Orchestras: The New York Philharmonic
under Thomas, 123, 141, 209; in Boston,
a Word for (C. N. Allen), 131, 142; in
Chicago, 184; in Cincinnati.
300
Organs: the great one at Cincinnati...213, 227
Organ Music in Boston, 294; in Philadel-
phia, 232, 344; in Cincinnati, 213, 237;
in Chicago..
Organists, "Swell," (London Musical Stand-
ard).
Osgood, Geo. L..

243

298

120 Zerrahn, Carl, in California....

WHOLE NO. 939.

Joachim at Cambridge.

(From the London "Times.”)

BOSTON, SATURDAY, APRIL 14, 1877.

Cambridge, March 8.

"

66

VOL. XXXVII. No. 1.

Tantis igitur gloriatur praeceptoribus ars illa, quae sides admitted; and if anything were needed in solitudine consolatur, in turba delectat vitaeque to establish the fact, the admirable execution communis societatem iucundiorem reddit; quae fes- of Brahms' Schicksalslied (Song of Destiny,") sos recreat, aegrotantibus, si non ipsam dare salutem which, in honor of the great modern German The Senate House presented an animated ap- tamen aliquatenus ferre hodie conatur: quac ipsum of Mus. Doc." in company with his close (sicut olim insanienti Hebraeoruin regi), auxilium composer, who was expected to take the degree pearance this afternoon, in consequence of the Dei cultum adiuvat, et intimos animi affectus expri- friend in art, Herr Joachim, and whose absence announcement that the honorary degree of mit, ipsa intima numerorum cantuumque mixa sciDoctor of Music, granted by Grace of the Sen- entia. Quid autem si ars tanta Musarum nomine has caused marked disappointment, is awardate last May to Herr Joachim, would be con- vere digna, in hac etiam Musarum domo quasi ined a conspicuous place in the programme of ferred on that renowned artist. The floor of ordinem redacta atque via qua lam et ratione alum- the evening. This remarkable setting of one the building was occupied by members of the nis nostris tradita, inter severiora nostra studia among the most notable of Holderlin's poems Senate and a large number of ladies. The gal- sedem suam aliquando vindicabit? Quid si inter was made known to English amateurs by Mr. leries were, as usual assigned to the under- tot tripodas, praemia fortium,' novam quandam August Manns, exactly two years since, at one graduates. Two o'clock was the hour fixed for laureolam Apollini Musagetae dedicare volueritis? of the Crystal Palace Saturday performances, the Congregation, and, with the punctuality Interim huic Apollinis ministro quem ipsum prope to which we are indebted for so many things usually observed in University proceedings, appelluerim Areitenentem, huic interpreti certe that, while deserving all publicity, might still the Vice-Chancellor, accompanied by the Es-divinorum in arte sua virorum Sebastiani Bach et for a long time have remained unknown to us. Ludovici Beethoven; qui magnus ipse vates magquire Bedells, entered, his appearance being norum vatum memoriam non sinit interire; hanc musical celebration, numbering between fifty The orchestra engaged for this eminently greeted with applause. But the observed of lauream nostram Apollinarem, hune titulum Doc- and sixty executants, the majority from Lonall observers was Herr Joachim, who, arrayed toris in Musica, donare licet; qui honos nunquam in the scarlet robes of a doctor, was quickly antehac ab ulla Academia Britannica habitus est don, is one of irreproachable quality. It comrecognized. A slight interval occurred in con- alienigenae, uno illo excepto, qui nascentis mundi prises ten first violins, headed by Mr. A. Bursequence of some formal Graces having to be primordia immortali cantu consociavit, Iosepho nett, a thoroughly experienced chef d'attaque; approved and some supplicants for degrees Haydn. eight second violins, six violas, four violoncelpassed by the Senate, and the impatience of 'At enim atherov in' svrvyei μoknă Daibos lax yei, los, four double basses, three trombones, four the undergraduates was more than once mani- rv xaiλigdayyor xbugav izarrow mhíre youolų. horns, two trumpets, a contrafagotto (or doubfested by inane observations addressed to the Gravamur hodie abesse popularem huius viri, altele bassoon)-an instrument employed by Beetofficials. The routine business completed, the rum Musarum Teutonicarum decns, virum in diffi- | hoven in his fifth (C minor) symphony-and. Public Orator, Mr. J. E. Sandys, of St. John's cillimo musicae genere facillimum, Iohannem not forgetting drams, the usual complement of College, preceded by the Deputy Esquire Be- Brahms. Quamquam autem ipse fato iniquo procul "wood." The force, numerically, is quite dell, Mr. E. A. Beck, of Trinity Hall, was for-retentus est, carmen illius egregium quod fatorum' sufficient for the hall, the sonority and acousmally introduced to Herr Joachim, and, ad- nuncupatur vesperi audietis; audietis etiam novum tic properties of which will be more satisfactovancing about midway up the Senate House, opus, quo non modo ceteros omnes sed se ipsum rily tested to-night, when, notwithstanding the Herr Joachim standing on his right hand, he superasse dicitur. Post tot triumphos nemo nega-high prices of admission (a guinca and half a bit tanto viro consentaneam esse requiem. Ceterum introduced that gentleman to the Senate in an eloquent Latin speech. At the commencement quo maiore animi ægritudine illum absentem desid-guinea), an audience is expected that will comof the oration, which was delivered throughout losephum Ioachim." eramus, eo elatiore gaudio praesentem salutamus pletely fill it. in a most effective manner, there were indications on the part of the undergraduates that it would be utterly inaudible except to a favored few, for a running commentary of senseless observations commenced, and some bronze coins were insultingly thrown before the Public Orator. But the good sense of the majority of the undergraduates prevailed over the boisterous conduct of a few, and, after the opening sentences, the speeech was uninterrupted. The allusions which elicited applause were those relating to Amalie (Weiss) Joachim, the noted contralto referred to as Eurydice, to Haydn, Walmisley, Sir W. S. Bennett, Professor Macfarren, and Herr Brahms. By special request the speech of the Orator has been printed and circulated, and we append it:

