SPRINGFIELD, 8$. 75. W. O. PERKINS. 2 SOPRANO 1 Glo-rious things of thee are spo-ken, Zion, city of our God; He, whose word can ne'er be broken, Chose thee for his own abode TENOR 2 Lord thy church is still thy dwelling, Still is precious in thy sight; Judah's temple far excelling, Beaming with the gospel's light. +4 LANGDON. C. M. W. O. PERKINS. 6 SOPRANO 1 See Israel's gentle Shepherd stand, With all-engag-ing charms; Hark! how He calls the tender lambs, And folds them, in His arms! 6 6 TENOR 2 "Permit them to ap-proach," he cries," Nor scorn their humble name; It was to bless such souls as these The Lord of angels came." 2 In the day of my Moderato dis-tress, Thou hast my succor been! In my hour of help-less-ness, Re-strain ing me from sin. STERLING. S. M. W. O. PERKINS. 1. Overture, Martha-Flotow. 2. The Two Grenadiers-R. Schumann. 8. Waltz, Nixen 5. Overture, VampireTanze-Lanner. 4. Andante, Sinfonie Pastorale-Beethoven. Marschner. 6. Arla, Rigoletto-Verdi 7. Terzette and Finale, Lucrezia Borgia-Donizetti. 8. Galop, Le Diable a Quatre-Loeschhorn. Of the "Patriotic Concerts" I need only say they have been many. The object for which they were proposed was most praiseworthy. I wish I could say the same of their respective performances. Hastily undertaken and imperfectly rehearsed, it would be invidious to particularize as to which concert was most supremely indifferent. Two exceptions, however, I may mention. The first of these by the young ladies of the Hancock (!) Grammar School, under the conductorship of Prof. John Bower, deserves favorable notice. The operatic cantata, the "Flower Queen, or the coronation of the Rose," by George F. Root, was represented at the Academy some three weeks since, and a repetition demanded on the evening of the 11th inst. I was unable to attend at the initial performance, but was one of the charmed auditory on the 11th. Though a sultry night, the Academy was thronged. Carriages came and went, graceful forms in gossamer dresses alighted and entered; there were opera cloaks here and there, red, white, and blue, to lend an opera-patriotic appearance to the affair; Colson, in photographic felicity, smiled from the gilded frame at the entrance; the air was heavy with the most delicious volatile of floral exhalations; indeed, never since that memorable night when the Baron Renfrew honored proscenium box No. 2, has the Academy been so profusely decked with flowers-then came a fluttering of fans, a flashing of orchestra lights,-Lamb's "Fair Auroras,”—and the performance began. That your readers may have an idea of the character of the story, I give the argument: "The Flowers have met in a secluded dell of the forest to select a Queen. Their songs are interrupted by the entrance of one who, discontented with the world, seeks retirement, and there gives vent to his disappointment and complaints. The flowers, after soothing his troubled mind by their cheerful songs, proceed to the selection of a Queen, the aspirants to which honor severally present their claims. The CROCUS urges its early appearance in Spring, and its sweet perfume; the DAHLIA, with too much pride, calls attention to its "beauteous bloom" and "stately form." The HELIOTROPE and MIGNIONETTE join together to portray the peculiar qualities essential to their Queen, deprecating a choice from outward appearance inerely. The JAPONICA, without profiting by this lesson, urges its unrivaled loveliness, but is soon followed by the SUNFLOWER, in a semi-comic strain, succeeding only in exciting the risibilities of its would-be subjects. In answer to calls from the chorus, the modest VIOLET and LILY resign all proffered honors, preferring their own quiet retirement and happy contentment. As the first day is now drawing to a close, the Rose calls attention to Him who lends the flowers their beanty and fragrance, and unites with her companions in committing themselves to His care and protection through the night. The hours of repose are broken in upon by the Rose, who vies in song with the NIGHTINGALE. "The morning opens with a chorus for the happy flowerets, who are about at once to proceed to a choice, when the HOLLYHOCK Suggests that, as is too often the case with "sweet simplicity," its claims have been entirely overlooked. The flowers seem little influenced by its arguments, but expressing their affection for each other, and reluctance in giving a preference, agree