the orchestra that night. Mme. JOHANNSEN, if No. 10. Finale of the first act, Chorus of the we are watched; then voice after voice again, as Between the acts we would gladly have heard We can only add that the second Act, every life ideals, of Freedom, Joy and Harmony!- CONCERTS. Great things, pretty things and poor things have BERG centre. And first (in order of memory) the delightful Soirée at Chickering's on Saturday evening, when we enjoyed Thalberg more than at any time before Thalberg played the Trio admirably, especially the He has also given two more Matinées; one on Of the third Matinée, on Monday, this was the Mozart's Requiem, sung for the second time by the HANDEL AND HAYDN Chorus, with quartet of solo by Mrs. LONG, Mme. D'ANGRI, Mr. ARTHURSON and Herr WEINLICH, deepened its impression on a large audience Sunday evening. The German basso made sad work with Tuba mirum, but his voice told well in concerted nieces. A so-called "Sacred Concert" followed the Requiem, in which THALBERG played his Huguenots, Prayer from Moïse, his Andante, and his Marcia Funebre, which we thought insignificant. JOHANNSEN sang the old church air: Pietá, Signore, by Stradella, admirably; D'ANGRI the Ah! mon fils in very perfect style, almost atoning for her vile R-r-r-ataplans; and the Hallelujah Chorus closed the Tuesday evening Thalberg gave a "grand Festival Concert," with an orchestra, led by BERGMANN. The overture to Oberon, first movement of Beethoven's C minor Concerto, extracts from two Symphonies, five or six fantasias by Thalberg, five or six pieces by Mme. D'Angri, made a very rich, but overloaded programme, which was increased by the senseless encore swin- This No. 1 of Volume XI. commences the sixth year of our Journal. We had hoped to make it a specimen number, as to variety of contents, &c, by which its future might be judged. But, besides the pressure of clerkly added to editorial cares, Fidelio has come upon us, at an unlucky time for us, and quite pre-occupied our colnmns to the exclusion of news domestic and foreign, reviews, discussions of church and school music, and even advertisements. The number therefore Saturday Evening, April 4th, 1857. The entire German Opera Troupe: MME. JOHANNSEN, MME. VON BERKEL, MESSES. WEINLICH, BEUTLER & OEHRLEIN, Selections from "Fidelio," "Frevschütz." & "Don Giovanni," Will play another of Beethoven's Concertos, the one in E flat, Will recite a Poem from a celebrated author. THE ORCHESTRA will play Overtures and Selections from English Cathedral and Oratorio Music, By a powerful ANTIPHONA' CHOIR, (the Boston Choris- ters' School," will take place at the On Wednesday Evening, April 15, at 7% o'clk. The music of the first part of the Concert will be intro luced by brief historic and explanatory notices read by ALEX. W. For programme see future advertisements. Single tickets, 50 cents, or three for $1, to be had at the music stores and at The object of this institution is to furnish a solid musical education in all its branches, practical and theoretical, to those who intend fitting themselves for the profession, either as Instruction will be given in the following departments.- System of Notation, Harmony. Counterpoint and Fugue, Composition with reference to Musical Form and Instrumen- tation, Vocalization, Practice in Chorus Singing, Piano Forte, Violin, and any of the Orchestral Instruments Each pupil will be required to devote himself practically, either to the cultivation of the voice, or to some one instrument, as the main object of his study, with a view to artistic excellence as a solo performer: and, as incidental to this, and necessary to a thorough knowledge of his art, some insight into theory, and a sufficient practice of the Piano Forte to enable hin at least to accompany, will also be deemed essential. There will be two terms each year, commencing on the first Mondays of April and October, and continuing twelve weeks. A pupil may be admitted at any stage of his musical progress, and commence with whichever class the board of Instruction may deen him qualified to enter. Certain evenings in the week wil he appointed for the practice of chorus singing by the whole school unite 1, and also for solo performances, vocal and instrumental, before an The price of ruition will be $20 a term. payable in advance at the commencement of each term, and $2 entrance fee. The school will go into operation the first Monday in April next. The classes will be formed on the Saturday previous at 11 o'clock A. M. at Mercantile Ill, Summer St. Board of Instruction:-R. F. BAKER, J. W. ADAMS, LEVI P. KENT.-HEAR MY PRAYER. Verse, two trebles, and chorus. Folio, 19c. Octavo, 6c. Chorus parts, 3c. The Lord is my Shepherd Verse for treble or tenor and bass, with chorus, 50c. Vocal parts, 25c. MONK, W. 