Price 75 cts.

THEO. HAGEN, 5 AND 7 MERCER STREET. OPINIONS OF THE PRESS.

It is difficult to understand how the authors of this admirable work have contrived to compress so much valuable matter in so little a space This little work is chiefly intended as a guide for the teacher, and its great merit lies in the guidance which it affords through the mass of good and bad publications of all times. It supplies a vacancy which has been long felt, and is, we believe, the first and only publication of its kind in this country. The names of Messrs. Hagen and Wollenhaupt, both widely and favorably known, are a better guarantee of its merit than any praise of ours can possibly be. Still, we cannot but express our admiring appreciation of the masterly skill and taste with which the student is led from works of a simple and elementary nature to the masterpieces of Beethoven, Schumann, Liszt, and Chopin, and our enjoyment of the judicious criticism with which the volume abounds. Indeed, the better the musician, the higher his opinion of this work must be. We cordially recommend it to the musical public. Every teacher may derive from it invaluable suggestions, and every performer find in it a compass to direct his voyage over the ever widening and deepening sea of musical knowledge.-Fitzgerald's City Items, Nov. 2.

This is a useful vade-mecum for both the teacher and the pupil. It contains useful hints upon piano-forte playing, from its simplest elements to an advanced stage of accomplishment. The most useful feature, however, is, perhaps, the catalogue of pieces adapted for players in the different periods of their progress, with some account of them and of the different styles, schools, and composers of music for the piano.-Dwight's Journal, Oct. 26, 1861.

RALLY ROUND THE BANNER. Patriotic Song. G. Dowe. 25c.-MARCH AWAY, CHEERILY. Patriotic Song. E. H. Russell. 25c.-DARLING LITTLE SOPHIE. Song and Chorus. E. G. B. Holden. 25c.-BEGGAR GIRI.. Song or Duet. Piercy. 25c.-THE MAGIC OF A

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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.
MASON & HAMLIN, Boston, Mass.

4

THE HORACE WATERS'

Pianos and Melodeons,

AND

ALEXANDRE ORGANS

Are the finest Instruments for parlors and churches now in use. A large assortment can be seen at the new wareroots, No. 481 Broadway, between Grand and Broome Sts., which will be sold at extremely low prices. Pianos and Melodeons from sundry makers, new and second-hand, to let, and rent allowed, if purchased, as per agreement. Monthly payments received for the same. Sheet Music, Music Books, and all kinds of Music Merchandise, at war prices. A Pianist in attendance will try new music.

JUST PUBlished.

I.

ANTIQUARIAN CATALOGUE

OF

Vocal & Instrumental Music,

ANCIENT AND MODERN, AND OF WORKS ON MUSIC, Scientifical, historical, biographical, critical, satirical, theoretical, practical, instructiv, entertaining, etc., etc., ON SALE, FOR CASH,

BY

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WILMINGTON, DEL.

This Catalogue will be forwarded A best instruction in Music, will give

GRATIS, on application to the Publisher.

LESSONS on the PIANO and GUITAR.
Apply to Messrs. J. SCHUBERTH & CO., 98

KARL KLAUSER, SPRING STREET, near BROADWAY.

INSTRUMENTAL MUSIC.

AZURE, STARRY NIGHT. (Byegone Hours.) Oesten. 85C.-WARRIOR'S TRIUMPHAL MARCH. T. H. Howe 35c-SALUT A LA FRANCE. Transcription for piano. A. Baumbach. 35c-OLD HUNDRED. Transcription for piano. A. Baumbach. 35c.-VALSE PASTORALE A. Kielbloch. 35c.-GIRL I LEFT BEHIND ME. Varied. C. Grobe. 25c.-CROYEZ Mor (Trust in Me). For Piano. J. Ascher. 25c.-CAVALIER'S SERENADE, W. L. Apthorp. 25c.

BOOKS.

PART SONGS FOR THREE AND FOUR FEMALE VOICES Selected mostly from a collection by S. Müller, and Translated by Fanny Malone Raymond. For the Use of Normal Schools, Young Ladies' Institutes, &c. 50c.

CONTAINS ABOUT 200 PAGES OF Duets, Trios, Quartets, and Choruses, many of them written expressly for this work, beside some 30 pages of the Elements of Music. This is the best book ever issued for Seminaries, Academies, and Public Schools.