that to the stranger shall be committed the task of selecting a Queen. As was to His choice is be expected, the RECLUSE, with but little hesitation, fixes upon the ROSE bailed with seclamation, and the HEATHER BELLS, gathering from every hill-side and vale, ring their chimes in unison with the voices of their companions in a full Coronation Anthem. The ROSE, with gratitude, accepts the crown so freely proffered, and the flower prepare to separate, each to fulfill its mission on earth, and bear happiness to the sick and the sorrowing, as well as the young and happy. The RECLUSE has learned a lesson-that to fill well the station allotted by Providence is to be happy; and, with all selfish discontent and misanthropy removed. prepares to return again to usefulness and consequent happiness. Uniting in one chorus of farewell, and committing the stranger to Divine guidance, the flowers return to their homes." To do the Cantata full justice, an elaborate criticism would be required, and this space forbids. The large stage and accessories of the Academy were admirably adapted for the representation; the "secluded dell" in the forest, the meeting of flowers of every variety and color, as though fragments of a spring rainbow shattered were thrown on a mossy bank; lilies and violets, mignionette and heliotrope, tulips and heather-bells, and the beautiful rose. Then begins the music, the songs and choruses, innumerable as field"Here would I rest" was sung by Prof. daisies and as sweetly refreshing. His voice possesses much that JOHN BOWER, in a very creditable manner. is desirable; it is a clear even tenor, and he always sings with expression and truth. It would be impossible to speak at length of the various performers, but they did admirably, and I think the talented composer, Mr. Root, would have been even more delighted with his excellent composition had he been present. I must say a word in conclusion of the Queen. Her name, I be lieve, is MISS MILLS. Had we, (it would be indecorous not to use the editorial "we" in this sentence,) a disinterested "Recluse," been called upon to select, from among so many flowers a Queen, our choice, too, would have been the Rose-as personified. Possessing great personal beauty, the lady has a rich soprano voice of much flexibility, resonance, and purity of tone. I hope to have the pleasure of listening to it again. Prof. BowER deserves great credit for the admirable manner in which this charming opera of flowers was performed. The other concert of which I intended to speak, took place last Saturday evening at the Academy. Several of our prominent artists "assisted," among them Mad. Bertha Johannsen, who sang "Brightest Eyes," and the "Bolero," The new Mrs. Nevins and Messrs. Wolfsohn, Hassler, and Birgfield. It is near the hour for my "drill," and I bid you for the evening, and, BOSTON. C. P. C. JUNE 17, 1861.-It seems a little inconsistent to be writing a musical letter to day, amid the booming of cannon and the varied manifestations of patriotic joy at the return of the glorious 17th of June, so dear to us all who We are a little nearer Bunker Hill, geographi, love revolutionary memories. cally, than you are, but not a whit nearer in heart to-day, I know; and every wave of the popular enthusiasm swells, higher and higher in all our hearts, the tide of love and devotion to the Star-Spangled Banner, which to-day (as 86 years ago) floats, blood-stained, over our patriot armies. But to music. Lack of room in the last letter compelled us to omit a notice of a new Mass by Falkenstein, (for several years organist at the Roman Catholic Church in Endicott Street, in this city,) performed for the first time a few weeks since, at Mercantile Hall. It is too late to criticise the work minutelyit having already been done in an eminently just and discriminating manner, but we can hardly help adding our humble testimony to the refreshing, musician-like character of the whole Mass. Every composer knows full well the extreme difficulty of preserving originality in writing upon a text already used over and over again as many times, and by as great men, as has been the "Kyrie." Yet Mr. F. has succeeded in producing not only an original, but an exceedingly interesting movement upon this text. Much of the same sort might be said of the other parts of the work—they all bear the impress of genius and thorough study. If the style