this, but the firmness and suppleness of the muscles were only perfected by Liszt and Thalberg. In addition to this must be considered the increase in the use of the English instruments. The piano became an orchestra. However Thalberg did not entirely give up the old mode of treatment. He created a style which, for some time, served as a model to a great many pianists. It can not be denied that he exhibited most originality in the invention of ornamental treatment of his themes, and in the gradation of effect, and that in this respect no one of the same school has approached him. Besides, his expression was free from sentimentality, the athletic quietness with which the greatest difficulties are overcome, and an aristocratic sureness, were features of his playing. However, both his compositions and his playing excluded every flight of soul and intellectuality. The predominance of the cantilene in almost every one of his pieces deprives them of the fire of a presto. The most extraordinary difficulties surround only cantabiles, and the expression has always and everywhere that coolness which at last becomes monotonous. The former king of the saloon, Herz, had at least in his sparkling trifles, vivacity, life, and grace. His technics were thinner, poorer, but displayed more rhythmical life and charm. Herz was one-sided in playful coquettishness, Thalberg in majestic quietness and coolness, and in these specialties they exercised for some time a great influence, because each had some originality, but they were forced soon to disappear.

Thalbergian, with regard to technics, but less tasteful in the arrangement of effect, were Wilmers, Koatzki, Leopold von Meier, Doehler, Prudent, and others. Doehler occasionally gave something more artistic, but on the whole the Thalbergian spirit, which showed a very respectable feature in eschewing sentimentality, was, by his followers, adulterated with more artificial and trashy substances. It is thus no matter of surprise that virtuosity fell into bad repute; for by far the greater part of all rising pianists took to the cheaper side of their art-the reproduction of mechanical difficulties. The performances of classical master-works became rare, because technics could not find the right field for their display in them; and for this reason the understanding of those master-works decreased. The individual delicacy of the finger, its vocation to communicate to the keys the impressions of the soul, was lost in its mechanical importance.

This state of things lasted a long time. The poor health of Chopin, the invincible repugnance to public playing of Henselt-a repugnance which was somewhat shared by the poetical Theo. Kullak-all this could do nothing or little to direct the current stream into better channels. Liszt, with his immense technics, depended too much upon the moment to serve art in its purity. This he accomplished only when he ceased to be a public player. Yet Liszt, of all the concert-givers of that time, was the only one who upheld his art in its widest compass. While most of his competitors indulged only in modern fantasias, mostly of their own make, the repertoire of Liszt included the entire classical and romantic literature of Scarlatti, Bach, Handel, Beethoven, Hummel, Schubert, Weber, Chopin, Mendelssohn, Schumann, Heller, and others. His performances were distinguished not only by a display of perfect technics, but also by fine rhythmical effects in his phrasing, and in a peculiar distribution of light and shade in his touch, of which the result was that technics and spirit were far less separated than might have been anticipated from his superabundant use of the former.

With regard to the compositions of that period, we find in those by Liszt only solitary flashes of originality, mostly with regard to technics; although without doubt the resources of the piano were vastly enlarged by him. Saloon music became indebted to Theo. Kullak for a momentary poetical and idealistic improvement. Henselt promised a new era, but did not fulfill his promise; and Stephen Heller interested by features of an amiable and refined naiveté. But of the greatest influence, going far beyond the spirit of both the Vienna and London Schools, became the compositions by Schubert, Chopin, Mendelssohn, and Robert Schumann.

(To be Continued.)

THE MANUFACTURE OF MELODEONS AND HARMONIUMS.

THE manufacturing of these instruments in Boston has become a branch of industry of much importance, calling into requisition no small amount of capital, and giving employment to numerous operatives. We presume that everybody knows that they are extensively used in churches and public halls in place of the more expensive and cumbersome organ; in fact, nearly all our village churches now use the Organ Harmonium, an instrument not much larger than a piano-forte, but which gives the full swell and volume of sound of an organ itself.