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GABRIELLE DE LAMOTTE, RESIDENCE, 55 HANCOCK STREET. G. ANDRÉ & CO., Dépôt of Foreign and American Music, 306 CHESTNUT STREET, PHILADELPHIA, Agents of J. André, Offenbach, Publisher of the complete Editions of Beethoven's, Clementi's, Haydn's and Mozart's works. WILLIAM A. JOHNSON, ORGAN BUILDER, WESTFIELD, MASS. G WILLIAM SCHULTZE, |IVES Instruction on the VIOLIN, the PIANO FORTE, and in the THEORY OF MUSIC. Address at his residence, No. 1 Winter Place, or at the Music Stores. HEWS' PATENT AMERICAN ACTION PIANO-FORTE, Manufactory, 379 Washington Street, WHOLE NO. 262. A Paper of Art and Literature. BOSTON, SATURDAY, APRIL 11, 1857. Weber was, like Mendelssohn, of a feeble con Dwight's Journal of Music, stitution, sickly, sensitive, and irritable. PUBLISHED EVERY SATURDAY. TERMS: By Mail, $2 per annum, in advance. When left by Carrier, $2,50 SINGLE COPIES. SIX CENTS. For Dwight's Journal of Music. Characteristics of C. M. von Weber. By Dr. HERMANN ZOPFF, of Berlin. It has become more and more common, in estimating artists, to consider the circumstances under which they have produced their works. Yet few have thought enough of the importance of viewing these circumstances in the light of the special individuality, the temperament, the character of the man, especially his mind and every intellectual influence upon the same. In this regard unquestionably WEBER and MENDELSSOHN, those two leading representatives of musical Romanticism, have much in common, in spite of the great difference in outward manifestation, and especially in the outward relations amid which they wrought. C. M. VON WEBER, so far as Art was concerned, spent his youth in rather a wild and irregular manner, as his youthful compositions clearly show. Not until he studied, in company with MEYERBEER, under the Abbé VOGLER, was there more intelligence and clearness in his efforts, and here he received at least a genuine impulse in regard to contrapuntal studies. It is well known that Meyerbeer learned here, so to speak, as much again as Weber, in whom the consequences of a, not to be sure careless, but yet not well regulated education were very clearly manifested in his want of perseverance. In short he was, in this respect, to the regret of Vogler, totally outstripped by the tough pertinacity of Meyerbeer, and never could attain to the same eminent dexterity in harmony and polyphonic composition.* *For instance, the attempt at fugue in the overture to Euryanthe, which is splendid in invention, but lame in execution. The consequence was mistrust towards himself and others, so that, much as his otherwise large and noble character strove to suppress it, he was not entirely free from envy. But being on the other hand, as we have said, full of a deep, noble and essentially true German feeling, he exhibited this latter very early in the urgent way in which he repeatedly conjured Meyerbeer-who in his first period inclined to the Italian taste and manner-and, when he met him in Dresden on his return from Italy, besought him with tears in his eyes to become German again in his compositions, and to remain so, and no longer deny his nationality-not considering at all, that he was here appealing more to Oriental than to German blood. But what was most remarkable about it, some peculiar fatality, or chain of harsh experiences, led this same glowing advocate of the pure German, this same Weber, in his later years, to lean to the Italian music more than any other native German composer. I but allude in passing to the real triumph which Weber celebrated with his Freyschütz, as a genuine German national opera, which he was obliged to conduct at Berlin, (where he had become the king of Prussia's kapellmeister,) fifty times within one year, and by the publication of which the house of Schlesinger in Berlin acquired the name of "the Freyschütz house." Various circumstances, to be sure, conspired to produce this most remarkable success. Besides his good fortune in a text precisely suited to his nature, which gave him an opportunity to provide a lasting place for his favorite people's melodies, collected in Bohemia and Hungary, there was the excitement of the times, the period of the war of liberation; there was the awakening of the Prussian, the German people, to a livelier national feeling than has been shown since; these greeted this romantic opera as their own possession, all the more gladly, since a people inspired with the thought of self-emancipation, and consciously living in a heroic period, always inclines to the romantic. In short, Romanticism had acquired a various foothold in this opera; it even went so far, not reckoning some downright absurdities, as to lift up and adorn all the more the purely popular and purely natural element. But Weber, at the same time engaged in the composition of Körner's Songs of Freedom, felt here in his element, and grew more and more at home in it; he revelled in it, like every tender nature, unconcerned about the causes of the success in this one case. All the more bitterly therefore was he soon undeceived and taught to recognize that he had VOL. XI. No. 2. been in a great measure led and borne along by circumstances, instead