3 8,000. THE DIAPASON; A NEW COLLECTION OF BY OF CHURCH MUSIC. GEORGE F. ROOT, Composer of "The Haymakers," "The Flower Queen," "The Shining Shore," "Rosalie, the Prairie Flower," etc.; Author of "The Sabbath. Bell," "The Shawm," "The Academy Vocalist," etc. The best evidence of the manner in which Mr. Root's new book is received by the public is afforded by the fact that we have already had occasion to send to press THIRTY-EIGHT THOUSAND COPIES, though it is yet in the beginning of its first season. It contains about half as much again more matter than any other of the new books, affording room for great variety and completeness in all its departments. It contains an ample and careful selection of the old, well-known tunes, which are so generally considered indispensable in Singing-Schools as well as Choirs. Mr. Root succeeded in making arrangements with the proprietors of the copyrights of these to use all that he desired. Yet its NEW TUNES are of course its main feature. These are from a variety of sources, including a large number from Mr. Root which have never before been published. There are also liberal contributions from Dr. Mason, Mr. Bradbury, and other eminent composers. NEARLY ONE HUNDRED Anthems and Set Pieces, most of which are new, are included in its pages, affording the most ample variety for special occasions and the ordinary church-services. THE SINGING SCHOOL DEPARTMENT is very full, including over three hundred Exercises and Secular Pieces for Practice, more than two hundred of which are Songs, Part-Songs, Glees, Rounds, or other pieces set to words. This portion of the work includes also a brief Manual for Musical Instruction, prepared expressly for it by Dr. Lowell Mason. By a new arrangement, the music is nearly always printed with but one part on a staff, while two-thirds of the tunes are on large type, and all on very clear, distinct type. For sale by Booksellers generally. Single copies sent by us to teachers for examination, by mail, post-paid, on receipt of Seventy-Five Cents. Price in New York, $8 per dozen. THE PEOPLE'S TUNE BOOK: A CLASS-BOOK OF CHURCH MUSIC FOR CHOIRS, CONGREGATIONS, AND SINGING-SCHOOLS. BY LOWELL MASON, Dr. of Music. Besides containing many excellent new tunes, the PEOPEE'S TUNE BOOK forms especially one of the best collections of the most useful and popular old tunes ever issued, and, with its large, clear type, with one part on a staff, and but two tunes on a page, cannot fail to be very popular as a Singing-School Book, as well as for Choirs and Congregations. Price in New York, $6 per dozen. HASTINGS' CHURCH MUSIC. BY THOMAS HASTINGS, Dr. of Music. The many friends of Dr. Hastings will welcome this work, which collects in one volume the choicest results of the labors for two score years, of this eminent composer of Church Song. It has, indeed, been prepared at the suggestion of friends, who desired to possess in one volume those pieces which have proved most popular and useful in all the author's previous works. Like the PEOPLE'S TUNE BOOK, it is printed from clear large type, two tunes on a page. Every Choir and Musical Association should have a set of this book. Price in New York, $6 per dozen. BRADBURY'S ANTHEM BOOK: A COLLECTION OF ANTHEMS, CHORUSES, OPENING AND CLOSING PIECES; ADAPTED TO THE WANTS OF CHOIRS, MUSICAL ASSOCIATIONS, CONVENTIONS, ETC., BY WILLIAM B. BRADBURY. The want of a new Anthem Book which should contain a greater variety of pieces for the various occasions of ordinary or special religious services than it is possible to include in an ordinary collection of Church Music, has led to the preparation of the present volume, which collects together the favorite old pieces, and presents many new ones, especially such as are suitable for opening and closing worship. Retail price. $1 25. Catalogues of our numerous Musical Publications sent to any address on application. MASON BROTHERS, 5 & 7 MERCER STREET, NEW YORK GRAND AND SQUARE PIANO-FORTES, ARE NOW CONSIDERED THE BEST PIANOS MANUFACTURED. THESE PIANOS HAVE TAKEN THE FIRST PREMIUM, Wherever and whenever Exhibited in Competition with the Best Makers of NEW YORK, BOSTON, PHILADELPHIA, AND BALTIMORE. AMONG THE JUDGES WERE AND OTHER MUSICAL CELEBRITIES. GOTTSCHALK, WM. MASON, H. A. WOLLENHAUPT, CERTIFICATE Given by nearly all our Greatest and most Prominent Musicians and Artists regarding our Instruments. NEW YORK, JAN., 1860 The undersigned, having personally examined and practically tested the improvement in GRAND PIANOS, invented by H. STEINWAY, in which the covered strings are overstrung above those remaining, do hereby certify: 1. That as a result of the said Improvement, the voice of the Piano is greatly improved in quality and power. 2. The sound by Steinway's Improvement is much more even, less harsh, stronger, and much better prolonged, than that realized in any other Piano with which we are acquainted. 3. The undersigned regard the Improvement of Mr. Steinway as most novel, ingenious, and important, No Piano of similar construction has ever been known or used, so far as the undersigned know or believe. WAREROOMS, Nos. 82 & 84 WALKER ST.. (near Broadway,) NEW YORK. 24 Per square of the space of eignt lines 15.00 One column, per annum,............$250 00 6:00 MONEY for subscriptions, in sums not exceeding five dollars, may be sent by mail, at our risk, provided it is inclosed in the presence of the post master, and he takes a memorandum of the number and description of the bills.