'Dignissime domine, domine Procancellarie, et tota Academia:

Quae triginta abhinc annis in hac ipsa curia, coram Alberto Principe Cancellario nostro admodum deflendo, coram ipsa Regina nemini nostrum non dilecta, hunc, vixdum e pueris egressum, eximios cantus fidibus modulantem audivit; eadem Academia virum, per omnem Europam inter principes totius artis musicae iam diu numeratum, hodie reducem salvere iubet. Hodie nobis redditus est Orpheus utinam ipsa etiam adesset Eurydice; nunc iterum, ut poetae verbis utar quem Cremonae vicina genuit Mantua, Academi in silvis Orpheus

obloquitur numeris septem discrimina rocum, iamque eadem digitis, iam pectine pulsat eburno.' Quid dicam de illis qui inter fautores tanti ingenii olim exstiterunt, de viris sem; iternae memoriae Mendelssohnio et Schumanno? Nobis autem tanquam triplici vinculo hospitii coniunctus est Regiae Academiae Artium apud Berolinenses Professor, trium deinceps l'rofessorum Cantabrigiensium amicus, primum Thomae Attwood Walmisley, deinde Wilelmi Sterndale Bennett, denique illius qui nuper horum sacrorum antistes a vobis est creatus, ' τὸν περί Μοῦσ ̓ ἐφίλησε, δίδου δ' ἀγαθόν τε κακόν τε, ὀφθαλμῶν μὲν ἄμερσε δίδου δ' ἐδεῖαν ἀοιδήν.

Amid deafening plaudits, Herr Joachim was
was led to the Vice-Chancellor's chair by the
Public Orator. Dr. Atkinson rose, and in the
usual Latin formulary admitted him to the title
of Doctor in Music.

The rehearsal held to-day at the Guildhall
provided a fair opportunity of estimating in
some degree the new music prepared for the
commemorative concert in the evening.
may be said at once that the entire programme
is worthy the occasion, and creditable to those
who direct the proceedings of the Cambridge
University Musical Society. This society, now
in its thirty-third year, is one of the mainstays
of art in a town, perhaps, not altogether prone
to bestow over-serious attention upon music in
the abstract. Eor twelve years and more the
programmes were in a large measure orches-
tral-symphonies, overtures, concertos, etc.,
forming the staple attraction, though glees,
madrigals, and part-songs were also included.
Mendelssolin's Antigone, however, produced in
1856, created a taste for choral music of a high

order.

The pieces to be heard for the first time this evening are a symphony in C minor, by Herr Brahms, and an overture in G minor, by Herr Joachim, the newly elected "Doctor in Music." The symphony has already been played at Vienna, where it is criticized in diverse manners, but, on the whole, warmly eulogized. The overture, written expressly for the occasion, may stand for Herr Joachim's credentials, just as the "Oxford Symphony," once familiarly It known as 66 Letter Q" (as not belonging to the "Saloman" set), stood for Haydn's. Of course, such tried masters would not be asked to prove their claim to the distinction conferred upon them through the medium of a probationary exercise; but all honor is due to Herr Joachim for the feeling which prompted him to write an exceptional work in the circumstances. That his overture is a composition of which any modern composer would be proud, may safely be affirmed even at the present moment. It is an elegiac "in memoriam" of Heinrich von Kleist, the patriotic and dramatic poet, whose career was as ill-starred as his aspirations were pure and noble, and whose unhappy end is, in his own country, to this day a theme capable of evoking the strongest sympathy. deeply Herr Joachim has entered into his subject, and how strikingly, in a musical sense, he has treated it, there will be time enough to show. Doubtless, Herr Johannes Brahms, had he not altered his resolution, at the eleventh musical England is able to confer upon an eminent foreigner, would equally have contributed something new, in acknowledgment of the mark of esteem offered him. At the same time, it is no small thing for the Cambridge University Musical Society to boast that, as they were the first to produce in this country the Faust music and pianoforte concerto of Schumann, so are they again the first to make us acquainted with such a grand and elaborate work as the C minor symphony of Brahms, to