The principal manufacturers of these instruments, Messrs. Mason & Hamlin, of Boston, have just completed an entirely new and extensive manufactory on the site of their old one, which was destroyed by fire, and in so doing have shown that degree of Yankee energy for which Massachusetts men are so celebrated. Their old works were burned down the 14th of last January, and on the 10th of April following, less than three months after, a large five story building was completed upon the same spot, corner of Cambridge and Charles streets, complete in all its departments, with machinery of the most approved and improved description. The new machinery and improvements in this factory give it a decided advantage over any other of the kind in the country.

The whole building throughout is heated by steam, supplied by a splendid 20-horse power steam engine, made by the Corlies Steam Engine Co., of Providence, which also drives all the machinery of the factory; the boiler is situated in a building entirely separate from the main building, the shavings and fuel kept in a fire-proof brick vault, and other precautions taken to render the premises secure against accident by fire.

The lower or basement floors contain large drying rooms, where the stock used in the manufacture of instruments is subjected to a thorough heating and drying process; a portion of the first story is used for the wareroom and offices, while the other half is occupied by numerous planing machines, circular saws, jig saws, turning machines, bɔring machines, &c., of the latest and most improved description. Upon this floor is also the testing or finish.

ing room, in which every instrument is thoroughly examined and tested by

an expert before it is packed for transportation, in order to prevent all mistakes and insure satisfaction to the purchaser.

Above, in successive stories of the buildings, and in different rooms, the various departments of the work are carried on-the veneering, the polishing, fitting the keys, varnishing, action-making, reed-making, tube-boardmaking, turning, fly-finishing, &c. Various machines are in operation in these different rooms, driven by the motive-power of the establishment, and performing work with almost human intelligence. In the glue, varnish, and staining rooms the heating of those materials is done by steam, artificial heat being obtained from no other source. The ceilings in all the rooms are plastered-quite unusual in factories, but a further preventive against fire. We have spoken above of the popularity of these instruments. We are informed by Messrs. Mason & Hamlin that some four hundred churches have, up to this time, been furnished with their Harmoniums, which are much preferred to pipe organs by churches of moderate dimensions. The instru ments made by this firm have also been sold in every State in the country, besides being exported to Europe, Asia, Africa, South America, and the Sandwich Islands,-like all Yankee inventions, penetrating every part of the known world. Their superiority is attested by the fact that they have invariably received the first premium where they have been brought into competition with others at exhibitions. No less than twenty-six awards have been received by the manufacturers the past five years from institutes, &c., in Boston, New York, Philadelphia, Cincinnati, and other cities. They are also preferred and recommended by all musical instructors and organists.

Of the Harmoniums there are five different sizes, made with from six to hundred dollars. Of the Melodeons there are eight styles. They are made twelve stops, with and without pedal base, at prices varying from two to five with one and two sets of reeds, one and two banks of keys, and range from four to six octaves. The prices of these are from forty-five to two hundred dollars. The high reputation which these instruments have attained is due not only to a liberal expenditure of means, but also to the thorough and efficient manner in which they are made, the strictest attention and care being given to every detail in their make, thereby producing a perfect whole.

The establishment of Messrs. Mason & Hamlin is among the best appointed manufactories in the city limits. It is open, we understand, for the inspection of the public, and is well-worth a visit from musical amateurs and

those interested in industrial progress. It is a model establishment of the kind.-The Commercial Bulletin.

THE STAR-SPANGLED BANNER.

It would be difficult to say how many times we have heard this, the best of our national airs, within the last two weeks; at concerts, declaimed with fiery energy by accomplished singers, in the streets and in the public meetings by the sonorous tones of brass bands, often sung in spontaneous chorus by all who had heart to feel or a voice to sing, it has met us everywhere, and everywhere it is heard with a loyal enthusiasm and earnest excitement that prove that there is something in it, something that has, perhaps, been overlooked and not sufficiently appreciated.

In the days of peace that have gone by, this generation has perhaps thought these lines to be bombastic, and that they deal in forced and artificial figures of rhetoric, but none can read them now, with the commentary furnished by contemporaneous events upon the record of our earlier history, who will not find the glow of truth in every line, who will not see a terrible reality in what we had thought to be only far-fetched and exaggerated figures of poetic speech, who will not feel in every word the ardent glow of a patriotic fire which burns as brightly now as it did in the breast of him who penned them long ago. And to-day, there are thousands who not long since may have inquired with a sneer if we have any national airs, whose voices will tremble with emotion as they join in the stirring strains, and whose eyes will kindle with fire as they behold the stars and stripes flaming through the air wherever they may turn their gaze. Two weeks have proved the existence of an universal loyalty, without exception or reservation, to the sacred Flag and the Government whose emblem it is.