-Subscriptions may commence with any number, but none will be received for less than a year.-Be sure to write the name very plainly, and give the name of the post office, county and State. 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PUBLISHED BY 5 & 7 Mercer St., NEW YORK IN 1820 he had already composed five hundred songs, and in the following eight years he wrote at least one hundred more. Goethe's poems seem to have had the greatest attraction for Schubert, for he has set to music more of them than of anybody else's. Schubert shared this preference for the greatest poet of Germany with Beethoven, Mendelssohn and Schumann. Already, in 1819, he sent to Goethe some manuscript songs of his, words by this poet, but it is more than probable that Goethe never looked at them, for the composer was left without an answer. It was the "Erlking" which founded his reputation, and opened the path for the songs from "Wilhelm Meister," the "Westoestlicher Divan," " Ganymede," ," "Schwager Kronos," "Trostlose Liebe," "Welcome and Farewell," "Boundaries of Mankind," and several others.* Schiller received less attention from Schubert, although we find some twenty and odd poerns of his set to music by the Vienna composer. Several of these he composed when a mere boy, again proving the fascination Schiller's poems have for the young, while Goethe's are generally preferred by those more advanced in life.t Of the poems by his friend Mayrhofer, he composed about thirty. It is in the treatment of these subjects, which are mostly of a philosophical character, that Schubert showed his great talents, not only to illustrate the character of the words, but also the character of the situation. It is again Beethoven who, in his cycle of songs, "Andent die fernte Geliebte" (To the distant beloved one), has given rise to this kind of songs; but it cannot be denied that the germ which Beethoven laid has been developed to most beautiful fruits by Schubert. แ Memnon,' 99 66 An tigone" and "Oedipus," from "Heliopolis," "Iphigenia," etc., are of this class of compositions, which, under the hands of a genius less than Schubert, would have been in most instances failures. Of his friend Schober's poems he composed about a dozen, amongst which the "Pax Vobiscum," "Hunter's Farewell," "Pilgrim's Song," "Music of the Dead," the "Trio," the "Wedding Meal," and the quartet for men's voices, "Moonshine," are the most known and favorite ones. The following classification of his songs may not be without interest to the student as well as to the general reader: Of Gabriel Seidl, he composed 12 songs; of the brothers Schlegel, 17; of Walter Scott, 10; of Matthisson, 10; of Leitner and Klopstock, each 9; of Ossian, Claudius, Bruchmann, and Schulze, each 8; of Hoelty, 6; of Rückert and Heine, each 5; of Kollin, Kenner, v. Schleckta and Kosegarten, each 4; of Koerner, Schubart, Lappe, Craigher, Metastasio, Rochlitz, Utz, Baumberg, Grillparzer, Schreiber, Stollberg, and Shakespeare, each 3; of Hüttenbrenner, de la Motte Foaque, Platen, Szechenyi, Senn, L. Pyrker, Jacobi and Salis, each, 2; of Schmidt von Lubeck, Werner, Bürger, Unger, Uhland, Fr. Kind, Caroline Pichler, Kuffner, R. Castelli, Klein, Rittgraff, Seikerdorff, Deintcartstein, Schoppenhauer, Silbert, Pope, Fellinger, Ehrlech, Wannovius, and Bauernfeld, each 1. It may be presumed that of all these songs not more than the sixth part are known to the general public, and with the exception of two or three, not one has become popular. So-called people's songs Schubert could not write; and as he has never been successful in oratorio and opera, it is a matter of course that his narne is less familiar to the world than that of composers who chanced to appeal to the people in works of such character as just mentioned, although by no means gifted with that genius and that abundance of ideas which Schubert could call his own. These are: "Heidenröslein," "Nabe der Geliebten," "Erster Verlust," "Der Fischer," "Jägers Abendlied," Meeresstille," "Wanderers Nachtlied," "Geheimes," "Schäfers Klagelied," "Der Musensohn," "Auf dem See," "Geistesgrusz," "Wonne der Wehmuth,', "Tischlied," "Trost in Thränen," "Clarchens Lied aus Egmont." "Sehnsucht," "Versunken," "Prometheus," "Wer kauft Liebesgötter," "Der Goldschmiedgesell," "Au deu Mond," "Nachtgesang," "Die Liebende schreibt," "Bundeslied," "An die Entfernte," "Mahomeds Gesang," Die Scenen ans Faust und die Balladen: der Sänger." "Der Rattenfänger," "Die Spinnerin," ," "Der König in Thule," "Der Gott und die Bajadere," and the quartet for men's voices: "Im Gegenwärtigen Vergangenes." We prefer to give the German titles, as only a few of these songs have ever been pub. lished with English words. TRANS. The following of Schiller's poems have been set to music by Schubert: "Die Ringschaft," "Ritter Toggenburg," "Der Taucher," 99.66 Elysium," "Einma," "Thekla," "Hektor's Abscheed," "Des Mäedschen Klage," "Gruppe aus dem Tartarus," "Dythrambe und der Kampf," "An die Freude," "Und die Erwartung" (1815), "Der Alpenjäger" (1817), “Die Sehnsucht," "Der Pilgrim," "Nacht und Träume," "Die Hoffnung," "Der Jüngling am Bache," "Die vier Weltater," "Laura am Clavier," "Entzückung an Laura," ""Die Schlacht, "Amalie," "An den Frühling," "Das Geheimnisz," "Die Götter