How

This was followed the year after by the Edipus in Colonos of the same master; and thenceforth choral music, as represented by the recognized great composers, became an indispensable feature. It was not, however, until 1872, when the late Sir Sterndale Bennett occupied the Chair of Music in the University, that ladies were allowed to join the under-hour, of coming to receive the highest honor graduates as "performing associates" of the society; and this important innovation was celebrated a year later by a performance of that distinguished musician's May Queen, and as necessary sequel by J. S. Bach's cantata, My spirit was in heaviness, Bennett's Woman of Samaria, the "German Requiem" of Brahms, Handel's Acis and Galatea, Mendelssohn's "Lauda Sion," Schumann's Paradise and the Peri, etc. That the reform in this particular direction has acted largely for good is on all

which, as to the elegiac overture of Herr Joa- to the end of that illustrious composer's life.
chim, further reference will have to be made.
He was the constant companion of Mendels-
The other pieces contained in the programme sohn, who spoke of him in the highest and
of this evening are Beethoven's violin concerto most affectionate terms, instigating his first
(played by Herr Joachim), two excerpts from visit to London, and furnishing him with let-
J. S. Bach's sonatas in C (also by Herr Joa-ters of recommendation to Sterndale Bennett
chim); and last, not least, the overture entitled and other men of influence. Joachim arrived
The Wood Nymph, by Sterndale Bennett, about in London during the spring of 1844; and the
which, after its performance at the Leipsic attention of amateurs and professors was soon
Gewandhaus Concerts, Schumann wrote in drawn to the extraordinary talent of the boy-
such glowing terms. As Sterndale Bennett at violinist, who (born in 1831) was at this period
one time occupied the Chair of Music in the in his thirteenth year. He had already made a
University now filled by Professor G. A. Mac- great impression by his performance of Spohr's
farren, it was only just that on such an occa- Scena Cantante at the "Società Armonica
sion some important work from his pen should | (conducted by Mr. Forbes), before his friend
be introduced; and the programme would have and patron, Mendelssohn, came to London, to
been still more complete and satisfactory had conduct the Philharmonic Concerts. At one
the name of his worthy successor been also rep- of these, under Mendelssohn's direction, he
resented.
played Beethoven's violin concerto, introduc-
ing cadenzas of his own, with such success, and
such enthusiastic applause, that from that mo-
ment he shared with Mendelssohn himself the
honors of the musical season.

(BY TELEGRAPH.)

11 P.M. The concert to-night in the Guildhall was a bril liant success. The audience was not less enthusiastic than numerous. Dr. Joseph Joachim, as might have been expected, was the hero of the evening. On appearing in the orchestra he was greeted with uproarious applause. This was renewed with increased warmth after his magnificent performance of Beethoven's concerto, which he never, even in his happiest moments, played better. Herr Joachim's new overture in commemoration of Heinrich von Kleist was also a success as complete as it was well deserved. This he conducted himself, as he also did the new symphony in C minor by Herr Brahms, which was so finely played from beginning to end that it is a pity the composer himself had not been there to hear it. Two movements from one of the solo sonatas of John Sebastian Bach were

also given by Herr Joachim, the last of which being clamorously asked for again, the great virtuoso good-naturedly returned to the platform, but, instead of repeating the movement or substituting another, as was hoped, he showed his open watch to the audience, and retired amid mingled laughter and applause.

Mr. C. V. Stanford, organist of Trinity College, conducted all the pieces except the two new works directed by Herr Joachim, and the spirited performance of Sterndale Bennett's overture, The Wood Nymph, was creditable alike to him and the orchestra. The "Song of Destiny" was also well execut ed, the chorus having evidently studied their separate parts with earnestness.

The concert was altogether a success, and among the audience were many well-known connoisseurs and professors from London and elsewhere-a compliment evidently intended for Herr Joachim, upon whom the degree of Musical Doctor had been conferred-an honor never granted to a worthier recipient.

Joseph Joachim.

(From the "Graphic."

This admitted chief of living violinists is Hungarian by birth. His native place was Kitsee, a small village near Presburg, whence his family removed to Pesth, where, in early childhood, he showed so strong a disposition for music that he was placed under Szervacsinsky, orchestral director at the theatre, who first gave him instructions on the instrument his perfect command of which has earned him such renown. Here young Joseph, after two years application, first appeared in public. From Pesth he went to Vienna, where he was so fortunate as to obtain lessons and friendly advice from the esteemed professor Böhm, to whom many eminent violinists, Ernst and Mayseder among the number, were indebted for similar advantages. After four years' residence in the Austrian capital, Joachim went to Leipsic, with the hope of earning further experience through the counsels of Ferdinand David, who, however, finding he had nothing to teach him, was too ready to make him a companion in his own especial studies. At Leipsic the young musician not only practised harmony and composition with the well-known contrapuntist, Moritz Hauptmann, under whom he made remarkable progress, but was soon on terms of intimacy with Mendelssohn, which continued

limits of what is intended for a brief memoir; but the "Concerto in the Hungarian style" may be fairly cited as his chef d'œuvre, combining, as it does, the impressions of his early days with the complete mastery he has obtained, both as executant and producer, over all the secrets of his art. This concerto, in its way, is unique, and has, not without good reason, been placed in juxtaposition with the violin concertos of Beethoven and Mendelssohn. The degree of "Doctor in Music" at Cambridge University was conferred upon Herr Professor Joachim on Thursday, for which ceremonial he wrote an elegiac overture, in memoriam of Heinrich von Kleist, the patriotic but unhappy dramatist.

London Popular Concerts.

