"Those who hope in thee shall know no sorrow.' That's what I have thought too. Supposing every month you let me have a few cents; you would not feel it, and I, in my little seclusion, would be happy. As I said, I rely upon St. Matthew, who says: Whoever has two coats shall give one to the poor.' Meanwhile, I wish you would listen to the voice which incessantly calls you to remember

"Your loving, poor, hoping, and again very poor brother,

"FRANZ."

After having returned to the house of his parents, he was at leisure to resume such of his favorite occupations as he could attend to only in his vacations from the institute. These occupations consisted in the practice of quartet-playing with his father and his brothers, who were always anxious to perform something new of "brother Franz." In this way all the quartets of the young composer were played soon after they were written, a circumstance which must necessarily have vastly benefited him. Old Schubert used to play on these occasions the violoncello, Ferdinand, the first, Ignaz, the second violin, and Franz, the viola. Franz was, of course, the last to be satisfied. If there happened to be a fault in the playing anywhere, were it as trifling as possible, he looked either seriously or smilingly straight in the face of the player who had committed the blunder. If it was the father who was wrong, he said at first nothing, but if the mistake was repeated he remarked very modestly, and with a smile, "Father, there must be something wrong," a remonstrance which was accepted without opposition.

At this time military services were required of him by the government, and in order to escape them, he became assistant teacher with father. Although he was by no means fond of this occupation, yet during three years he officiated with much energy, and in later years he used to look back to this period with much satisfaction. During this time he frequently visited the choir of the church in Lilienthal, and in 1814 he composed for the same his Grand Mass in F, which ten days afterward was performed in the church of the Augustins. This performance presented the features of a family festival, for it was conducted entirely by relations and friends of the composer. His father presented him afterward with a piano of a compass of five octaves.

If we look upon the quantity of compositions of all kinds Schubert wrote during the years 1810-14, we can not help admiring the activity and facility which he displayed even at this early period of his life. Besides those compositions we have already mentioned, and to which must be added many experiments at song-writing, and much composing of string quartets (these consisted of some twelve or fifteen), he found time to write, dedicating them to his brother Ignaz, thirty easy minuets and trios for piano, which unfortunately have been lost; also words and music in commemoration of the birthday of his father; a trio for mon's voices, with guitar accompaniment; and a cantata in honor of a jubilee of his former master, the Imperial conductor, Salieri.

In 1813 he wrote four string quartets (in C, B flat, E flat, and D), an octet for wind instruments, three minuets and trios for orchestra, three Kyries, a symphony in D, the third sonata for piano and four hands, trios and canons à tre, ("The snow is melting," "Lacrimosa," "The leaves whisper love ";) the songs (words by Schiller), "Thekla," " A Ghost's voice," ," "Elysium," and "The Grave-digger's Song," words by von Schlechta. The year 1814 witnessed the same productiveness. We find again three string quartets in C minor, D, and B flat, five minuets, the great mass in F, as mentioned above, a Salve regina, the song, "Who is great?" with chorus and accompaniment of the orchestra, and a great many songs, among which were Schiller's "Diver" (commenced in 1813), “Emma," "Edom," by Klopstock, "Remembrance," and "The Apparition," by Kosegarten, and "The Praying Woman," by Mathison. It can not be doubted that the greater part of these efforts would in our days scarcely enlist any interest; but it can not be denied that in a great many the genius of Schubert manifested itself to such an extent as to sanction the belief expressed by some of his friends, that the author was destined to become a great composer.

In the vacations he enjoyed at the Convictorium, the young student had often attended the opera. The first work of this kind he ever heard

was "The Swiss Family," music by Weigl, the principal rôles given by the tenor Vogl, and the prima donna Milder. This opera, as well as Cherubini's "Medea," Boildieu's "John of Paris," "Cinderella," by Isouard, but especially Gluck's "Iphigenia in Tauris," in which again Milder and Vogl excelled, interested him most. Every performance of this last opera he heard, transported him, and at last he preferred it for its simplicity and grandeur to all other operas.