Griechenlands," "Der Flüchtling," und die "Hymne an den Unendlichen," this last for mixed chorus. (To be continued.) The Musical Review & Musical orld. NEW YORK, JUNE 22, 1861. CONDUCTING; A FEW PRACTICAL COUNSELS HOW TO LEARN IT. BY HERMANN ZOPFF. CONDUCTING is matter of experience. It is true, there are some qualifications indispensable for the conductor, but these are of no use, if they are not regulated and controlled by experience. Necessary, general qualifications for the conductor are: 1. A good ear, not only for the different tones themselves, but also for a sharp distinction of the timbre of single voices or instruments. The best mode of acquiring this, is to investigate, at first, the character of the sound, the impression made upon our soul by every voice and every instrument. It is thus, only, one can successfully practice that distinction mentioned above. 2. Good and vigorous piano-forte playing. 3. A thorough knowledge of reproducing the full score on the piano. 4. Knowledge of all the keys, and ability to transpose. 5. A sure appreciation of time; and, 6. Resoluteness and affability toward the performers. As long as you are conducting, do not submit to any interference, even if it comes from the most intelligent of your performers; for such interference once tolerated, produces, pretty soon, the nice result, that every body is conducting. But it is a well-known fact that two persons can not conduct at the same time, without causing confusion among the performIf the conductor commits a real blunder, let him cheerfully admit it. Everybody is liable to err. But if he blames the blunders of some of his performers, let him be careful not to compromise these by calling their names, or by addressing them personally. If it is a player, mention his instrument, if it is a chorus singer, call out to the part in general, as well as to the row in which the performer stands, but as soon as you are alone with him, criticize him severely. ers. Whoever wants to become a conductor, will do well by first practis ing before the mirror a thoroughly distinct marking of time and parts of time. It is thus that he will soon learn to know whether he is liable to produce any of those ridiculous movements of body and arms which so often disfigure conducting. Every beat must cross the air in a direction different from the preceding one, not too short and hasty, also not too slow and drawling. Every direction of the baton must form one sole and decided beat. A timid proceeding, an interruption, or a repetition, will not do. The change of the direction must form sharp corners; if not, it will result in an incomprehensible forming of circles, called in Germany, "coffee grinding." Be careful not to beat every quaver, and content yourself, according to the quickness of the movement, during a measure, with four, three, or two beats, and in Presto with one. Only in a very slow moveinent is the marking of every quaver appropriate, but in this case, those which are not accented must be indicated by small beats while the accented ones are demonstrated by large beats. The upper part of the arm must not move, it is best to move only the wrist, else the arm will be soon tired. Raise the elbow only in case you want to indicate some special accentuation, and where you intend to make an uncommon impresssion upon the performers. He who, while conducting, is constantly moving the members of his body or his whole body, will produce dullness and want of attention among the performers. Beat always in such a manner that all can see the baton. A TRUE artist derives advantage from every criticism which is made upon sforzati by a short and quick thrust. Every fermata is to be prepared him, whether it be liberal or illiberal. by a rallentando. Hold up the baton as long as it shall last, and if you wish to stop it, turn your baton a little upward. If single instruments or voices have paused for some time and are to resume their parts, the conductor must previously look toward them, and give them a sign, which is best done by the other hand. (To be Continued.) MUSICAL EDUCATION AND INSTRUCTION. OF THE DISPOSITION OR VOCATION FOR MUSIC. He, however, who thinks he feels an impulse to devote his entire life to music, should examine seriously whether this impulse be not imaginary; whether it be not rather a feeling of occasional and momentary enthusiasm, Whether the chief inducement than a permanent and steady love for art. be not, perhaps, the apparently unrestrained and joyous tenor of artistic life, or ambition excited by the brilliant career of others. These outward seductive allurements are, for the most part, bitterly repented of when too late. There are, indeed, examples of success attained under such insufficient motives, but rarely accompanied by inward satisfaction, and generally embittered by the loss of the real pleasure of art, and of bodily health. Those, finally, who consider themselves called upon to adopt composition as a profession for life, should undergo a most rigid self-examination. Their calling is the highes, but it is also the most exacting and uncertain; and no one can counsel them with well-grounded decision. No person ought to dedicate himself to this branch of the profession unless constrained by every impulse of his soul; no one who can endure with patience any other occupationwho is not willing to sacrifice, for the