While wisely adhering to his practice of introducing from time to time new works by livConcerts no less wisely tempers his spirit of ing composers, the conductor of the Popular research in this direction by continued reference About Joseph Joachim's subsequent career in to the older masters; and not among the least England it would be superfluous to say much. pleasant remembrances of the series now apHe returned to us, successsively, in 1847, 1849, proaching its termination it will be connected 1852, 1858, and 1859, on each occasion bring- with several quartets of Haydn which had not ing with him something that raised him as a previously been made known to the audiences composer higher and higher in the opinion of of St. James's Hall. Between forty and fifty connoisseurs. From 1859, when he joined the of these vigorous and healthy works now form Monday Popular Concerts, instituted in that part of Mr. Arthur Chappell's extended reperyear by Mr. Arthur Chappell, a season has tory; but there still remain others of equal rarely passed without the coming of the great value, which will doubtless be added as expeviolinist and musician being looked forward to diency may admit. There can be no danger as an event of high importance. How much in opening the door to the most independent, his splendid playing, his extended repertory, and even not always immediately intelligible and his invariable adherence to the pure standof modern writers, while Haydn and Mozart ard of art, which from a mere youth he raised dar are at hand to watch as sentinels over the inup for himself, has served to promote the materests of the past. The art would, indeed, be terial interests of these concerts, and to win for badly off were such pioneers as they ever to be them the honorable position they now occupy, ignored. With the coming of Herr Joseph is generally known. Had Joachim done noth- Joachim we always look forward to something ing more than familiarize our intelligent musi- new from the untiring pen of his gifted friend with many things of Bach which had previous-67), introduced but recently, has added not a cal public with the later quartets of Beethoven, Johannes Brahms; and the B flat quartet (Op. ly met with scant recognition, and with the works of the now reigning star of Germany, Johannes Brahms, he would have entitled himself to the consideration of all those who look upon art as a serious thing. It must not be supposed, however, because Bach and Beethoven are his authors of predilection, that Herr Joachim's wonderful power of "reproducing" -a term applied by Herr Wagner, Abbé Liszt, and their satellites in a manifestly wrong sense -is limited to these masters. The contrary has been proved by his admirable readings of others--not only of his new favorite, Brahms, but of Handel, Mozart, Cherubini, Schubert, Mendelssohn, Spohr, etc., his sympathy for whom is equally unquestionable.

With the honors accorded to Herr Joachim in his adopted country, Germany, we have no space to deal. Enough that he enjoys a consideration there such as few executive artists have enjoyed before him. He has been at various periods Concertmeister and teacher, with David, at the Leipsic Conservatory (1848); Concertmeister, with Liszt, to the Duke of Weimar (1849); and Concertmeister and solo-player, with the exclusive direction of the King's orchestra, at Hanover (1851). He is now in a position to do more for music than he was ever enabled to do previously, being director of the Hochschule für Musik "-executive department at the Berlin Royal Academy of Arts, where he is also permanent member of the Senate. Here his example and precept are of incalculable value, inasmuch as the appointment of professors in his department is left entirely to his suggestion-submitted, of course, to the approval of the Minister for Education, an approval which has on no occasion been with held. The combined purposes of the "Hochare thorough musical education and model performances of works by the great masters.

schule "

As a composer, Joachim has chiefly directed his attention to instrumental music. To give a list of his various works would exceed the

little to the increasing repute of that learned musician. It is his last quartet, and in many respects his best. Another welcome contribution from the same quarter has been the Liebeslieder Walzer (to words from the Polydora of Daumer) for two performers on the pianoforte, and a quartet of voices (soprano, contralto, tenor, and bass) ad libitum. Whether the addition of voices was an afterthought, which, as the pianoforte part is complete in itself, is most probable, or whether the contrary, the effect is both original and charming. The quartet, received with such favor at a Monday evening concert, was repeated on the following Saturday afternoon; and so much were the Liebeslie der Walzer ("Love-song Waltzes ") admired and applauded, that they have been given on no fewer than four different occasions, each time affording increased satisfaction. They could hardly be rendered more effectively than they were on Saturday by Mdlles. Sophie Löwe and Helène Arnim, Messrs. Shakespeare and Pyatt, with Mdlle. Marie Krebs and Miss Agnes Zimmermann (who have been highly distinguishing themselves of late) at the pianoforte. The programme was otherwise more than ordinarily interesting. Malle. Krebs played Schumann's trying and difficult Toccata in C (Op. 7), and Miss Zimmermann introduced, for the first time at St. James's Hall, an early prelude and fugue by Mendelssohn, in E minor, belonging to his Midsummer Night's Dream period-a very showy piece, besides giving strong evidence as to how the young musician was just then busy with his contrapuntal studies. More such would be welcome. Mozart's last stringed quartet (in F), which might with pleasure be heard a little oftener, was played-how, need not be saidby MM. Joachim, Ries, Straus, and Piatti, at the beginning of the concert, which came to an end with what was an unexpected novelty, in the shape of a trio for pianoforte, violin, and violoncello, in A major, by the late popular operatic composer, M. W. Balfe. Few amateurs were aware that Balfe had at any time

occupied himself with the composition of instrumental music for the chamber, and few could have been otherwise than agreeably surprised by so fluent, melodious, and able an illustration of his talent in that way. No one requires to be informed that Balfe had always melody at command, and that there would be abundance of melody in his trio might have been anticipated. Without any apparent effort at elaboration, each of the four movements has a distinct character of its own, and each is symmetrically constructed. The second theme of the opening allegro is graceful, flowing, and essentially vocal. But, though this is the most brilliant, we are inclined to award the preference to its companion movements, and may point to the leading theme of the andante, the whole of the scherzo, a charming bagatelle, the only fault of which is its brevity, and also to the finale, built upon a pastoral subject, as natural and unaffected as it is tuneful. The entire work was admirably executed by Mdlle. Krebs, Herr Joachim, and Signor Piatti, who did all in their power to make it acceptable, and succeeded. It was warmly applauded throughout, the scherzo being encored and repeated.