In 1815, when eighteen years old, Schubert wrote several of those songs which added greatly to the reputation he enjoys even in our days as a composer of songs. We may name Kolma's Complaints," ""Loda's Ghost," "Shilrik and Vinvela," "The Lady of Inistore," from Ossian's Songs, "Hector's Farewell," "The Girl's Complaint," "The Songster and the Combat," "The Expectation," "To Joy," "Pleasure of Sorrows," "Spirit of Love," "The Evening," "Table Song," "To the Sun," "Praise of the Tokay," "The Spinner Girl," "The great Ballads,” “The Hostage," "The Singer," "Minerva, of Bertand," and the "Nun." Further, "Consolation in Tears," "Mother Earth," "Clara's Song," "First Love," "Near the Beloved," "To Mignon," "Hope," "The Youth on the Rook," "The Disturbed Happiness," "The Star," Night Song," "Amphyaraus," by Theo. Koerner, "Morning Song," a Drinking Song for four voices, and the song for three voices, "Life." He also composed in the same year the operettas, "The Friends of Salamanca," in two acts, "The Four Years Past," and "Ferdinand," the last two each of one act. Of church music he wrote a Magnificat, a Salve Regina, Offertorium, and the second Dona nobis for the Mass in F; also, two symphonies in D and B flat, three sonatas for piano-forte in F and C, a quartet in G minor, twelve Allemandes, with Codas, and ten Variations for piano-forte, and some Ecossaisses.

99.66

And yet all these songs, all these efforts in almost every branch of musical composition, were only produced for his own edification, and that of a few friends; the public in general knew nothing about them. Work after work was written, to be laid on the shelf, and let us add, that even now, more than thirty years after the death of this great composer, that shelf has not been entirely cleared of its rich contents, and the world at large is still ignorant of the vast stores of Schubert's ar tistic affluence.

(To be Continued.)

The Musical Review & Musical World.

NEW YORK. APRIL 13, 1861.

THREE GEMS OF CRITICISM.

WE learn from an article in Dwight's Journal of Music, on Mr. W. H. Fry, the composer, that "Beethoven actually died, having never heard his own Ninth Symphony." Considering that the master had been deaf a long time before he, together with Mr. Umlauf, conducted the first performance of that symphony, May 7, 1824, repeated May 23, it is very likely that, three years later, he should die, "having never heard his own Ninth Symphony."

In the same article we are further told that Schubert died "before the parts were even so much as drawn out from his symphony in C minor," etc., by which we suppose the author means the symphony in O major. As this work was composed in March, 1828, a few months before his death, it is certainly not to be wondered at that the author died before the curious and somewhat mysterious proceeding mentioned above could have taken place.

The author also asks the question, "Was not Wagner's subline overture to Tannhäuser' ten years in existence before the notes ever had a 'resurrection into life from the death-white paper?" As the opera was performed, for the first time, in Dresden, in October, 1845, and was composed three years before this time, mathematical accuracy, as well as historical truth, compel us to reply, "decidedly not."

HISTORY OF PIANO-FORTE VIRTUOSITY.

MUSIC IN NEW YORK.

(From "Esthetics of Piano-forte Playing," by Dr. Adolph Kallak.)

(CONTINUED.)

MOZART's great rival was Muzio Clementi. As founders of so-called schools, they were opposed to each other. It can, however, hardly be doubted that Clementi had more technics than Mozart. He is said to have had a thorough execution, quietness of the hands, immense power and fullness of touch, clearness, equality, a fine rendering of adagios, and excellent octave playing, although probably this was done with the arms. It is even reported of him that he made octave trills with one hand.