It is Compiled by HORACE WATERS, Author of "SABBATH-SCHOOL BELLS," Nos. 1 and 2, which have had the enormous sale of 585,000 copies in 32 months.

Prices-Paper Covers, 20c., $15 per 100; Bound, 30c., $22 per 100; Cloth Bound, embossed gilt, 40c.. $30 per 100. Sample Copies mailed free, at the retail prices. Publisher, HORACE WATERS,

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, OBERON, MAGIC FLUTE, ROBERT, FRA DIAVOLO, THE HUGUENOTS, FREISCHUTZ. ROMEO AND JULIET, TANNHAUSSEE, and ZAMPA. Each, 25 cts.

JUST OUT. THE STAR-SPANGLED BANNER.

Paraphrase

Brillante pour Piano. Par H. A. Wollenhaupt. Price, 50c.

THEODOR HAGEN,

Agent for Holle's Music.

5 & 7 Mercer street, (Care Mason Bros.) J. SCHUBERTH & CO., PUBLISHERS AND DEALERS IN

Foreign & American Music
St. Nicholas Hotel Buildings,
98 SPRING ST., NEAR BROADWAY,
New York.
Catalogues of their own publications may

No. 481 BROADWAY, N. Y. be had gratis.

10

This new and valuable work for Sabbath-Schools has been much enlarged, and now contains over five hundred hymns, tunes, and select pieces, and a number of Chants, and Short and Easy Anthems, for Anniversaries, Monthly Concerts, and other special occasions. The tunes have been selected with much care, and comprise those recognized by singers as the best in nearly every collection of Sacred Music. The hymns have been chosen with special regard to PURITY, SWEETNESS, & SIMPLICITY.

The particular point of excellence in this collection, is its admirable

SELECTION OF FAVORITE FAMILIAR TUNES AND MUSIC

HITHERTO UNKNOWN IN SABBATH-SCHOOLS.

AS A BOOK OF WORDS & MUSIC IT HAS NO SUPERIOR. A number of Pieces have been especially composed for Anniversaries, the Death of a Scholar or Teacher, Monthly Concerts, Sunday-School Celebrations, Pic-Nics, and other Special Occasions. In addition to the above, the Appendix contains a very large variety of

Choice Melodies for Children's Singing Parties, the Fireside, & Home Circle.

The very low price at which "The Golden Harp" is sold, renders its possession available by every child, while its real worth as a Collection of Hymns and Tunes, will commend it to the favor of all parents and teachers.

Recommendatory Notices of the Religious Press. From the "Christian Freeman." The Golden Harp " is just becoming quite popular. From a careful perusal of it, we judge it worthy of adoption by our schools. generally. We commend it to the attention of superintendents and teachers, as a valuable acquisition to their means of religious instruction and worship."

From the Christian Watchman & Reflector."

For every occasion on which good music is desirable-and there are few, if any, on which it is not-something appropriate inay be selected from this book, which contains more than five hundred choice pieces."

From "The Schoolmaster."

"It is an admirable collection of hymns and familiar tunes, which must be found acceptable to those who want a new music book for their Sabbath-School. We have recommended it personally to our friends."

From the "Christian Register." "This is properly a book of hymns, as well as of tunes. It contains 438 hymns-long and short-and 120 tunes, the hymns being scattered through the book on pages with the

tunes to which they are fitted. The selection of tunes is good, and the hymns are nearly all practical, and free from objectionable doctrine. This we consider essential and an important recommendation of the book for the young, and we see no reason why it should not be generally adopted in our Sunday-Schools."

From "The Puritan Record."

"At the low price of twenty-five cents, Oliver Ditson & Co furnish this new SabbathSchool Music Book, containing more than five hundred Hymns, Tunes, and Select Pieces. The work is worthy the patronage of our Sabbath-Schools."

From the "Olive Branch."

"It contains upwards of five hundred hymns and tunes, including the best of all previous collections, together with a large number of new pieces, which must, from their peculiar adaptation to the want of Schools, become We have never met with general favorites.

a book of Sabbath-School Music which we could so unreservedly recommend to the special attention of pastors, superintendents, and teachers, and to all persons interested in the moral and religious culture of the young."

The special attention of Clergymen, Sabbath-School Superintendents, Teachers, and Parents is respectfully solicited for this work. A Specimen Copy, postage free, will be sent to any person wishing to examine it, upon the receipt of twenty-five cents.

PRICE, $2 50 per dozen. Single copy, 25 cents.