of the composition were a little more decided as to strictness, it would be more satisfactory. As it is, it is neither strict enough as a whole, to be classed with what musicians please to call strict compositions, nor is it free enough to remove entirely the odious smack of the school. Other works hereafter from the author's pen will undoubtedly improve upon this one in this respect. We are sorry to be obliged to record the removal of Mr. J. M. Tracy, a very promising young teacher, from this city to Syracuse, N. Y. Mr. Tracy has but recently returned from a two years' sojourn in Germany, where he enjoyed the instruction of Plaidy and Knorr, both of whom have respeatedly expressed themselves to your correspondent in terms of warmest commendation of his ability, and the most sanguine anticipations of his success as a teacher. We had hoped to have had his influence here among us, when such influence is so much needed, but our loss is others' gain. Eminent success to him in the glorious and not unthankful work of cultivating musical taste and talent! Hot weather (not simply warm) has reached us at last, and it seems to have finished the desolating work the war commenced in our concert SPRINGFIELD, MASS. B-. SATURDAY, JUNE 8, 1861.-On Tuesday evening last, Miss Hinckley and Mr. Mills, assisted by a comic singer, Mr. Taunt, appeared in concert at Music Hall, before a not very large audience. To say that the efforts of the two former were fully appreciated would be to admit that the Springfield people have musical taste of a high and cultivated order; whereas, merely to record that Mr. Taunt received more applause than they, and was recalled again and again, would amount to nothing less than a confirmation of the truth, that comic and negro songs are liked in preference to pieces of intrinsic merit. The concert was as follows: No. 1, Liszt's "Fantasia on Rigoletto," by Mills, who played it admirably, in spite of the "Obligato" of a child's loud laughter, accompanied by that of some overgrown female children, both of whom had better remained at home, instead of interrupting the artist at the very onset of his solo, for which, at the end, he received hardly any apQuien Sabe. plause; it deserved an encore, but how many thought so? No. 2, Cavatina Trovatore "Tacea la notte, placida," by Miss Hinckley. This Cavatina d'Intrata is hardly the thing for a mixed audience. Although the allegro is marked and brilliant, and the finale rather inviting to vigorous applause, yet it drew forth a very faint clapping of hands. Then came whispers and nods, opinions and questions as to her merits. Some thought her voice powerful, but not sweet; others, that an English ballad would have been better. Mr. Jones said that she was a fine-looking girl, and Miss Lavinia Tompkins thought her mouth uncommonly big, while Miss Justina Wise, who had been at "La Scala," enlightened her friends and admirers with the astounding information that Bella Hinckley's "method is pure, but her pronunciation disgustingly thick and indistinct."-"Mirabile dictu!" while "Quien Sabe" was questioning the correctness and justice of these remarks, and especially whether it was possible for a sweet lisp on a pretty woman's lips to be disgusting, out steps an easy-walking gentleman who sings “I'm not myself at all" in a lachrymose manner, at the end of which a few gentlemen demonstrate feeble applause, and Joe Muggins, with a peacock like air, cries aloud: "I guess he ain't no great shakes; they brought him to fill up the gaps;" "Bravo, Joe! planets are such because of lesser stars," answered my neighbor. Here comes Mills, and left-hand cctaves from the wrist, clearly played, introduces his own fantasia on "Dinorah;" connoisseurs listen eagerly, while Joe and a few girls keep up a parlando accompaniment, to the disgust of "Quien Sabe," and a few others in the neighborhood. In this piece, if in no other, the pianist fully proved the excellence of his technics; his execution was brilliant and precise, his scales and runs even and pearly, while his strong left hand sustaining the theme prominently, afforded occasion for the right to make the upper notes scintillate with brilliancy. Yet, in spite of all this, not all the efforts of a few enthusiasts could secure him a well-merited encore. There is a certain complaisance in every circle of life which not only distinguishes the well-bred from the