on both the poem and the music of it. He explained the origin and the spirit of the poem, as founded in the character and habits of the Germans, and pointed out the beauties of both poem and music. This was a capital idea, and the manner in which it was done, very happy; entering only sufficiently into detail to excite an interest in the hearer, that would induce him to study further into these beauties in the way thus pointed out to him. The result appeared to us immediately visible in the greater attention, not only of the audience, but also in the greater warmth and interest with which the performers took the music up. There was less of that deadness which we have so often observed, yet the choruses want much pruning, much care to exclude the false notes, which cut into the harmony, and to bring the rough power of the voices to discretion. The time of the pieces was well taken, with the exception that the riot chorus in g minor was a little too fast. We liked the manner in which the first soprano solo was sung, as also the other soprano solo, allegretto in g, which would still improve if the lady, by opening the mouth a little more, would bring her tones out freer. The master's solos gave too many incorrect notes, yet we will say for it, that his grand solo towards the end is the most difficult piece to sing in the whole composition, which, especially in its choruses, is altogether not easy. In the recitative of the second bass solo, we observed some embellishments. They were produced rather stiff and lame, and evidently showed that they were not self-conceived. We had rather seen the whole piece kept in its noble simplicity, without any additional grace, and especially these embellishments omitted, if their proper execution was not insured by sufficient study.

Sunday, January 3. Repetition of the Messiah by the Handel and Haydn Society--a much better performance on the whole, and of which we mark here the first recitative, "Comfort ye my people," as being beautifully given. In the tenor solo, "Thou shalt break them," the singer broke down, which he would have avoided, if he had not tried to imitate Braham! but had kept on in his own way. It is very well and laudable, to profit by the example of eminent men, but a singer should never attempt anything in public, of the success of which he did not feel certain.

We had hoped to see a larger audience to listen to the Messiah's magnificent choruses, "Unto us a child is born," "Thou art the king of glory," "All we like sheep," "The Lord gave the word," the beginning chorus of the second part, (it went a little heavily,)

and above all the inimitable "Hallelujah ;" we recur to them always with new satisfaction, and we can well imagine that to the singers themselves they must be still more interesting; which the Society's Choir confirms by singing them in very good style.

Monday, January 4. Concert of the Euterpian Vocalists, assisted by the Accordion virtuoso, Mr. Stanley. The voices of these Quartette singers are very well balanced, yet there is a great want apparent in their singing, that of individual cultivation of the voice; this want, with that of true economy of breathing, makes the singing of their first tenor labored, and which would otherwise be very pleasing.

Mr. Stanley has succeeded in making all out of his instrument that it is capable of, yet it is a pity that so much time and talent should be wasted on an instrument, which, after all, can but to a very small degree, fulfil the object of good music, that is, touch the feelings.

THE MUSICAL REPORTER.

We have received the first number of this monthly, edited by Messrs. A. Fitz and E. B. Dearborn. The plan is similar to that of our own Magazine, with the exception, that it contains eight pages of music. The contents of the first number embrace a variety of subjects, mostly extracted, or translated from other works, among which an article on musical expression is very good; and several original articles. We would only make two objections; first, that the editors in their prospectus do not mention with one syllable, our Musical Magazine, established for two years, and which is so similar in its design; and, secondly, the bitter article on "the musical field," which, it must be evident to the reader, has some personal point, but of which the direction cannot be guessed. Otherwise, the Reporter presents by its variety, and especially by its music, a good claim to the patronage of the amateurs in music.

THE MUSICAL MAGAZINE.

NO. LIV.

BOSTON, SATURDAY, JANUARY 24, 1841.

BIOGRAPHY.

LISZT.

[TRANSLATED FROM THE FRENCH, FOR THE MUSICAL MAGAZINE.]

[Concluded from page 12.]

He himself afterwards acknowledged his error, and explains it in the following manner;-

"At that time I frequently performed, whether in public, or in the saloon, (where it never failed of being objected to me that I selected my pieces very badly,) the works of Beethoven, Weber and Hummel; and, to my shame, I declared, in order to secure the applause of a public always slow to conceive of beautiful things in their grand simplicity, that I would make no scruples in altering the movement and design of them; and I even went so far as insolently to add a great number of the characteristics and stops of the organ, which, by obtaining for me the applause of the ignorant, did not fail to entice me into a bad way, from which I was fortunately soon relieved."