OLIVER DITSON & CO., Publishers,

Dussek's Compositions for Piano (17 pieces

for two and 2 pieces for four hands.) $350.
Singly, from 10 to 50c. each.

Mozart. 18 Duos for Piano and Violin. $3 €5.
Singly, from 10 to 80c. each.
Brunner. Operatis Potpourris. (New Selec-
tion.) 25c. each.

THE WORKS FOR PIANO-FORTE BY
Beethoven, Mozart, Haydn, Bach, Cle-

menti, Weber, Hummel, Czerny, Bertini, Herz, Cramer, Kuhlau, Diabelli, Wollenhaupt and others, at about one third of their usual prices. Apply for catalogues. Beethoven's Trios for Piano, Violin, and Vio

BY

CHARLES BUTLER.

A Complete Course of Elementary Instruc-
tion, Vocal Exercises, and Solfeggios,
to which are added a most
excellent Selection of

Songs, Duets, Trios, Opera Choruses,
Chants, and Hymn Tunes,

WITH PIANO-FORTE ACCOMPANIMENT.
This work is designed as a Vocal
Class-Book for the use of

loncello, 85. Singly, from 30 to 75c. per Seminaries, High Schools, Academics,

Trio.

ALSO OF

Harmony, Single and Double Counterpoint, Canon, and Fugue. Address,

HALLET, DAVIS & CO.

Glover. Halevy.

Panseron.

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Rossini.

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When the Swallows homeward fly.. Wild Music,

Wind, gentle Evergreen, (Round,)....

Price 50 cents single, or $5 per doz. Sent per mail, postage paid, on receipt of the price.

Published by RUSSELL & TOLMAN,

291 Washington St., Boston.

in memory; Reconnaisance, a scene of recognition; Aveu, an avowing of love; Promenade, a walk, as one takes arm in arm with his lady in German balls. The whole is without artistic worth; the manifold emotions of the soul illustrated, may alone be of some interest."

We see Schumann himself criticized his work pretty severely; yet it cannot be denied, that it compares rather favorably with most of his preceding works. His individuality is fully manifested in it, and if one wishes to hear some genuine Schumann music, one must listen to the different parts in his "Carnival." In the same year (1834), Schumann lost his dear friend and collaborator, Ludwig Schunke, who succumbed at last to that pulmonary disease of which he had suffered so long. About the same time, Messrs. Knorr and Wieck relinquished their share in the editorship of the new Journal, so that Schumann was left alone to steer the small craft through the many waves of envy, jealousy, and prejudice, which surrounded it. That in spite of all this, he found time to pursue his career as a composer, was really astonishing, and so much more proof of his indomitable energy and ambition.

In 1835, he finished the sonata in F sharp minor, op. 11, for pianoforte, he had commenced in 1833. It was published with the somewhat peculiar title, "Pianoforte Sonata, dedicated to Clara by Florestan and Eusebius." It is a work full of novel traits; but in spite of Moscheles' well-meant criticism on its merits, in a letter to its author, which was later published in the new Journal, Schumann's own opinion in later years, "confused stuff," may be justly applied to it. A new edition of this sonata mentions, on its title page, Schumann as its author. The sonata in G minor, the finale of which was composed in Vienna, in 1838, op. 23, is more acceptable, especially offers this finale more completeness and mastery of form, and reflects the many emotions and passions which had taken hold of Schumann at that time. To these may be reckoned the death of his mother, occurring in 1836, and the awakening, in all its might, of his love for Clara Wieck. The story of this love has been often told, and is of common occurrence in social life; but if ever struggles to overcome the opposition of fathers to the wishes of lovers had a beneficial effect upon these, it was in Schumann's case. Well might he write to Dorn, in September 1839: "Surely some of the struggles which Clara has caused me may be found in my music, and will be surely also understood by you. The concerta, the sonata, the Davidsbundler-Dances, Kreisleriana, and the Novelettes-mostly she alone has caused."

His next work, and perhaps the most important, he wrote in this first period of his life as a composer, was the "Fantasia in C for Piano-forte, op. 17," dedicated to Liszt. It is in three parts, contains a wealth of fine ideas, and is full of Beethovian spirit. The "Concert sans Orchestre," published as opus 17, was originally intended to be a sonata in four parts; but the publisher, Mr. Tobias Haslinger, in Vienna, insisted upon its being called a "Concerto without Orchestra," and Schumann, anxious to have his work published, complied with this strange

wish; but, in order to establish some connection between the title and the contents of the piece, he omitted the scherzo. In 1853, when a second edition of this work was published by J. Schuberth & Co., the old title was reinstalled, and the scherzo kept its original place. The first and last parts of this sonata fully illustrated the meaning of the words by the author, quoted above.