Since her first appearance, which was duly recorded, Mad. Schumann has been playing, if possible, more nobly than ever. Seldom, indeed, has she been in finer form. As a remarkble instance may be singled out, from among other achievements of hardly inferior merit, the wonderful performance, at a recent Monday concert, of her husband's extraordinary series of variations, bearing the title of Etudes Symphoniques, and inscribed to Sterndale Bennett. After this she was twice unanimously called back to the platform. Herr Joachim has added the second and third of Beethoven's Rasoumouski Quartets to the No. 1, led previously to his coming by Herr Ludwig Straus-thus completing the series, which ought to be included every year. At the first concert, after his return from Cambridge, as Musical Doctor, Herr Joachim was greeted in such a manner by the crowded audience as might reasonably make him proud. On Monday he once more led Herr Brahms' sextet in B flat, for stringed instruments, which has won new favor at each successive performance since its introduction ten years ago (February 1867). This might induce the director to try another sextet by the same author (in G), also a composition of exceptional merit. The vocal music, almost uniformly well chosen during the present series of entertainments, has brought more or less conspicuously forward certain vocalists from whom a great deal may be expected-among them being Mdlle. Redeker, Herr Henschel, and Mr. Barton McGuckin, the promising young Eng lish tenor. Two Mondays, one Saturday, and an extra Wednesday, for Beethoven's so-called "Posthumous" quartets (the first and fifth of which, in E flat and F, are included in the programme of to-morrow afternoon), will bring the 19th season to a close, with the 593rd performance since the Popular Concerts were set on foot.-Times, March 20.

The Violin Manufacture in Italy, and
its German Origin.
An Historical Sketch; by Dr. EDMUND SCHEBEK.
Translated from the German by WALTER E.
LAWSON.

(From the London Musical Standard.)
I.

Although the Italian violin manufacture is universally known, from its chief seat, Cremona, yet it is by no means free from obscurity; and to this fact may doubtless be attributed much of the importance which has attached to it. Instead of seeking for natural explanations, recourse has been had to mystery, around which tradition and legend have woven a veil.

Certainly it is extraordinary that through the Praxis alone a violin model could be created, which, while offering beauty of form, and an easy manner

of performance, should prove, with regard to rich-
ness and power of tone, to be the best which can be
invented, notwithstanding the numerous endeavors
which have been made, accompanied in part by the
most rigorous and ingenious scientific enquiry.
Even the preparation of the Italian lac-upon
which such store is set by amateurs and collectors,
and which, for color, fire, and transparency, has
never been equalled-must be regarded as a secret.
It seems, however, erroneous to ascribe to any pe-
culiarity of manipulation in the manufacture, the
superiority of tone which characterizes the Cremo-
nese instrnments, seeing that the rules adhered to
in their construction have been made quite clear to
observant and thoughtful masters of the craft by
means of disjointed specimens; and experience
teaches us that modern instruments constructed on
similar principles, would, in the course of time,
equal them in tone, and facile tone production. The
chief difficulty with which the modern violin man-
ufacture has to contend, is one which, unfortunate-
ly, it has to some extent itself engendered, and
which arises from the fact that it cannot raise it-
s If to any real importance, nor, consequently, to a
lasting and vigorous productiveness.

ment.

Such was the intended object of the show of Cremonese instruments which, at my incitation, was to have formed part of the plan of the Vienna Exhibition. Assisted by a material such as is otherwise unattainable, the idea was to lay before the most celebrated instrument-makers and musicians, and such physicists as had sifted and led to the solution of debateable questions in this province, the instruments thus collected, illustrating the development of the classical violin manufacture as a whole, and in its various schools and masters; and, at the same time, as far as might be possible, to clear up the still so obscure history of this branch of art, and its rep. resentatives. This special collection did not take place, though not, fortunately, because of any difficulties which existed in the nature of the undertaking; therefore, one need not relinquish the hope of seeing, sooner or later, nnder more favorable circumstances, the realization of the idea.