boorish, but also tends to make our intercourse in whatever relation we stand toward each other not only pleasing but harmonious. The artist who performs to me, and the man who invites me to a cup of tea under his friendly roof, are both entitled to my warm thanks, whether the efforts of the former or the beverage of the latter fall short of what I regard as the best quality of each. It may be argued that we pay to hear artists in public, and are at liberty to show approbation or dislike to their efforts, or be silent whether we approve them or not. Here the bienseance of etiquet steps in and prescribes that custom has invariably regarded artists, and especially those who are first class, not in the light of laborers and mechanics, who do their work and simply demand payment, but as men of refinement and mental attainments of a high order, capable of awakening the better feelings and emotions of our nature by means of the pencil, the chisel, or combinations of harmonious sounds, and therefore are entitled to respect. When an artist comes accredited from any metropolis as being extraordinary in his line, it is customary to receive and treat him as such, There were in the audience sufficient ladies and gentlemen to have shown Mr. Mills a proof of their recognition of his superior attainments, but these would not demonstrate applause, although they felt that he deserved encores. It is the common opinion here that the man who sits at the piano to accompany a trivial commonplace song is nothing above the common-that a great artist would only "star it." This is not unreasonable, for in Europe the solo pianist seldom plays accompani ments. Yet, reason or no reason, our audiences have much to learn, if not by way of comprehending good music, at least with regard to adopting more considerate treatment toward such men as Mr. Mills. It was Lord Bacon who said, "Since custom is the principal magistrate of man's life, let men by all means endeavor to obtain good customs." The good custom is, when a pianist plays admirably and beautifully, as Mills does, to encore him. Next comes "Nora M'Shane" by the funny Mr. Taunt, who sings out of tune in some parts, because somebody thinks the piano out of tune in some keys. I did not notice that it was, but connoisseurs say Taunt was right and the instrument at fault. The rondo from "Don Pasquale" was well sung by Miss Hinckley, but nothing particular was elicited except that Miss would have preferred "Cottage by the Sea." The second part of the programme commenced with Mills' Paraphrase on 'Hail Columbia," which he executed well, as well as any man could on a square piano in a good sized hall. A few clapping of hands, and Joe thinks that the whole tune "wasn't there" and that "Money Musk" played in brisk time would have suited better. "Joe, shut up, you fool," says my neighbor, "can't you understand the beauty of the variations and the difficulty of the piece as he put it together?" Joe with a shake of the head replies that "Mills put the piece asunder instead of together. "Widow Machree" next by Taunt which draws an encore, to which he responds with the "Irish Gentleman" amid roars of laughter. Everybody looks at every other body and nobody is out of humor with any body except Joe, who thinks "We have had enough of them darned Italian things," and is looking around for friends to help him call for Dixie," when Bella approaches the footlights and begins "Son vergin vez zosa." The sparkling Polacca went off brilliantly, and, to my mind, was her best piece-her cheval de bataille. Unfortunately, in closing on the re in alto, the note did not sound, but still the demand for an encore was deafening, and the handsome prima donna was forced to appear again and bow her thanks. The funny Taunt now sings a Scotch song not in the programme, at the end of which he is recalled; sitting at the piano he sings "Uncle Ned, Joe and hoc genus omnes, are in their glee—the nine o'clock bell is tollingthe singer is annoyed, for the heavy tongued “critter is a d-d nuisance," and very disgusting to all music lovers like Muggins and other admirers of good things. Taunt closes with the witty remark that he thought the bell was tolling for Ned's funeral. "That is great," "Ah, ah, ah," "Call him back," ," "Smart fellow, eh!" Bella next sings "Our good ship sails to night," and is recalled; she returns with a banner and sings the " Star-spangled Banner" in dramatic style. The furies are loose-excitement great-what applause does love of country awaken, while artistic skill and sweet “bastard Latin" on American lips produced no enthusiasm! 