of (what is indispensable to a great artist) standing above them and controlling them. In a distinguished Berlin circle, -I am not sure whether it was at Mendelssohn's or at Fouque's, he made the acquaintance of the authoress, Helmine von Chezy, who read there in his presence her opera poem, "Euryanthe.” No spark could kindle up more quickly than this poem in the mind of Weber, so susceptible to all that was noble and etherial. Those tender, etherial, womanly rhymes, with their almond bloom, their chivalrous romance, their mystical demonic element, their splendid and darkly brooding intrigue! What a rich field for description, for revelling in all the shades of sentiment, for melting melodies and awe-inspiring harmonies! There moved at that time in those circles a small reviewer, (Refendarius), in whom we meet soon after one of the sharpest musical heads, now world-famous as a theorist,* who shook his head and prophesied no good result from an opera text so full of faults, and especially upon the ground that the people's first enthusiasm had passed, and that this middle age chivalrous romance was already too remote from all our sympathies, to take a lasting hold on many minds. But Weber listened to him with distrust; he was outvoted by Fouqué and Tieck, and finally ignored by all. In short Euryanthe was swallowed whole in this concio in pleno. Weber, naturally at the head, heard and saw nothing. They saw the lameness and the want of action, saw the obscurity and the unsatisfactoriness of the catastrophe, saw above all that a successful lyric poetess was far from being equal to a drama. At the first representation in Vienna, these defects obscured the beauties of Weber's music. The Viennese, who in connection with the failure of important operas, such as the Idomeneo of Mozart, his Don Juan, and furthermore the Fidelio of Beethoven, had earned a proverbial fame, not only let the Euryanthe fall completely through, in spite of the most carefully prepared performance, in which the first and most distinguished singers did their utmost to produce it in a worthy and successful manner, but the popular wit of the Viennese took compassion only too soon on the fatal title, Euryanthe, and changed it into Ennuyante. Indeed, when Weber made the trial of a second performance at Berlin, this witticism pursued him there on wings, like a fate, in spite of the then extremely slow and difficult communication. Besides, the Euryanthe, at its first production in Vienna, was half as long again as in its present dress; for Mme. Von Chezy in her lyrical effusion could not find an end; and The celebrated Professor, Dr. A. B. Marx. so it happened that the greatest beauties of the composition were overlooked and found fatiguing by the superficial pleasure-seeking public of Vienna, who had expected a second Freyschütz, only with even more, if possible, of people's music. Criticism chimed prudently in, and even among learned musicians this noble work found small response. Even Beethoven himself, at least at first, pronounced a rather hard judgment on it, although in the justest manner. He missed decision, firm carrying through of characters, found fault with the composer's revelling in soft and sweetish melodies, and his ever ready "back doors," as he called those transitions with the socalled superfluous sixth chord, which had become one of Weber's hobbies, and characterized his overtures as potpourris and epilogues, faulty in as much as they might serve for postface better than for preface. [To be continued] Weber's "Oberon" in Paris. Translated from Le Ménestrel. Obe Till very lately the Carvalho management had proved its skill and success-two excellent elements, no doubt, for carrying on a theatre. To day it has a new claim on us, and has acquired a right to the gratitude of the musical world and of true artists. Its revelation of Oberon will be accounted as a real mark of honor for it. ron, that last chef-d'œuvre of Weber, was knov a to the public of Paris only by a few fragments executed at concerts, and by the overture, a majestic preface, stamped with that fantastic poetry of which Weber's genius seemed to have concentrated the essence. A few musicians alone were initiated in the treasures of the score, and hoarded them up in their souls. We are speaking of the musicians of Paris, for London has enjoyed the good fortune of hearing the entire work by the light of the float. London had the first fruits of Oberon-a melancholy piece of good fortune, alas! since it was, also, Carl Maria's dying strain of the swan. We know under what circumstances the immortal author of Der Freischütz composed Obe ron. After the success of Preciosa, the German managers, anxious to bring out the new works of this master, besieged his door to obtain operas. Euryanthe followed very closely the score of Preciosa. This time success was counteracted by the complete nullity of the poem, to which it was impossible to listen without being wearied. The libretto killed the music. Weber, who had