During the hundred years which have elapsed since the decline of the classical violin manufacture in Italy, new instruments have continuously been produced; but can they be considered to fill the gap which the Italians have left? This may reasonably be doubted. It is not to be denied, that, amongst these results, there is much that is excellent; but, on the whole, the period has been one of experiA leading principle has been wanting, like the well preserved tradition which the old Italian masters adhered to, the whole time. Many thought to make them better, and deviated from the right path; and, moreover, a method was discovered of imitating the great Italian masters, and instruments were prepared which, unlike those that had once left their hands, had the appearance of Italian lins of a hundred years old and more, in a worn-out and even damaged condition. In order to make these new productions similar to the old ones in delicacy of tone and easy intonation, it was the cus tom to reduce the thickness of back and belly, to macerate, or artificially dry the wood, whereby the instrument was robbed of its power to sustain for any length of time the violent shaking to which, as a resonating body, it was subjected by the vibrations; in consequence of which, the tone of such instruments gradually deteriorated. In this manner, the new instruments fell into disrepute, not excepting those that were well and scientifically made, and the demand for well-preserved instruments from the inheritance of the Italians became consequently greater and more exclusive. But how much longer will this continue? Even bow instruments, however great their durability when carefully used, must eventually yield in time, and accident and ignorance hasten their destruction. It now appears to be high time to make a further effort. Here it may be remarked, in order to avoid misunderstanding, that no reference is intended to the instruments for instance, the Gusle of the Servians and the Rusin ordinary demand, the provision in this respect sian Goudok. To two, apparently, of these original already sufficing, but rather to perfected instru- types does it seem possible to trace back the origin ments, such as one required for higher solo perform of the violin, viz., to the Crwth of the ancient Britance and chamber music. Concerning the method ons and the Rebec, which, without doubt, passed which is to be followed in their construction, no through Spain into France. Centuries elapsed, doubt need exist, after the many fruitless experi- however, and a vast number of sometimes very exments and enquiries. There is but one way of at- traordinary transformations were necessary before taining to the desired end, which is, to follow in the violin acquired its existing form. Of these anthe footsteps of those of the old masters who have cient varieties we are in possession of a compendileft us the best examples with regard to the choice ous pattern-list derived from carvings in old churchof wood, form, construction, and finish, whereby it es and sketches in ancient manuscripts. The viola is not prohibited-nay, it is desirable-to make in was the instrument of transition, which in its turn the minor details such alterations as the develop. passed through many metamorphoses before it acment of violin virtuosity and the higher pitch of quired a settled form. One can without difficulty the present day have rendered necessary. The un- picture to one's self this form of the viola; for, by avoidable self-denial which will be required of the reason of the flat back, the, towards the neck more makers must be met by the confidence of the pur-pointed than rounded body, and the broad sides, it chasers, for supply and demand stand in the most intimate relations to one another; where the one relaxes, the other must also fail.

Although based upon no great selection of instruments, a reference to the progress, and to the part which individual masters, or whole schools, have taken in it, is attended with considerable uncertainty. Being unable to comprehend the general coherency, people are not in a position to judge correctly of cause and effect. Hereby is not be overlooked the fact, that instruments which proceeded from one and the same workshop were not always equally good or well finished; even masters of minor repute have turned out magnificent specimens; while on the other hand, the Coryphæi have sometimes fallen behind their usual excellence in some point or other. If we make the peculiarities which we observe in any one instrument which happens to be at hand a matter for generalization, errors become naturally unavoidable, and representations made after this manner by pretended authorities who wish to appear more learned than they really are, find a ready circulation, and, after a time, become difficult to eradicate. Lastly, a general terminology is necvio-essary, in order that the same ideas may always be expressed in the same language. In all these respects it appears hardly possible to dispense with special exhibitions of Cremonese instruments. Different is it with the superficial history of the violin manufacture, inasmuch as this is reflected in the lives of its representatives, and in the results of an active trade. Here, at least, the material for a fut ure erection may be collected. The following remarks concerning the province to be explored may serve as a guide.

For these reasons, the propagation of correct views concerning the violin manufacture, and its development, has also a practical side; indeed, it is the inevitable condition supposed in raising it again to that elevation which, strangely enough, it occupied at a time when the demand for perfect instru ments was neither so extensive nor intensive by far as it is at the present day.*

*In order to avoid an accusation of plagiarism I may here be allowed to remark, that, in my report concerning the orchestral instruments in the Paris Exhibition of 1855 (the twenty-seventh book of the official reports of Austria), I have already given to the world, in a more extended form, my views upon violin manufacture. This

The original form from which the violin and other instruments of the same family; viola, violoncello, and contra-bass-are derived, is very simple, and is found at the present day under the name of Omerti and Ravanastrom in India, and of Rehab or Rebec in Java and Arabia. In all probability these instruments-if, according to our present ideas, they merit the name-were introduced into Europe under the many modifications of the original form which they had acquired amongst various tribes at the time of the migration of the Indo-Germanic races. Even now we find varieties of them in use;

greatly resembled our contra-bass, or the viola d'amour, which, by the way, threatens to become a rarity. Sometimes the sides were only curved, like those of the guitar, in intimate association with voices to accompany which, they came more and more into use. Violas were divided into four kinds, viz., treble, alto, tenor, and bass violas, which were held during performance either at the shoulder or report has been most freely quoted from by Hiacinthe Abele, in his work, Die Violine, without the acknowledgment which he accords in other instances. Whole pages are cited verbally from my pamphlet, and have in part been reproduced in other works bearing his name. Under these circumstances, it is by no means impossible that the authorship might be falsely attributed, seeing, moreover, that my report, as part of a large and but little circulated collection, has not become well known in musical circles.

II.

"

It has been customary, hitherto, to regard Bres. cia as the cradle of the Italian violin manufacture; but, while this opinion was based upon Gaspar da Salo (circa 1560–1610), it was incorrect. Later enquiries, to which a violin bearing the name "Joan. Kerlino, 1449," gave rise, proved that a maker of that name had lived in Brescia; whereby the above opinion received a justification. On the other hand, Bologna must be accredited with the honor of hav. ing been the cradle of a branch of human art industry which, in its productiveness and constantly progressive development, was no less wonderful, for from this town a master, known hitherto by the name of Gasparo Duiffoprugear, sent forth from the year 1511, upwards-a series of violins no less remarkable for their technical excellence than for their external beauty.