The song has great merits that have not generally been allowed to it heretofore. A competent critic says of it:

This song has one of the noblest melodies ever written. In breadth and grandeur of theme, in intensity of musical effect, in magnetic inspiration, it is almost unrivaled. It is far in advance of the French Marseilles Hymn, the British "God save the Queen," or the Austrian "God save the Emperor,' and its only rival in the world is the Russian national hymn by Lvoff. But unfortunately, it has some defects which injure it for a popular melody. In the first place, it is not American in origin.

In the next place, the melody has so wide a range from low to high that few voices can be found capable of singing it with effect.

And thirdly, the tune is not capable of an easy and convenient arrangement into parts, so that it can be sung, in chorus, by male voices; for it is, of course, by such that it must be given, as a general thing.

The English Anthem is much better in all these respects, though it lacks the fire and spirit of the Star-Spangled Banner.

The flag is looked upon with a loyal veneration and enthusiasm that in our day, at least, it never knew before, and the song has taken a place in the hearts of this people that was never given to it before and from which it will be long before it can be displaced. With all its faults, it has taken that place, and the poet and the musician will be indeed immortal whose genius can give us a better.-Dwight's Journal of Music.

SOMETHING ABOUT VOICES AND SINGING.

A LEARNED Doctor (in Medicine), delivered a lecture, a short time since, upon "the best means for restoring the voice when affected." He divided affections of the voice into three classes: the first, to be recognized by a chronic hoarseness of tone; the second, by trembling and uncertain intonation; and the third, by a difficulty in producing the sound. Whether a voice was altogether unhealthy, from violent inflammation of the mucous membranes, or from some defect in the larynx, could be easily known by means of the larynx-speculum— many cases of this description having been successfully treated by aid of this mechanical contrivance. If the hoarseness was merely the result of a slight cold, benefit might be derived from inhaling warm vapor, as recommended for the cure of stammering, by the ingenious Dr. Wolf. Singing must, meanwhile, be discontinued. The course recommended for attacks of the second class was not that usually adopted, namely, a cessation from singing and prolonged repose— but daily vocal practice, care being taken, however, not to force out the air, but to let it flow gently. If, in the midst of the scale, some of the tones should prove inconvenient to sustain, and sound only like howling, as was frequently the case with mezzo-sopranos, the reason was to be sought in the too great extension of the chest-notes upwards, and the best remedy, therefore, was the use

of the falsetto voice, in lower passages than usual. Finally, the third class owed its existence entirely to the practice of singing with a palatial tone. By the execution of high and impassioned music in this false voice, either the entire larynx was pushed on one side out of its position under the hyoid bone, or the natural pressure in the throat degenerated into a choking, and at last into a cramp of the muscles of the larynx themselves. To remedy a case of this kind, great care was necessary, though repose alone was not sufficient. What, also, was indispensable, was a proper system of employing the vocal muscles; in which case the use of eggs and lozenges was totally worthless.

Whether these speculations of the Berlin Medicus are of any value or not, they have a certain interest in the present day, when, from some cause or other, almost every singer's voice is as often "out of order" as the contrary. We do not believe that nature has given up producing fine voices, or that the vocal art is absolutely redescending the ladder of excellence. Tempora mutantur; that's

ment.