become the spoilt child of the public, felt this failure very sensitively. IIis melancholy character was affected by it, and, conscquently, when asked to write a work for Covent Garden Theatre, London, he began by refusing. The perseverance of the envoy triumphed, however, over Weber's will. "When shall you be ready?" inqured the en voy. "In eighteen months," was the reply. The ambassador cried out at this; the time named struck him as too long. "I shall require three months to read the book of Oberon; three months more will be necessary for me to understand the plot of it, and I shall take twelve to write the score." At the epoch named, he was ready. On the 2d of March, 1826, he embarked for England, already suffering from the first attacks of a complaint of the chest, which was destined to allow him no repose till his death. On the 12th of April, an eager crowd were awaiting the rising of the curtain at Covent Garden Theatre. Oberon obtained only a success d'estime, which has since increased. This blow to his amour-propre proved fatal to For instance: (from B flat major to D major) with the chord: b flat, d, f, g sharp to a, d, ƒ sharp, a; a very striking, softly sweet harmonic succession, of genuine romantic coloring. Weber. From that day, the progress of the disease which was consuming him became fearful. On the 2d of June, before the performance of Der Freischütz, which he was directing, he wrote his wife a touching letter, in which he described his sad presentiments as to his approaching end. Three days afterwards, he had ceased to live. Oberon is the work of a master, and has never left the repertory of the German theatres. But almost everywhere, in Germany as in England, the execution is defective, as far as the vocal part of it is concerned. In assimilating this work to the French stage, the first and ruling idea was to present it to the public in a becoming and complete manner. Nothing could be more legitimate than such ambition, and the entire audience, ravished and enthusiastic, sanctioned the hardihood of the enterprise. But before paying each person the tribute of praise due to him in this revelation of Oberon, we must mention the valuable services and laborious efforts of the conductor, M. Deloffre. This excellent artist, during his long sojourn in England, had frequent occasions of hearing and executing himself Weber's entire score, fragments of which he had previously interpreted under the direction of Habeneck. No one could, therefore, be better calculated for the task, with reference to an exact acquaintance with the traditions, the secret of the details, and the organization of the whole. Assisted by his recollections, M. Deloffre set to work, and has succeeded in accomplishing a formidable task-a triple collaboration; he was obliged to help the writers of the libretto in the appropriation of the words; to consult and compare the German score, the original English score, and that of the library of the Conservatoire, in order to become completely imbued with the intention of the author, and to remain true to the text, to the music, to the various nuances and varieties of expression: he undertook this work by degrees. When all these materials had been well combined, there was still another task to be accomplished: the vocal and instrumental study, the labor of the rehearsals, and the direction of the orchestra. Incessant toil for three months and indefatigable solicitude-such are the bonds by which M. Deloffre is associated with the fitting production of Oberon. The theatre will not forget, and the artistic world will recollect it. The subject of Oberon is as naïve as that of Die Zauberflöte. What do we care about the king of the fairies separated from his wife by an incompatibility of temper, or about the puerile love of Sir Huon of Bordeaux, for the daughter of the Caliph of Bagdad? Let us devote our attention to Weber's music, and enter on the consideration of a score which all Paris will wish to know. Let us listen to the splendid overture, commencing with the mysterious summons of Oberon's magic horn; a fine phrase of the violoncello comes to lend a coloring to this introduction; it terminates by a chord fortissimo, which fancy, and bring us back to the actual world. seems to separate us abruptly from the domain of The allegro is full of spirit and grace. A melodious song of the clarinet, a phrase of violins taken from the body of the score, a return to the principal subject, and, lastly, the vigorous peroration of the violins, complete this admirable overture-which was encored, a thing unheard of on the stage. The introduction of the first act, (the chorus of fairies), corresponds in coloring with the commencement of the overture. It is the same instrumental design. Oberon's air, which follows, affects the form of a recitative, except a single phrase with a melodic turn. The vision of Rezia is formulated by a simple recital ad libitum, with a harp accompaniment. After this, there is a great scene between Huon, Oberon