At the time that Andrea Amati founded the new era,

of old, man, thou must perish," possesses immense power. It is written in canon form, and its deep, surging emotion is interrupted by a chorus of the soprani, "Yea, come, my Jesus, come," of which the perfect peace and content forms a charming contrast to the solemnity of the first theme; these two motives alternate, and finally the movement closes with the touching strain for the soprani,gradually decreas ing in strength of tone. No. 6 is n air for the alto full of pathos and resignation: "To thee, O, Father." No. 7, an air for bass: "This day shalt thou be with me in Paradise" this is a florid passage. which accompanies a choral of beautiful effect for the alti: "With peace and joy shall I depart;" the solemn strains of the chorus mingling with the melody until this ceases, and the choral also gradually dies away, bringing out into full relief the joyous burst of the hymn of praise, for the full chorus: "All glory, laud and praise," which ends in a magnificent fugue, forming the close of this poetical and stirring composition. Miss Drasdil sang her beautiful solo with deep feeling. Mr. Henry Brandeis was less successful in his tenor air, while Mr. Stoddart, upon whom devolved the greater part of the solos acquitted himself remarkably well.

between the knees-hence the term shoulder vio.lowed at first in the footsteps of his master; but lin" (Viola di Spalte, Viola di Braccio, the origin soon struck out into new paths, in his endeavors to of the German word, Bratsche), and “knee violin attain to perfection; and these endeavors occupied (Viola da Gamba). The bass viola alone, which him more than half of his long life-he was born in still exists in a but slightly modified form, as the 1644, and died in 1737—until, at the turn of the contrabass, was played, like this instrument, in a century, he attained to his ideal—sweetness and free position. grandeur of tone combined with perfection of form. It is generally imagined that Straduarius created something entirely new; but, in my humble opinThe manufacture of viols of the old sort continued ion, all the properties which distinguished his infor a considerable time after the new model for vio-struments from those of earlier periods, were allins, violas, and violoncellos, had been introduced, a ready in existence, but were greatly scattered; and proof that the flat whizzing tone, which necessarily to him is due the merit of having, with great peneresulted from its outer form and inner structure, intration, selected everywhere that which was the which often the indispensable bass-bar was wanting, best, and united it into one harmonious whole. He continued to be admired for a long time, before the had a large number of pupils, and a still greater clear, brilliant, powerful and sonorous tone of the number of imitators; and some of them produced new instruments usurped the monarchy. such excellent specimens, that, doubtless, at the Although Galileo, in his "Dialogues," says "The present day, many instruments are falsely ascribed violin, and the bass or violoncello, were invented by to him. He did not, however, occupy the position the Italians-perhaps by the Neapolitans (?)," still of master of the period in the same degree as did the statement is open to doubt. In ancient times Amati, before him. England displayed great activity in the production His most distinguished disciple, Joseph Guarneof instruments played with the bow; at the same rins (born 1683, died about 1745), called del Gesu, time seeking out, and renumerating freely, perform- after the trade-sign which he adopted to distinguish ers upon the violin and viola. Is it not possible him from a consin of the same name-adhered, in The first selection from Gluck's Orpheus was the that the metamorphosis from the original Low in the main, to his master's precepts, but differed from grand Scena for solo and chorus, in which the comstruments to the violin took place in that country? him so greatly in some particulars that their instru- bined efforts of Miss Drasdil, the really good chorus Further, it is by no means improbable that the vio-ments cannot well be confounded. Unlike his mas and the fine orchestra produced a highly successful lin was introduced into Italy from Germany; for ter, who consistently strove to attain to his ideal, effect. This was followed by the " Dance of Happy there were masters whose names hint at a German and on doing so, faithfully adhered to it-his ideas Spirits," a graceful picture of peace and tranquilliextraction by whom the manufacture of the violin were irregular, and so, consequently, were his pro- ty, and the famous "Air of Orpheus"-" I have lost proper was Arst cultivated in Italy. The history of ductions. Sometimes he turned out instruments my Eurydice," sung by Miss Drasdil, to whose mel ancient con merce is in both countries 100 obscure which were equal to the most perfect creations of low, sympathetic voice it seemed to be so well a to admit of positive proof of this. It is nevertheless Straduarius-nay, are considered by many to be dapted. The Requiem, by Brahms, begins in an certain, that the oldest known violins were made in better. Paganini's favorite violin was a Guarneri- exceedingly simple, though noble and elevated style Italy. us. Sometimes his productions were so inferior, as with the words "Blessed are they that go mourn regards choice of wood and finish, that one is tempting," for full chorus, and is set off by many beautied to deny their genuineness. Guarnerius found ful passages, which arise from the use of pleasing imitators here and there, but he does not appear to harmonic changes and the introduction of old hymns. have educated any pupils. According to a tradi- With the words "Seed in sorrow," the composer tion, he ended his life in a prison. rises to stirring and even picturesque tone-painting, though it is rather too long drawn out. This dethe manufacture of violins was carried on in scriptive form is continued in the 2d chorus, beginseveral other towns besides Brescia and Cremona. ning with "Behold, all flesh is grass," but grows But it was owing to the impulse which the works of weak in the course of a rather too minute contemnNicholas Amati and Straduarius gave to it that it plation of the text. A very pleasant impression is began to spread. Like a tree that grows in good made at the words, "until he receives the rains of soil, and to which Heaven sends showers and sunthe morning and evening showers," and "eternal shine, so it sent forth its shoots and branches in all gladness" is very characteristically described. The directions. In most of the large towns of Northern third movement, "Lord, make me to know," is introItaly it had a seat; and, next to Cremona, it at-duced by an effective, though at times sentimental tained to the greatest importance in Venice and Mi-baritone solo, to which the chorus responds, sentence lan. From Northern Italy, it passed through Flor- for sentence, until we are led into a colossal fugue, ence and Rome, to Naples and Palermo. Altogeth- wonderful as an ingenions masterpiece in counter er, as far as I have been able to ascertain, the point. One of the most lovely parts in the whole independent makers numbered about two hundred. work is the following movement: "How lovely is thy dwelling place," for chorus, in which the sentiments of longing and rejoicing expressed in the text find a fitting and harmonious expression in the music. No. 5, "Ye now are sorrowful," for soprano solo, with chorus, holds us spell-bound with its charming development of the touching theme, prinThe third concert of the Oratorio Society of New cipally where it is taken up in an idealized and comYork, which took place at Steinway Hall on Thurs-forting form by the tenors. The solo is beautifully day evening, March 15th, gave us an excellent per- interwoven and very effective. No. 6 is decidedly formance of a very serious and impressive style of the grandest of all the movements, and in its triumph music in the form of a Cantata, "Actus Tragicus." In the victory over death forms the climax to the by Bach; selections from Gluck's Orpheus, and "Ein work. Of great effect is the repetition of the words, 'Grave, where is thy sting?" rising in tone at each Deutsches Requiem," by Joh. Brahms. The Cantata and Requiem are similar in form, both consisting repetition, until the Fugue "Lord, thou art worthy," principally of choruses interspersed and, at times, brings the part to a close. interwoven with solos, and founded upon scriptural texts. It is not uninteresting to compare the work written in 1710 with the modern Requiem. In both there is visible in the music the same fidelity to the sentiments expressed in the texts; but while in the one the voices are accompanied only by the plaintive tones of violas, violoncellos and basses, with two flutes, to which Robert Franz added two clarionets and two bassoons, the other has an accompaniment of a full modern orchestra; in the one we have a simplicity of style so characteristic of the great master Bach; in the other, a strong individuality, united with an immense elaboration of detail; in both we find much deep feeling and a great variety of expression, notwithstanding the apparently sombre subject. The Cantata opens with a « Sonatina" for the modified orchestra, which is extremely sweet and tender, and of subdued tone. The first chorus, in canon form, 'God's time is the best and surest,"