half the truth: nos mutamur; that's the rest of it. The slang about "decay, &c.," is as old as art itself, and the croakers are mere narrow-minded pessimists, who have as little confidence in the inexhaustible resources of nature, as in the creed that man and his mental capabilities are susceptible of unbounded developTo no department of art is the croaking system more obstinately applied than to the vocal, whoever has had any thing to do with which, during the last thirty or forty years, must have been almost worried to death by the complaint, that good voices were no longer to be found. But on what is it all based? If we examine the subject impartially, we shall find it rests on two facts: the first, that, as a generel rule, those among our singers who possess good voices study less than their predecessors; and the second, that, in consequence of the heavy demands made upon them by "grand" operas, as now composed, their powers must be worn out sooner than formerly. We deny, emphatically, that nature, at the present day, is unable to furnish as many good voices as of old. It is not nature who is at fault, but singers, who more or less neglect the proper study of their art, and the means of keeping the vocal functions strong and healthy. First-class voices, vigorous, extended in register, agreeable in quality, even, flexible, and lasting, have always been uncommon, just as they are now, and always will be; but, in the flourishing days of the vocal art, when thorough musicians and not amateur physiologists still taught singing, greater results were obtained from moderate resources than, at present, from the richest.—London Musical World.

THE Herald gives the following biographical items of the well-known composer, Antony Philip Heinrich, whose death recently occurred in this city:-"Ilis extensive commercial business frequently rendered it necessary for him to travel, and on one occasion he visited the island of Malta, where the passion for music seems first to have taken decided possession of his soul. It was there he obtained a Cremona, to which he soon became ardently attached, and which lasted through all his wanderings and strange vicissitudes, until it was accidentally destroyed For long, long by a careless musician in the Drury Lane orchestra. years the violin and the maestro had been inseparable friends, being together day and night in the western wilds of America and in the crowded cities of both hemispheres. Mr. Heinrich several times crossed

and recrossed the Atlantic. His biographer tells us that he sailed from Lisbon in 1805 for America, and that it was while he was director of music at the Southwark Theater, in Philadelphia, that he received news that his house and its corresponding branches had failed. Shortly afterward he left for Pittsburg, crossing the Alleghanies on foot, and at length settled in a log cabin in Bardstown, Kentucky, where he commenced writing music. He was at this time about thirty years of age, and some of his most remarkable compositions he attributes to his studies of nature when a resident in those then solitary wilds. The log cabin is still carefully preserved, and pointed out with great interest by the family of a late Postmaster-general, it being located in their garden. Having satisfactorily completed many of his grand projects, Mr. Heinrich proceeded to London, where he stayed for the next five or six years. During this period he officiated as one of the leading violinists in the orchestras of Drury Lane and Covent Garden. He was also exceedingly busy with

professional duties, and published many of his musical works, which made his name widely known in that metropolis. Subsequently he returned to America, and resumed his professional duties, as well as the composition of music, living from time to time respectively in the cities of Boston, Philadelphia, Baltimore, and New York. Father Heinrich, as he was generally called, has written several hundred works, comprising oratorios, symphonies, overtures, songs, and concerted pieces, many of which are distinguished for their great originality, varied expression, patriotic sentiment, as well as the curiously constructed stories which adorn the title-pages. There are many who, doubtless, recollect his mammoth concerts given here years ago, in which the musical profession of the several principal cities of the Union united for his benefit. His last visit to Europe was in 1857, and he had the pleasure of listening, while there, to the performance, on several occasions, of some of his principal works, by the musical societies of Prague and Vienna. In 1860 he came back to New York, and was temporarily stopping at the residence of Dr. Wolf, No. 33 Bayard Street, near the Bowery, where, as an octogenarian and the oldest composer of music in America, he received the warmest tributes of respect and sympathy from the profession. If any one will but take the pains to look over the works that Mr. Heinrich has composed during the last half century, of a patriotic and national character, he will see that he was as good a citizen as he was a gifted

and scientific musician."

We understand that Mr. S. B. Mills recently gave a concert, assisted by Mrs. Mills, Mr. Bergmann, and others.

LOUIS BOOHNIR, the eccentric composer, has left an opera, "Der Dreiherrnstein," which is said to be a work of high artistic merit. Let it be performed, by all means.

SINCE the failure of "Tannhauser" in Paris it has been received with renewed enthusiasm in Germany. In Frankfort, its performance seems to have been made the occasion of a grand ovation to the genius of its author.

SIGNORA TREBELLI, of a Berlin reputation, has been accepted by the Parisians as being a great prima donna. How easy must the Berlin critics feel after this?