and the fairies, the finale of which is most energetic; it requires a real tenor de force-a singer who can give the high B flat from the chest to resist the masses which accompany him. Huon's air which succeeds this scene is of a chivalrous character. The first part of it appears to be transposed half a tone lower. The andante, restored in the original mode, calls to mind the phrase announced by the clarinet in the overture. There is a great charm about this andante. The return of the subject is effected by a crescendo, and takes place in E flat, ending in a coda, quasi à l'Ital renne. As for the finale, it has been frequently executed at the Société des Concerts of the Conservatory. Nothing can be more original than the commencement of hautbois and bassoons. The duct between Rezia and Fatima is delightfully spirited, and the march of the "Guardians of the Harem," executed on the stage, in combination with the choruses and the vocalisés of Rezia, forms a most pungent whole. A march which, in the original score, forms part of the finale of the work, is now introduced between the acts. Weber here gives us, fortissimo, the introduction of his overture, a curious repetition, which will escape more than one hearer. The chorus of the harem, which, in the second act is linked with this piece, is highly characteristic. Fatima's arietta strikes us as somewhat vague in the first part, but the termination is charming. It is followed by a quartet commencing as a duet in a very graceful manner, and ending in an ensemble borrowed from the principal motive of the overture. This quartet is succeeded by the invocation of Puck, a grand and admirable scene. The morceau of the tempest is simply a master-piece of genre, and may be compared to that in the overture of Guillaume Tell and the Pastoral Symphony. master-piece, in a more tender style, is Huon's prayer. This piece, accompanied only by the tenors and violoncellos divided, produces most strikingly the effect of an organ. What a model, and what an example for many modern composers, who seek their effects in the number of notes! We then have Rezia's scene and air, a worthy counterpart of the great air in Der Freischütz. The finale of the second act is well known to concert-goers, who will recollect the charming little duet between Puck and Oberon, with a violin solo, to which is linked the chorus of sea nymphs, a combination which imparts to the end of this act a most mysterious coloring. Another The third act differs greatly from the first two, as far as the musical character and type are concerned. It seems as if all we hear now is merely light music, and pieces in the comic opera style. Fatima's arietta and the following duct partake of this character; the duet terminates in a 6-8 movement, written altogether in the happy spirit of Weber's rondos. The following trio forms one of the finest pages of the work. We will say as much for the seduction scene, the principal motive of which is remarkable for its grace and freshness. Lastly, a most original waltz, and the final chorus on the apotheosis of Oberon complete this magnificent score. In We said just now that a tenor de force was requisite to resist the vocal and instrumental masses in Oberon. Such a tenor has been found: his name is Michot. The public were as much surprised as charmed at the vigorous manner in which Michot, a pupil of M. Guillot, acquitted himself of the part of Huon of Bordeaux. his air of the first act, so difficult to sing, the finale, and all the concerted pieces, he was most warmly applauded. Madame Rossi-Caccia, formerly one of the stars of Favart, represented very conscientiously the character, rather young for her, of Rezia, the daughter of the Caliph of Bagdad. She sang her air in the second act with a great deal of animation. Fromant is an unsatisfactory Oberon, but we know that this king of the fairies who gives his name to the work, plays a very secondary part in it. To Mme. Borghese, (Puck), and to Mme. Girard, (Fatima), we offer the most sincere praise. Both excellently accomplished their task. Mme. Girard sang her air of the second act with real expression. Her charming aria in the third act was encored; the suave and celebrated romance of Puck, (Mme. Borghese), was also encored. Girardot undertook to enliven the audience under the rather trivial type of Aliboufar. But to the orchestra belong the honors of the evening, for it truly distinguished itself. It reaped the largest share of the bravos of the audience, and it was but right it should. The mise-en-scène, likewise, enjoyed its ova tions; the scenery, the costumes, the tempest in the second act, the final tableau, the amusing scene in the compulsory dance, and the apotheosis, form a most attractive sight. The magnificent score of Oberon has, we see, been surrounded with all theatrical splendor. Honor to the Théâtre-Lyrique! J. Lovy. Operatio Composers and their Works. (From Fitzgerald's City Item). Some musicians compose at such a rate, as if to give the world assurance