Clementi is distinguished from Mozart by the same contrast which exists between the English and Vienna schools, a contrast resulting, to some extent, from the instruments, and likely to influence the character of the music, and the performance of both these masters. Mozart, representative of the Vienna school, developes ease, gracefulness, brilliancy, and vivacity. The easy mechanism of the Vienna piano-forte was favorable to this. Clementi, used to a deeper fall of the keys, the large singing and full tone of the English mechanism, showed, on the other hand, a severe, really grand character in his playing as well as in his compositions.

Both schools have their special history. That of Vienna afterward degenerated by losing the spiritual elements of Mozart's music, and aiming at mere artificial effects. However, before its decay was entirely consummated, it attained in Hummel and Moscheles a somewhat more respectable position. Hummel occupies Mozart's stand-point; contents and form are almost the same, only the technics have been more developed, and often appear solely for their own sake. His playing was distinguished by the greatest neatness and correctness, together with vivacious and fine rhythmics, especially in the recitativo. Moscheles is more varied in lights and shades of the tone, exhibits greater bravura, but in general aims also more at nicety and elegance than at depth. By a more refined and careful execution, he surpassed Hummel, who, in spite of all his good qualities, was not free from a certain monotony in his performances. Mozart alone combined technics and spirit in a right proportion. Hummel came nearest to this excellence, and in many of his composi

tions stands higher than Moscheles. Wölfl and Steibelt, but still more Kalkbrenner, Herz, and Czerny, laid their chief stress on technical display, and, with a few exceptions, (for instance, the concerto in D minor, by Kalkbrenner,) became so flat in their ideas, that the only attraction left to their compositions and playing is technical brilliancy.

The school of Clementi was followed up by Cramer and Dussek. We meet here with less aiming at effect than in the Vienna school. An almost antique spirit prevails in this virtuosity. Quietness, carefulness, clearness, much legato, soulful melody, and an even character, free from all extravagances, characterize this school. Mozart and his followers used the pedal but little; Cramer and Dussek use it often. While Clementi distinguishes himself more by power and grandeur, Cramer excels in loveliness and in equability of style. Dussek, who was especially fond of using the pedal, was distinguished by his rendering of the Cantabile, and by grandiose sentimentalism, although the substance of his compositions is inferior to that of the masters just mentioned. In the same line may be mentioned Berger, who was considerably influenced by Clementi. In his playing, as well as in his compositions, he manifested a certain spiritualistic reverie, and in his higher qualities there is a resemblance between him and the Court Organist, Kleugel, in Dresden. But the greatest virtuoso of this school was Field, (whose touch, more vertical than is allowed by the bent finger, belongs to the best of which piano-forte virtuosity can boast ;) with regard to the picturesque blending of light and shade, perfect neatness combined with the warmest feeling, he is one of the greatest masters of all times. We must mention Charles Mayer as the last representative of this school, but this only with regard to the first epoch of his career; his later development is entirely influenced by the modern aiming at mere effect, and this, too, in the most trivial

manner.

THE second concert of the Arion Society offered many features of unusual interest. In fact, with regard to the excellence of the pieces of the programme, as well as their superior rendering by an efficient orchestra and a good chorus, under the able conductorsbip of Messrs. Anschütz and Bergmann, this concert compared favorably with most of the Philharmonic concerts we have had in this city. Mr. Anschütz conducted chiefly the performances of the Arion Singing Club, which distinguished itself by a fine rendering of Schubert's poetical but very difficult composition, "Song of the Spirits on the face of the Waters," for chorus and orchestra. It is but right that Schubert's larger vocal compositions should also be made known to the public, as a great many of his songs have already become household words in the musical world at large.

How slow the process of appreciation of this great composer is, may be gathered from the fact, that his "Nachthelle," which was sung some week sago by the Arion in one of the Philharmonic concerts, was also quite recently performed, for the first time, where?—in Leipzig.