'Tis not the tune, but the words and association, for after all there is nothing so great in it. Joe is excited and ventures the astounding exclamation: "I never thought there was so much gumption to that girl;" chorus of gents, "That's so," another encore, to which the prima donna responds with a song, the only words of which I could catch was conquer or die," and the concert was over after a duet by Taunt and herself. Moral. The concert as a whole was goodBella's pronunciation rather thick-voice strong and rich-Mills' piano playing excellent-Taunt a good "fill-up"-piano not fit-every one does not get his deserts-agent, who came out and announced a second concert, which did not take place, rather awkward and "homely "-Joe, a type, or representative of what? Guess! QUIEN SABE! ST. LOUIS. JUNE, 1861.-DEAR EDITOR:-My only plea for apparent past negligence is, that I have been absent, and thus unable to contribute my usual mite of correspondence to your valuable journal. If a war item had at any time been acceptable, I should have favored you with one long before this, for I could get up such without much trouble at the present time, no matter where I was located, but I remembered your preference to deal in musical criticisms and communications. My task, therefore, will be ended for the present when I have given you a few ideas of our late Philharmonic Concert, the only thing worthy of notice that has taken place here for several weeks. It was given toward the close of last month, and was the "eighth" and last concert of this year's series. It was, of course, a great success, and quite as brilliant as any of the former ones. The following was the programme of the evening: PART I. Finale from First Symphony-Beethoven; 2. Chorus from Les Huguenots—Meyer. beer; 8. Cavatina, Tamo siccome gli angeli-Centemeri; 4. Andante, from Second Symphony-Beethoven; 5. Sextet, from Lucia, (by general request)—Donizetti. PART II. 1. Overture, Leonore-Beethoven; 2. Chorus, Bone Jesu-Palestrina; 8. Duo for two Flutes, Rondo brilliant-Furstenau; 4. Sextet and chorus, from NabuccoVerdi; 5. Duo from I Puritani, Suona la Tromba-Bellini; 6. Overture, Jubilee, întroducing the air, God Save America-C. M. Von Weber. 97 66 The orchestral pieces were never better, as unusual efforts were made to obtain as large an orchestra as possible, including all of the best talent here, the instrumentation was very perfect. The "pianos," "fortes diminuendos," and “crescendos," were all well observed. The lovely Andante from “Beethoven's second Symphony," was beautifully rendered. The "Leonore Overture" inspired every one with its grandeur and its wild harmonies; while Weber's brilliant "Jubilee Overture," closing with the National air God Save America, produced an immense effect, and electrified the audience. The choruses were somewhat thinned by absentees, yet were well performed; especially so was Palestrina's quaint, "Bone Jesu," without accompaniment, and the "Sextet from Nabucco," in which our friends Mr. Sabatzki and Miss Tournay appeared to great advantage. Of the Solos, Centemeri's Cavatina "Tamo Siccome," sung by Miss Maggunnagle, deserves a special mention; it was sung in her most happy style, which is certainly saying much for the performance. In the "Sextette from Lucia," Miss Dean sustained very well the principal part, but the performance of the piece was not such as might have been wished for. The "Liberty duet " from Puritani, a composition the principal merits of which are those of its being a very noisy and patriotic piece of music, was sung with much effect by Messrs. Catherwood and Capen; it was, however, much of an effort on their part; it was hardly the piece for their voices. The "flute duette' went off well enough, considering the disappointment caused by the absence of the public favorite player, Mr. Dabner Carr. The impression created by this last concert will not soon be forgotten, and has confirmed the feeling among us that the Society should be maintained in times of war as well as in times of peace. We wish the managers all success in their future efforts toward making this a permanent institution in our midst. Yours, truly, Special Notices. PHIL. T SUCH. THE