of a "plentiful season;" and as though to provide against the inevitable "dearth" of original talent, the "barren years" in the annals of musical art. There are others again who employ a lifetime with one single work, that is to make their reputation for evermore. Examples of certain composers of the dramatic art will prove very entertaining. We will only cite the most celebrated of these names. The earliest and at the same time most productive composer of renown was Scarlatti, (1650-1725,) who managed to bring forth nearly 200 Operas; certainly none equal in length to the present grand Operas, yet very amazing to consider when we think of his 200 Masses, 400 Cantatas, and so on to infinity! Such examples are, however, rare, although the Italian school has ever been remarkably productive. Witness the labors of Piccini, (1728-1800,) and of Paisiello, (1741-1816), two celebrated composers who have had their day; the former is credited to the amount of 175 Operas, while the latter was contented with the modest sum of 150! However, such fertility was due to the good old times. Handel composed no less than 42 Operas, and not one of them has outlived him. His inmortality is contained in 23 Oratorios, the brightest stars of which, The Messiah," "Judas Maccabæus," "Israel in Egypt," will long yet illumine the firmament. It is not generally known that Haydn composed 25 Operas, whose "tongues are mute' to this day. Still, had he never written anything else but The Creation," this alone would furnish him with a passport to immortality. The great reformer of dramatic music, Gluck, had composed over 40 Operas in the "dolce far niente" style of his predecessors before he opened his eyes to the fact that he had done nothing yet for posterity. What a gigantic step in the history of dramatic art! The next ten of Gluck's Operas were of a kind that will forever hand down his name and deeds to future generations. What Gluck had originated was then carried out and brought to the highest point of perfection by Mozart, who has perpetuated his name and fame in the pages of "Don Juan," Figaro” and “ Zauberflöte." Next to Mozart should Beethoven be mentioned. 66 His single Opera Fidelio" is worthy a niche in the temple of Fame. The genial Weber has created an Opera in Der Freyschütz" that will never die as long as Music is endowed with heart and soul. The Italian school was in the beginning of this century enriched by the illustrious name of Rossini, who contributed 50 Operas to the stage of his native country. "The Barber of Seville," and William Tell" are his master-pieces. His success brought forth a host of imitators; of whom, only Bellini and Donizetti were the most remarkable. Of the two, Bellini had cultivated the Sentimental school with most success. Of his ten Operas (for he died in the flower of his life) "Norina," "Sonnambula," and "I Puritani," were most successful. The latter opera gave great promise of eoming excellence. The productiveness of Donizetti was extraordinary. In a space of 30 years he had composed 63 Operas, which is an almost herculean task in our days. Of these Operas some 30 were successful, and many gave evidence of remarkable talent. The composers of the French school of the present day are headed by Auber, who has composed some 40 operas. His "Masaniello" is a work of great dramatic excellence. Among the English composers, Sir Henry Bishop was the best and most prolific. About 75 musical dramas claim him as author; the best of them are: "Maid of the Mill," "Clari," and the "Miller and his Men." Among the living, Meyerbeer stands lofty and unapproachable as Olympus, in the grandeur and variety of his operas. He favors no particular school, but combines the chief excellencies of each. His reputation commenced with "I Crociato in Egitto," (in 1825), and reached the highest point with "Robert le Diable," (in 1831) and "Les Huguenots," (in 1836). But it must be remembered that Meyerbeer takes a period of five years to compose an Opera, and is besides the most careful of composers in keeping back every new Opera for some years longer, until a fitting occasion presents itself to have it produced with the greatest possible eclat. With Meyerbeer we close our list of remarkable men. Verdi is still a young composer who has much to do yet for posterity. At another time we will resume the subject. In the meantime we subjoin a list of the principal composers with their works: Auber, 40 operas; Adam; 30; Balfe, 16; Bellini, 10; Bishop, 75; Boildieu, 31; Carafa, 31; Cherubini, 31; Cimarosa, 76; Donizetti, 63; Fioravanti, 25; Galuppi, 52; Gluck, 50; Gretry, 60; Guglielmi, 80; Halevy, 31; Handel, 42; Haydn, 25; Herold, 26; Isouard, 39; Jomelli, 40; Kreutzer, 30; Leo, 28; Lindpaintner, 26; Lulli, 45; Marschner, 20; Mehul, 49; Mercadante, 47; Meyerbeer, 18; Mozart, 18; Pacini, 60; Paer, 60; Paisiello, 150; Piccini, 175; Porpora, 24; Ricci (brothers) 26; Rossini, 50: Scarlatti, 200: Spohr, 12; Spontini, 25; Verdi, 20; Wagner, 8; Weber, 11; Weigl, 46; Winter, 54. THE "ORGUE ALEXANDRE."