It may be easily presumed, that Schumann's efforts as a composer were not much appreciated at first. His music had to be studied, in order to be understood and enjyed; and then, as well as now, such proceedings were not much in favor with usical amateurs. If it had not been for his influential position as an editor, his works would have never seen the light. The publishers will not have anything to do with me," he wrote to Moscheles, and also to Doru. "However, you can easily imagine, that if the publishers did not fear the editor, the world would hear nothing from me, and perhaps to its own best." The critics, too, seemed to take little notice of his productions, for the simple reason that most of them were unprepared for such music. And those who might have noticed them favorably, were not allowed to do so, for they all wrote for the New Journal, and, in the first years, Schumann strictly prohibited any criticism upon his works in

his own paper. The old Leipzig Musical Journal ignored them for seven years, and there were only two exceptions to the general rule of silencing the new man into oblivion. These two exceptions were given by Moscheles and Franz Liszt. The criticism by Liszt was pub lished in La Gazette Musicale, in Paris.

It is but natural that Schumann should feel the weight of the neglect. "No art without encouragement," he wrote to Fischhof. "On the favored lonely islands in the Pacific, a Mozart, a Raphael, would have remained country people." And in a letter to Dorn, he said: "I should like it very much if you would take notice of me in your gallery, for the world knows little or nothing about me! You know why? Sometimes one thinks one does not need such encouragement; but, in reality, I say with Jean Paul, 'Pleasure and praise are the only things a man is always ready to accept.' If Schumann, however, found little encour agement in public, he met with marked distinction in his intercourse with men like Mendelssohn, Moscheles, Chopin, Sterndale, Bennet, Lipinski, Ludwig Berger, Liszt, and others, who either resided in Leipzig, or occasionally visited that city. It is difficult to decide what kind of interest Mendelssohn took in Schumann. They must have met frequently, and been on pretty intimate terms; for Schumann exclaimed, on one occasion: "I look up to Mendelssolin, as to a high mountain; there is scarcely a day when he does not utter some thought which we might immediately dig into gold."

In 1837, he wrote Phantasiestücke (Pieces of Imagination, 2 parts, op. 12), and the Davidsbundler dances (2 parts, op. 6). As Mendelssohn in his "Songs without Words," so Schumann in his Pieces of Imagination opened a new path, which has been often trod since, but in which very few have ever approached him. These pieces may be called Morceauz de genres, full of strong and soft emotions. Each of them bears a separ ate title, which was only added after the piece was finished. Thus Schumann proceeded differently from more recent authors, who first adopt the poetical subject, and then let follow the musical treatment. In Schumann, the music suggested the poetry, and hence the truthfuluess of his music.

(To be continued.)

The Musical Review & Musical World.

NEW YORK, NOVEMBER 23, 1861.

HOW DO YOU LIKE IT?

of

A LARGE number of the present subscribers of the REVIEW have had specimen copies of ASAPII, or THE CHOIR BOOK, the new work by Dr. Mason and William Mason. We should be glad to hear from as many them as will take the trouble to write us, and especially from musicteachers and choir-leaders, how they like it. We have had quite a number of quite enthusiastic expressions of opinion already, and this leads ns to ask for more.

The indications are, that it will be one of the most popular books we have issued. To any who will write us as suggested, we will take pleasure in mailing, by way of compensation for postage, a copy of the pamphlet containing Patriotic Songs, arranged for male voices, which we recently issued.

MUSIC IN NEW YORK.

First Philharmonic Concert.
PROGRAMME.

PART L-Grand Symphony, No. 5, in C minor, Op. 67; L. van Beethoven. 1. Allegro coa brio; 2. Andante con moto; 3. Allegro; 4. Allegro-Presto. - Recitativo e Cavating, from “La Sonnambula," "Caro Compagne;" Bellini. Miss Abby Fay.-Second Concert, for Piano and Orchestra, in F minor, Op. 21; Chopin. 1. Maestoso; 2. Larghetto; & Allegro vivace. (First time.) Mr. S. B. Mills.