NORMAL MUSICAL INSTITUTE, North Reading, Mass. The Thirteenth Term of this Institution will commence on Wednesday, July 16, 1861, and continue EIGHT weeks, under direction and instruction of DR. LOWELL MASON, Messrs. WM. B BRADBURY, and GEO. F. ROOT, with the assistance of such other competent instructors as may be found desirable. The leading object of this School is, to afford aid to such persons, male or female, as desire to prepare themselves for teaching, or who wish to make higher attainments in the art of teaching Vocal Music. The instructions will be specially adapted to the wants of all such as wish to teach in seminaries and schools, or in classes, juvenile or adult, formed expressly to receive musical nstruction. In carrying out the object of the Institute, the exercises will be divided into the following Departments: 1.-THE ART OF TEACHING, especially as applied to the elementary principles of vocal music. 2-HARMONY AND MUSICAL COMPOSITION. 3.-VOCAL TRAINING, OR CULTIVATION OF THE VOICE, and the application of the same, in training choirs and singing-classes generally. 4.-PRACTICE of Chorus, Class, Choir, and Congregational Music. The Principals desire to do all in their power in aid of the great work, occupying so much thought and effort at the present day, of raising the standard of teaching from the mere mechanical and formal to that which is at once simple and natural, and which, when properly carried out, can not fail to be thorough and successful. TEEMS-For all the class exercises (payable in advance), $25. For half the term, $15. For a less time, $5 a week. THE GIRL I LEFT BEHIND ME. Samuel Lover. 25c.-THE DAY OF PARTING. Ed. Luckman. 25c.-WE'RE A JOIN TAMSON'S BAIENS. John J. Frazer. 25c.-OI, I'M A SINGLE MAN. Sep. Winner. 25c. S. BRAINARD & CO., CLEVELAND. LA ROSE DE FLORENCE. A. Leduc. 80c-PETITE ROMANCE. J. Rummel. 25c.-LA MANOLA. J. Rummell. 25c.-ROSE QUEEN POLKA. H. T. Knake. 25c.-OBERON. Theo. Oesten. 60c. VOCAL MUSIC. THE ABSENT ONE. With Guitar. Zimmer. 15c.-THE GOOD-BYE AT THE DOOR. Stephen Glover. 30c.-ROSE OF HAZELDEEN. J. W. Cherry. 30.-GOD SAVE OUR COUNTRY'S FLAG. J. S. Porter. 25c.-FADING AWAY. Duet. 25c. OLIVER DITSON & CO., BOSTON. VOCAL MUSIC. OUR COUNTRY'S FLAG FOREVER. G. J. Webb. 25c.-ONCE MORE UPON THE SEA. Song. O, IT IS NOT WHILE RICHES. Variations. Handel Pond. 35c-HASTE VALSE QUADRILLES. WINNER'S PERFECT GUIDE FOR THE PIANO. 50c.-WINNER'S PERFECT GUIDE FOR THE MELODEON. 50c. For The Best MELODEONS ((AND)) MASON VIUMS. HAMLIN & MASON & HAMLIN, MANUFACTURERS OF Melodeons & Harmoniums THE Undersigned beg to inform their friends and the public that they have REMOVED to their new and enlarged manufactory, and that, with the aid of improved machinery and increased facilities, they are now producing Instruments which they are confident will more than sustain the reputation already acquired. Their MELODEONS and HARMONIUMS have been awarded the first premium at EVERY FAIR where exhibited in competition with others, (TWENTY-SIX of which have been received during the past five years,) and they are highly commended by distinguished musicians in this country and in Europe. Descriptive catalogues sent to any address, and orders respectfully solicited. 4 WM. DOEHLER, SOLO VIOLINIST AND TEACHER OF VIOLIN & PIANO, Care of THEODOR HAGEN, Esq., 5 & 7 MERCER STREET. JUST ARRIVED. SCHUBERT'S SONGS. Vol 5. $2 75. Price of the five vols., $12 00. THE ART OF VIOLIN PLAYING. A collection of the best works for this instrument, from Corelli (1653) to our own times. Edited by C. Witting Part I. 6 Sonatas, by Corelli. 75 cts. Part II. 3 Sonatas by Francesco Geminiana. Three Sonatas, and the celebrated Ciaccona, by J. S. Bach. Capriccios, by Pietro Locatelli. 75 cts. VIOLIN SCHOOL, by Dr. Volckmar. $1. POTPOURRIS from MARTHA, WHITE LADY. 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We would advise all who desire a really good and serviceable Piano-Forte. to call and examine them. 206-1y J. SCHUBERTH & CO., PUBLISHERS AND DEALERS IN MUSICAL MERCHANDISE. Foreign & American Music N. B.-The celebrated Roman Violin and Guitar Strings. Music mailed free of postage on receipt of marked price. St. Nicholas Hotel Buildings, 98 SPRING ST., NEAR BROADWAY, New York. Catalognes of their own publications may Price of Roman String, 25 cents. 209 MAIN ST., BUFFALO, N. Y. 22-1y be bad gratis, WM. R. BRADFORD J. R. BLODGETT. 10 |