THE "Freischutz" was, the other day, performed in the Russian language, in Moscow. The critic notices this event as follows: "We presume, from the bills, that it was the 'Freischutz;' for, as there was nothing but howling throughout the performance, to recognize the music was quite impossible."

THE Gewandhaus-Concerts have been concluded, and have not quite given satisfaction to the public. The repertoire of the last winter has been lacking in variety, and the performances, under direction of Mr. Charles Reinecke, were not very satisfactory. Tout comme chez nous.

Ar the eleventh hour, says the London Musical World, we are enabled to state positively that there will be no performances of Italian Opera this year under the direction of Mr. E. T. Smith. That enterprising gentleman, it would appear, is not inclined to pursue (at least for the moment) a speculation which, for reasons unnecessary to recapitulate, He secedes, has hitherto proved any thing rather than remunerative. then, from the management-not of Her Majesty's Theater, of which he must continue to hold the lesseeship (unless the Earl of Dudley should consent, on fair terins, to take it off his hands), but of the Italian Opera, in that (to employ an unhackneyed phrase)" time-honored" establishment. He secedes, moreover, magnanimously-without a stain upon his managerial escutcheon. Every one of his artists-from Alboni, Titiens, and Giuglini, to the humblest ballet-girl and machinist (machinists are also artists, in their way)—is paid to the uttermost farthing they have a right to claim. Thus, though Mr. Smith will keep clear of the "Italian irons" (vide speech at the dinner of the Theatrical Fund) during the current year, he can-if circumstances look more smilingly upon him, quod this especial department of his enterprise-resume them (and be re-scorched) when the International Exhibition of Commerce, Industry, and Art (from which music is, as a matter of course, excluded-being neither a commercial, industrial, nor artistic pursuit) comes off, in the year of our

A FRIEND informs us he attended Divine service, a Sunday or two since, at one of the churches in this city, when the organist played in bis voluntary "Kathleen Mavourneen," and, at the close of service, "Then You'll Remember Me," from the Bohemian Girl, the latter being performed rather poorly. Our friend thinks there is need of a revolution, and, being of a warlike turn of mind, he says: "May these traitors to worship meet a traitor's doom."

MR. GEORGE DOELKER and his company have given a very successful concert at Hackensack, N. J.

WE hear various rumors about some of our prominent musicians having gone to the wars. We know not how much truth there is in the stories, but we wish all who go a lively campaign, and a safe return.

SOME valuable additions to the catalogue of Holle's Cheap Music have just been received, among which we notice the fifth and last voluine of Schubert's Songs and the two first parts of an interesting collection of violin music, from Corelli (1653) to our times. For further particulars see advertisement of Mr. Theo. Hagen.

EUROPEAN ITEMS.

GONOUD'S "Faust" is, according to a criticism in the Vienna Musical Journal, more a comic opera than any thing else. "The waltz and quadrille character of the music does in no wise harmonize with the subject," concludes the author. We readily believe this.

well-known writer would call the "freak," or the "whimsy," leads him.

OLE BULL has made a hit with his concerts, in Cologne. If he does for their taste. not play better than at his last concert here, we pity the Cologne people

CHRISTY'S MINSTRELS.-Of all the sooty tribes of vocalists, says the London Musical World, who have crossed the Atlantic, and scaled the white cliffs of Dover, with the determination of taking England by musical storm, the Christy's Minstrels are those who have attuned their voices sweetest to British ears, have made banjos most tuneful, bones most expressive, and the pirouettes of niggers most elastic and original. Other "Minstrels" have appeared before and after them, but no company of "darkie" melodists have come between them and the favor of John Bull. Other vocalists, be they never so well blackened, and let them have exhibited for never so long a time in the country, may absent themselves for the longest period, and when they have departed no difference is felt. They are no sooner removed than they are forgotten; and should they come back, they have to commence anew all the preliminaries of solicitation, and begin all over again their courtship to the public. Not so with the Christy's Minstrels. Their absence is not only felt, but regretted; and not only regretted, but a certain section of the London public live in darkness until their "darknesses" come back. That the nigger melodies have an extraordinary fascination for most ears, no one can deny. They supersede even Verdi's tunes on the barrel organs, and adults at their work, and juveniles in the gutter, alike