Mr. Bergmann conducted the performance of Schumann's lovely and charming symphony in D minor, which seems to find grace even in the estimation of his bitter antagonists, and of the Goethe march by Liszt, an old composition of the master known for several years to the pianoforte amateurs in the excellent arrangement by the author himself, published by J. Schuberth & Co. The march is full of interesting details of fine instrumental effect, but in general hardly adapted to the purpose for which it was composed.

The concert concluded with the performance, also conducted by Mr. Bergmann, of the stirring finale chorns of the second act of "Tannhäuser." The effect was, as usual, very good, but would have been greater if there had been more female performers in the chorus.

PART I-1. Overture, “Oberon "-C. M. v. Weber; Orchestra. 2. Grand Concerto in E major, for the Violin, with accompaniment of the Orchestra-II. Vieuxtemps; Allegro moderato, Adagio, Rondo Allegretto, performed by Bruno Wollenhaupt. 8. Aria, from the Opera, "Attila "— Verdi; “Dagli immortali Vertici," with accompaniment of the Orchestra, Signor Centemeri.

PART II.-4. Airs hongrois-II. W. Ernst; performed by Bruno Wollenhaupt. 5. Romanza, from the Opera, "Le Pardon de Ploërmel "-Meyerbeer; Signor Centemeri. 6. Grand Fantaisie de Concert sur la Romance, "Les Hirondelles," par Felicien David, composed and performed by Bruno Wollenhaupt.

PART III-7 Symphonie Nr. 2, op. 36. in D major-L. v. Beethoven; Adagio molto and Allegro con brio, Larghetto, Scherzo, Finale, Allegro molto.

The Grand Piano used on this occasion was from the factory of Steinway & Sons.

Mr. Wollenhaupt played all the three pieces, as well as, on an encore, "Home, sweet Home," from memory. This is as it ought to be, but it is not often done, especially with the very long concerto by Vieuxtemps. This composition, so full of fine effects for a virtuoso, is yet lacking in unity of character. The last part, especially, is more marked by mere triviality than by any thing else. To say that Mr. Bruno Wollenhaupt did full justice to the very difficult work would fail to convey the impression his fine artistic rendering made upon those assembled on this occasion in Irving Hall. His conception, as well as bis fine phrasing, his warmth of feeling, and especially his taste in the rendering of the cantilenes abounding in the concerto, not to speak of the ease and purity of tone with which he accomplished all the chief intrinsic difficulties of the composition, procured him at once the sympathy of the amateurs, as well as of the critics present. This sympathy did not leave him during the performances of the other pieces, of which the one on "Les Hirondelles," from his own pen, also denoted a very agreeable talent for composition. This piece, as well as the one by

Ernst, and the song from "Le Pardon de Ploërmel," was accompanied by Mr. Hermann Wollenhaupt in that artistic and discreet manner which was to be expected from his well-known character as a musician and a composer. Signor Centemeri displayed, as usual, in his singing a fine method, and was warmly applauded. Let us, in conclusion, say that Mr. Bergmann conducted the whole admirably, and that we never heard a more spirited and better performance of Weber's overture to "Oberon" than on this occasion.

Answers to Correspondents.

H. T. C.-A syncopated note may extend over the measure. A tone commencing on the unaccented part of a measure, and continuing through one of the accented parts, either of that or of the next measure, is called a syncopated tone.

Your second question is not intelligible to us; we can not understand what you seek to know when you ask whether we "adopt counting soprano, alto, tenor, or tenor, alto, soprano."

The same correspondent also asks us, and authors of music books generally, to explain what "music" is, and what "vocal music" is. We must beg to be excused. Most of our readers, we doubt not, have an idea as to what music is. If they have not, we do not think words will give it to them. As for the meaning of the word vocal," we refer to Webster's Dictionary.

J. R. M., Andover, Mass.—(1) “Is the music published by you in the REVIEW and World copyrighted? (2) Can you give me Wm. B. Bradbury's present address?"

