retired from public life, and fattening to any extent upon the rich produce of his goodly acres. But wait awhile. The duet has but just begun. Let the accompanyist warm up. His indolence leaves him, he sits erect, and becomes excited. See how the loose sleeves flap about, look at the drops of perspiration on his forehead, observe the fire and brilliancy of his eye as he turns round to each of the singers, urging them to a greater effort, in some crescendo passages or cadenza. Yes, there's genius in that figure at the pianoforte, now no longer resembling an old country gentleman, but easily to be identified as that of Rossini. The duet finished amid the most enthusiastic applause of the assembled guests, applause perhaps heartier and louder than is usual at an evening party. Bravo maestro! Bravo da vero! Everybody crowded round the host as he left the pianoforte to go to his own particular chair in the adjoining room. There was a pause in the music. The courtiers busied themselves with congratulating the two sisters, and through them saying a word of flattery to the composer, who every now and then convulsed the room with laughter by some witty remark, which would be carefully noted in the pocket-book of a soi-distant wit, to be the next day retailed as his own. After a short interval, Badiali and Solieri sung the duet from "Il Barbiere," then Badiali volunteered the bass song in the "Stabat," after which a very clever amateur, whose name is, I think, Sampieri, joined Solieri in the Elisire duet, and nearly eclipsed the tenor by his remarkable skill in managing a very fine voice and effective declamation. Seated next Rossini was an elderly lady, slim in figure, and somewhat wrinkled in feature. She wore what is I believe called a robe montante, and evidently was averse to crinoline. She was familiarly addressed by some as Marietta. "Who is that vivacious matron to whom everybody pays so much attention?" "That," said my friend, "is Madame Taglioni." "Not the Taglioni, the celebrated sylphide ?" "Yes the same." I looked again, and fancied I could just trace a resemblance in the elderly lady in the black silk dress to that portrait of a danseuse, standing in an impossible position on one leg, which hangs in Mitchell's shop in Bond Street, covered with the dust of ages. It was a difficult task, the portrait having on a robe montante the very reverse of that which the lady wore who was before me. Another celebrity of a time gone by was also present-Carafa, the composer of La Prigione d'Edinburgo, Le Valet de Chambre, and a hundred other operas now forgotten, the delight of a former generation. The old gentleman is far from being in the same excellent condition as his comrade Rossini, but he nevertheless appears to enjoy life, and to carry his age remarkably lightly. Rossini having listened attentively to the songs and duets mentioned, sent his cara sposa, one of the most active housewives I ever met with, to request the Marchisios to sing again. They complied, and he led them to the pianoforte, introducing them to different visitors as they went along in the most eulogistic terms. This time he did not accompany, but stood by and encouraged the young artists with many a "bravo "" and smile of approbation. Eleven o'clock was drawing near, and at that hour the "Reception " always terminates. The last performance of the evening was by M. Nadaud, who sang some wonderfully lengthy French songs with a sweet voice and great expression. Then every one prepared to go. Rossini had a kind good-night for all. In passing through the anteroom he showed me Dantan's two caricature statuettes of himself and Meyerbeer, in which he is represented sitting in a dish of maccaroni, hugging a lyre and Meyerbeer as writing for dear life half a dozen operas at once, Rossini seemed to enjoy the joke, and to chuckle at his own idleness compared to the constant activity of Meyerbeer. MR. W. H. FRY.-In the N. Y. Albion we find the following kindly notice of Mr. W. H. Fry, the newly appointed Secretary of Legation at Turin. We refer to Mr. W. H. Fry, the composer of innumerable works that have received encomium in these columns, notably of the opera of "Leonora," which was played not long since at the Academy of Music; of a very fine "Stabat Mater," which has not yet received any attention from music-givers; and of several symphonies played by Julien's Band here and in Europe, with invariable success. Mr. Fry, in addition to being a musician, was also a critic. We are humble enough to believe that he has never received his proper reward for what he has done in the cause of Art. But he was also a politician, and genius, even when perverted, is still a power in the land. For making sundry speeches, he has been chosen by his country as a representative of its dignity abroad. The only satisfaction the writer of these lines enjoys is that he is sent to a musical land. Mr. Fry's official residence will be in Turin-the capital of United Italy. The country loses a composer and critic of the first class, and gains a diplo mat. Shall we be pardoned if we add that in our judgment the country gets decidedly the worst of the bargain! Do you not see that, whilst there are hordes of diplomats, there are but few masters of the "divine art," and-it is vanity to add-no flux and overflow of gentlemen who, by natural aptitude, education, and susceptibility, are capable of wielding a truthful and fearless pen in the cause of Art. Critics are so often and so much occupied with mild complainings anent the grievances of others, that they seldom find time to think of their own;never to speak of them. But behind the trenchant pen often fags a wearied mind. That æsthetic nonentity, created by the mandates of taste, who plods from day to day steadily through a world of mediocrities to the goal where comparative criticism is no longer human, has a heart for which no one gives him credit, filled with tender yearnings, asking for sympathy but winning contempt, insisting on justice but brewing hatred. Among the thousands who criticise criticism, how few are there who think of the critic. What indeed, asks the artist, is a critic but a miserable maggot of the brain who crawls through ideas to spoil them; who takes a fancy and batters it with a fact; who seizes an illusion and flattens it out with a reality. To each of that army of musicians, actors, and painters, who has not been praised more than ninety-nine times out of a hundred, the