satisfaction of that vehement and resistless vocation, all the security and comfort of his existence, and who can not look with firmness on the chance of missing the chief aim of all his exertions. Such a vocation is generally, if not always, indicated in early years, by fanciful preluding, and attempts at composition. He who waits to compose until he has learned the rules of composition, will rarely, if ever, be a composer. It is also to be considered, that a disposition thus early manifested, and in some degree fostered and nourished, has had time for development before the application of scientific rules-that it is therefore in a more expanded and invigorated state, and gives the scholar the inestimable advantage of many imaginings and experiences, whereby confidence has been acquired, equally remote from timidity and from presumption. This advantage, however, is not indispensable. True love and perseverance, although later in the field-but not too late-may still gain the victory. A composer by profession will, however, soon discover that his occupation can not be the exclusive business of life, for the simple reason, that no one can compose always. Poetry, whether in tones, or words, or colors, demands the most vivid moments only of our existence; and with all the requirements for its production and exhibition, must still leave much of our lives in vacancy; the brightest and richest genius has no other destiny, neither would any other be endurable. Further still from the student must be the vain and unhallowed hope of obtaining a competence by his productions. The greatest artists, Bach, Haydn, Mozart, and Beethoven, were not able to accomplish that object. Such, indeed, has been sometimes effected by fashionable composers of the Italian Opera, patronized by the caprice of prime donne, but then only in advanced age. A subsidiary occupation has always been found necessary to a composer, such as singing, playing, conducting, or teaching; and notwithstanding the hindrance and burden this occupation may perhaps now and then seem, it will be found a salutary and invigorating companion. Each of these occupations has a favorable and important aspect to the composer-one or more of them he must embrace, and this circumstauce should have due weight in the choice of the profession. THE DEVELOPMENT OF THE MUSICAL FACULTIES. We must have recognized that nature has given musical capabilities to most individuals; but that these powers and susceptibilities exist in the most manifold variety of gradations. The germ of these faculties, like that of all our other powers, is strengthened and unfolded by all the appearances and impressions of the outer world on us, from the moment of our birth: and when placed at the disposal of the instructor, it has already undergone a certain degree of expansion from the unconscious tuition of daily experience. The development of the musical faculties, however, as far as regards the meaning of sounds, labors under disadvantages, particularly in northern cli mates, from which our other faculties are comparatively free. The most pressing wants and constantly urging requirements of life, call chiefly intɔ action that other spiritual sense, the eye, in combination with the understanding. The child learns to distinguish earlier by the eye than the ear; while its understanding is almost incessantly employed in seizing the significance of sounds, as indicative of the objects of sense by which it is surrounded, rather than the meaning of sound in any musical relationship; a kind of affinity, which to the uneducated ear remains, perhaps, through life unknown. The musical element has less occasion to be exhibited by us more silent Germans, than among our southern and western neighbors. It is, nevertheless, as deeply significant, well defined, and powerful in our language, even as in the Italian, which, indeed, can claim superiority only in some degree of clearness, and an old prejudice in its favor. Long-continued neglect and suppression, indeed, of musical qualifications, are much to be lamented; more particularly during musical education itself, when such neglect operates most severely. Parents and teachers are more apt to complain of the want of disposition in their pupils, than to seek in themselves the cause of that deficiency. Only when the delays and the misapprehensions shall be attacked on all sides, and overcome, will our conviction be complete that the musical qualifications given to most men are much more considerable than is generally believed. OF THE TIME PREVIOUS TO LEARNING. This period requires domestic care and solicitude, as a preparation for the directing hand of the master; and here it is that the mother, as monitor of the awakening senses of her child, is called upon to exercise the budding susceptibilities on salutary objects, and shield their tender impressiveness from violent and distracting sensations. Certain determined sounds have an incalculable and lasting effect on the infant mind and senses, when presented to them without constraint or obvious intention. The pure sound of a little bell, the combined sounds of two or three glasses, producing, for example, c—g, and then g―d-b, the contrast of high clear sounds and low murmurings (in a decided rhythm, such, for example, as the following = which appears sufficiently conformable to nature) are best calculated to affect |