-This instrument, played by THALBERG in his Matinées, and recently introduced with effect by Mr. G. W. WARREN, the popular teacher and organist, in concerts at Albany, N. Y. is thus described in the "Crotchets and Quavers" of the Albany Times: The "Alexandre Organ" is destined to be as popular and useful an instrument in America as it is now in Europe. For small Churches and Chapels it is the best thing to take the place of a good organ that can be obtained, (and much better than any small organ.) and in such places will produce all the grand effects of a large organ. Thalberg has just introduced them at his Matinées in New York, and with the greatest success. The critics call it a small Orchestra, and under his magic fingers it can be nothing less. As it has been lately heard in our city, a little description of its capabilities cannot be amiss. The Alexandre Organ (or Harmonium) is made in size from one stop to fifteen, and varies in price from $35 to $600. The one used by Mr. Warren at the Concert just spoken of has twelve stops, which successfully imitate the tones of the Flute, Hautboy, Clarionet, Bassoon, English Horn, Piccolo and Organ Diapason. The bass runs down to what is termed 16 ft. C, and all the effects of light and shade depend upon the blowing, which takes more skill than strength. A very ingenious thing, called the Percussion Action, is attached to the 66 Flute Stop," and with it the most brilliant passages can be executed with all the promptness and elasticity of a pianoforte action. The highest priced instruments have other like ingenious arrangements for prolonging tones, etc., and some have an extra key-board with an excellent piano attached, (all in the same case,) and one was made for Liszt with "Grand Piano" combined, that cost several thousand dollars. The tones are all produced by what is called flat reeds, which take very little room, and a pipe organ of the same power would occupy six times the space and would also cost three times as much as one of these fine little instruments. Alexandre & Sons, of Paris, the makers, have the greatest of European reputations and their circulars contain high testimonials from such men as Auber, Adam, Liszt, Berlioz, Thalberg and others. The same style of instruments, under the name of "Harmonium," are now made in this country, but the quality of tone does not compare with the Alexandre Organs, which are received direct from the factory by Mr. Bernard, of New York, the sole importer, who has appointed Firth, Pond & Co. agents for New York, who will attend to any order or inquiry on the subject. For Dwight's Journal of Music. A Note to "An Up-Country Doctor." MY DEAR DOCTOR:-Since the publication of your letter complaining of the management of a certain concert in Manchester, I have been waiting for some friend of Mr. Satter's to come out and relieve him from the blame you attach to him in the affair. But as no one seems inclined to reply, I have taken it upon myself to say a word or two, premising that I do it only as an act of justice; for I do not know Mr. Satter, except as I have seen him in the concertroom, and have no personal interest whatever in the matter.. In your letter, you take it for granted that Mr. Satter had a hand in getting up this humbug of an Eastern Princess, that he lent his name to give some prestige to her sham royalty, and that he deserves the castigation due for whatever insult might have been offered to Art on each repetition of the exhibition. My Dear Doctor, you make a great mistake; in the city we understand these things better. Let me tell you the facts which seem to have eluded your observation, and then I think you will restore our pianist's image to the pedestal on which it was wont to stand, and from which I conceive you deposed it. Some weeks since a person-to all appearance a gentleman-called upon Mr. Satter and inquired if he was free from engagements on three nights which were mentioned. On receiving an affirmative answer, he stated that on those nights he wished to give concerts in Lowell, Lawrence and Manchester, and would be glad to have Mr. Satter perform; adding that Pinter, Stein, Heinicke and others would assist. Not a word was said of any “Princess Kirmazinga." He then offered Mr. Satter his own price, and the bargain was struck. Doubtless a similar management induced the other gentlemen to join the troupe. And it was only when the day of performance was at hand, that Mr. Satter knew that there was another name on the programme. He had but two alternatives to play in the company of the "Delhi Princess," or throw up his contract, at a forfeiture. A pianist must live, you know, Doctor, and that not on air. The sum to be received for three nights' playing is not so inconsiderable as to be rashly lost. So Mr. Satter went and played; you tell us that he played well. If, now, he played so finely, did such justice to the authors whose compositions he undertook, and in no way slighted his share of the even |