critic is worse than a superfluity. It is only to the art public that he is a necessity; a portion of the daily meal, a fragment of the early breakfast. He comes punctually like the milk in the morning, and perhaps is not much more invigorating. But, Messieurs the public, that punctuality is the test of his faithfulness, and is purchased with health, even life itself. To secure it, he toils long into the night until his eyes grow dim and the buzz of the yellow flickering gas sounds like the drone of the Fates in his ear. His reward is either absolute oblivion, or the public contumely of those it has been his misfortune to assail. He never out of his coat of type; never without an enemy to point out how ridiculous it is. Could we strip it off, we should find beneath a kindly human creature with every generous impulse to lead a helping hand to the weak and struggling-and doing it more often than people believe, too; we should find sometimes a sentinel who has grown faint with long watching, we should find in short a gentleman like Mr. Fry, broken in health but strong in purpose, hopeful of the future, but weary, very weary of the present. To a brother journalist and critic, who has fought nobly in the cause, and retires from the field disabled but covered with honors; to a gentleman of wide attainments and wide susceptibilities, and to a composer of distinguished merit, the critic of this paper pays his homage, and expresses the hope that warmth of an Italian sky may quickly restore him to health. Italy is the mother of Art. It is well that the children of art should go there for comfort and strength in their hour of trial. Church Music in New York. The Madison Avenue Baptist Church, built for the society of Rev. Dr. Hague, was completed and dedicated in January last. It is a very handsome brick edifice, and contains a new and superior toned organ of 36 stops, built by Henry Erben, at a cost of $5000, the peculiar qualities of which were exhibited on Monday evening last, by Mr. Morgan of Grace Church, to a large and select audience. The regular organist of the church, Mr. John H. Thompson, is an amateur player, and pupil of Wm. A. King; he has been in Europe, studying music, for the past three years, and is yet quite a young man, but bids fair to become, in time, one of our first organists. The choir is made up as follows: soprano, Miss Trull; contralto, Miss Barclay; tenor, Mr. Miranda; bass, Mr. J. Conkey-the whole forming one of the best quartettes in the city. The style of the music is left to the option of the organist, who shows excellent taste in his selections. In many respects, the choir at the Church of the Messiah (Unitarian), Rev. Dr. Samuel Osgood's, on Broadway, opposite Fourth street, is second to none other in the city, and the music of this church is justly celebrated. Mr. Henry C. Timm, the President of the New York Philharmonic Society, officiated as organist here for fifteen years, and has been succeeded by Mr. Edward Howe, Jr., the present incumbent, who has filled this position during the past five years. Mr. Howe is a gentleman of liberal education, has been a professor of music in New York for eighteen years, and has brought to bear in this department an amount of scientific and theoretic as well as practical knowledge, which has greatly enhanced the value of this portion of the church service. The choir is composed of the following talented vocalists: Miss Grenelle, soprano; Miss Rushby, contralto; Mr. Mills, tenor; Mr. Jewett, basso. They use the "Greatorex Collection of Music," the " Church and Home," recently put forth by George Leach, who was for many years connected with this choir, and other books of that class. The music is given in a finished and classical manner, and Mr. Howe's accompaniments are particularly appropriate and adapted. The organ is an old one, built by the Messrs. Hook, of Boston, but was remodelled, and had important additions made to it, some ten years since, by Crabb, of Flatbush, L. I. It is enclosed in a fine mahogany case, has two ranks of keys, extending from G to F, 26 stops, and a full complement of pedals. The swell is unusually full and fine. When the instrument is used, a jet of gas is kept burning inside of the swell box, the object of which is to keep the swell organ in tune with the great; it is under the control of the organist, and, by the use of this simple arrangement, the pitch can be changed one half tone when it is affected by changes in the temperature. It is the only arrangement of the kind in the country, with the exception of a similar one in the immense organ at Dr. Beman's church, Troy. Both were made by Thomas Robjohn, who has charge of this organ. The Unitarian Church at the corner of Fourth Avenue and Twentieth Street, which has been named "All Souls," and is used by the society of Rev. H. W. Bellows, D.D., presents a very unique appearance externally, as well from the style of its architecture, as from the peculiar arrangement of the building materials in alternate layers of French Caen stone and Philadelphia pressed brick. Internally, it is one of the most elegant and comfortable churches we have. The experiment for increasing the power of the speaker's voice, by placing a paraboloid back of the pulpit, which was so successfully made in Trinity Church under the supervision of Prof. C. W Hackley, has been repeated here. It is about eight feet in height, in the form of a shell, with a concave surface, painted with a dark ground, upon which is a cross in gilt, surrounded with a halo" or "glory," and each Sabbath the light of two gas burners is cast upon it. This is, to some extent, carrying out the favorite theory of the pastor, Dr. Bellows, who advocated symbolism connected with worship, in his renowned sermon "The Suspense of Faith." Some radical changes are on the point of being made in the musical department of this church, and, in view of these contemplated changes, we shall not furnish the detail concerning it, with the minuteness which we have observed in speaking of other churches. The organ is a fine one of 34 stops, built by Ferris of this city, and, in architecture, corresponds with the style of the church, the Byzantine. It is played by Mr. Ruopfeldt, who succeeded Mr. Wm. Scharfenberg. Both are German by birth, and artists of some repute. The music at the new Unitarian Chapel (Rev. Samuel Longfellow's) on Clinton Street, Brooklyn, deserves more than a passing notice. The well |