1. If it is copyrighted, it is mentioned at the bottom of the piece.

2. Bloomfield, N. J.

X. V. U., New York.-"1. Will you please tell me if a piano (case), when injured by being too near a fire, can be made as good as new? 2. Is it not the reflection of the fire, and not the heat, that injures the instrument, as I have seen the wood blister when it was cold. 3. Would a piano have to be removed to the factory to be cleaned (action), and what would be the expense? 4. When a piano has a very easy touch, would it not be well to play the five-finger exercises?

SECOND PERIOD.

UN BALLO IN MASCHERA. Nocturne Cantabile, par J. Ascher. 50c.
Based upon the baritone air in the first act of Verdi's new opera, Brilliant and effective.
FOR FOUR HANDS.

WILLIAM TELL. First Potpourri, by J. A. Getze. 50c.
Containing the famous tenor air in the second act, and the lively finale of the overture.
FOR PIANO AND VIOLIN.

LOVE IN MAY. Theo. Oesten.

Pretty and brilliant.

RUBEZAHL. Flotow. Potpourri, by J. Wichtl. 75c

The same for Piano and Flute

THE GEM. Duets for two Flutes, or Flute and Violin. No. 1. 25c. Easy and pretty well selected.

VOCAL MUSIC.

EOLIAN SONG. "Ye men of hair take advice." 25c.

A comic song. Popular style.

MY MOTHER'S KISS. Alice Hawthorne. 25c.
Simple and expressive.

THE MOON ROSE o'er the BattlE PLAIN. Ballad. By William J. Lemon. 25c.
A meritorious ballad.

MUSICAL GOSSIP.

THE Academy is open for a short season of opera. On Wednesday evening the "Jewess" was given, Madame Colson taking the rôle formerly filled by Madame Fabbri; Miss Hinkley as Isabella, and Stigelli, of course, as the Jew.

MR. GOTTSCHALK will shortly give a series of concerts in this city, assisted by Miss Carlotta Patti.

MESSRS. PATTISON and APPY gave a soirée at Chickering's Rooms, at which they perforined several pieces of old and modern masters. They were assisted by Messrs. George Simpson and Charles Fradel.

THE Continentals are traveling in this State, having recently sung at Elmira. The "Flag of our Union" waves in their programme.

MR. A. R. SABIN has been conducting some fine concerts in Vermont. Mr. Frost and Miss Broaders, of Boston, assisted, with Mrs. Mary E. Whitney as pianist.

MR. APTOMMAS will give a matinée at Dodworth's Rooms, on the 18th inst., previous to his departure for Europe, where he will spend the

summer.

THE Home Vocalists are giving concerts up the river, with very good success.

BALDWIN'S Band, of Manchester, N. H., have recently afforded the citizens of that busy place a fine musical entertainment. A paper speaks of Mr. Gibson, the violinist, thus: "Mr. G. handles the violin in a manner that makes him really a rival of Ole Bull, and Manchester people will not be satisfied unless he be obtained again at some future concerts." We hope the Manchester people will be satisfied, and Mr. G. "obtained."

cess.

EUROPEAN ITEMS.

WAGNER'S "Tannhäuser" has not met with a very amiable reception at the hands of the Parisians. To be sure, it was better treated than "Benvenuto Cellini," an opera by Berlioz at the Italian Opera in Paris, which years ago was laughed at and hissed by the audience from the first measure to the last, but nevertheless" Tannhäuser" was not a sucSo say the papers, at least those we have seen. And yet they tell us, in the same breath, that it will have a run for two months. Strange to say, most of the French journals do not speak about the music, but simply ridicule the book. We readily agree with La Gazette Musicale, that the contents of the libretto enlist as little sympathy from a French audience, as do those of the "Freischütz." But in spite of the little or much sympathy, the French may rest assured in regard to "Tannhäuser," the libretto at least is one of the best which was ever written for the purpose of being musically dramatized.

BEETHOVEN'S Second Grand Mass has been performed in Vienna. The colossal work had not been heard in Vienna for the last eighteen years.