Simultaneously with Bologna, both Mantua, Verona, and Venice furnished bow instruments; but,

from specimens which have been preserved in mu seums, these appear to have principally consisted of violas of the old species.

Towards the middle of the 16th century, the violin manufacture in Brescia, under Gaspar da Salo, came again to the fore; and it also took firm root in Cremona, through Andrea Amati, who was the progenitor of a highly celebrated family of violin makers which flourished throughout four genera

tions.

Brescia adheres, in the principles of construction and external elaboration, to the line laid down by Duiffoprugear; but Cremona, although starting from the same point, strikes out an independent path: so, at least, under Antonius and Hieronymus, sons of Andrea, and Nicholas (born 1596, died 1684.) son of Hieronymus. The forms become ennobled, and sometimes considerably smaller, the breasts are more arched; and, at the same time, the purely external ornamentation is dispensed with, while particular attention is given to the choice of wood and varnish. The tone is distinguished more by sweetness than grandeur. The reform brought about by Amati was adopted more or less by the rest of the violin makers. Cremona was, from this time, the chief seat, and the high school of the violin manu

[To be Continued.]

New York Oratorio Society.

BACH, GLUCK, AND BRAHMS,

The last chorus, No. 7. "Blessed are the faithful," must be regarded as an anti-climax; still the happy peaceful sentiment pervading its tone cannot be considered inconsistent with the state of mind inspired by the hearing of a work at once so elevating and sympathetic.

-Mus. Trade Rev.

H. D.

facture. Even Brescia relinquished by degrees its natural ingenuity, combined with that easy, Rowing sical Correspondence.

peculiarities; and the last maker who honorably represented this town, Johann Bapt. Ruger, of Bologna, was educated in the school of the Amati.

But the ideal of the violin was not yet attained to. That was reserved for Antonius Straduarius. who, like Amati, sprang from an illustrious Cremonese family. A pupil of Nicholas Amati, he fol

↑ The names of the various masters mentioned in this sketch, are, for the most part. Latinized; this change having, usually, been undertaken by the masters themselves. Therefore, for Antonius may be read Antonio; or Guarnerius-Guarneri, Hieronymus-Geronimo; Guarnerio; Straduarius-Straduari, or Straduario, etc., etc.-W. E. L.

breathes a spirit of perfect trust and cheerful confi

dence. It is followed by a pathetic tenor air, “O,
Lord, so teach us to remember," which leads to a
Vivace for bass, "Come, order thy house." The
next chorus for alto, tenor and bass, "It is the law

CHICAGO, MARCH 28. It was not my intention, in my last letter, to claim for Miss Rivé absolute su periority, although I have heard this done by excellent musicians. Here, as you know, I give my own opinions and impressions, which in the present case were: that, in point of refinement, Essipoff is perhaps superior, although not so much so as any one would suppose who had not heard them on the same pianos; while in point of breadth and vigor of conception, Miss Rivé is decidedly superior. As to