In the midst of the fluctuations of taste which might be observed in the talent of Liszt, his skill in the execution of the greatest difficulties acquired every day more development. By degrees, this skill has surpassed that of the pianists of all the schools, and we may

feel assured that the art of playing the piano has nothing more over which the powerful execution of Liszt may not triumph. In 1835, he removed from Paris, visited Switzerland, and stopped at Geneva, where he remained until the month of September, 1836. On his return to Paris, he again attracted the attention of artists, and the public, by some compositions for the piano, full of difficulties, which he alone could execute, and produced a strong sensation by his wonderful skill in the concerts, where he was heard during the following winter. He had already published some articles concerning his person, his opinions, and his impressions, in the Gazette Musicale, at Paris; and during this winter he sustained in this same journal a dispute relative to his appreciation of the talent of Thalberg; but this discussion had not the result which he had promised himself, and occasioned to him nothing but ennui.

About the end of the year 1837, Liszt removed again from Paris, and went to Milan, where he has made a long stay, interrupted only by a journey to Vienna. Received at the capital of Austria by unanimous acclamations, he has left there a lively remembrance of his admirable talent. After having visited Venice, he directed his steps toward Rome and Naples, where he is at this moment. No instrumental performer since Paganini has made such a deep impression upon the inhabitants of Italy as Liszt, whose name is repeated by them with enthusiasm.

The compositions which this artist has published up to this time have created but little sensation. After having given to the flames his first works, he has published fantasies in which it may be seen that he has proposed to himself to be original and independent of the tradition of forms; but unfortunately more caprice than charm may be found in them. The wonders of his execution lend some effect to these works; but the difficulties which they contain, and which he only can overcome, have injured their success. Among the compositions which Liszt has given to the world, may be mentioned particularly his fantasy upon the themes of la Juive (the Jewess), Paris, Schlesinger; another fantasy upon some Swiss melodies, Paris, Bernard Latte; a fantastic rondo upon a Spanish theme, ibid; a grand bravura waltz, ibid; some poetical meditations, ibid; a divertissment upon a cavatina by Pacini, ibid; a grand fantasy upon la Clochette, by Paganini; two fantasies upon the themes of the soirées musicales of Rossini; and Reminiscences of the Puritans, (by Bellini), a grand fantasy for the piano. Recently he has pub

lished some capriccios upon the melodies of Schubert, where it has been thought that an approach towards the style of Thalberg might be observed. We have also had by Liszt an arrangement of the first fantastie symphony of M. Berlioz, for the piano, Berlin, Schlesinger.

ADVANCEMENT OF MUSIC.

We make the following extract from a " Report made at a meeting of the honorary and immediate Members of the Pierian Sodality, in Harvard University, Cambridge, August 30th, 1837," on account of its truth and point. It is true that great and successful efforts have been made since some years to bring music to the people; but it appears to be generally considered as a matter, good for the people, that is for the great mass, and those who stand by education and intellect above them seem to have willingly given it up to them; but it is true, also, that unless the educated men take it up, music, as an art, will not make great strides to perfection among us. True perception of the beautiful requires not only a lively imagination but also a refined mind.

The Report above alluded to, proposes the formation of an Association of the past and present members of the Pierian Sodality, for two objects: the first being a revival of the recollections of happy times, and the second being explained in the extract, which we now make. Ed.

But the ultimate object proposed is, the advancement of the cause of music, particularly in this University. We would have it regarded as an important object of attention within its walls, as something which sooner or later must hold its place in every liberal system of education, and that place not an accidental or a stolen one, but one formally recognised. We that love music feel that it is worthy of its Professorship, as well as any other science. This Muse is entitled to her representative in every temple of science; her genial presence should be felt in every nursery of young minds. Believing, as we do, that the love of music is essential to the full health and glow of the intellectual and moral system of man; that it is just the kind of influence which promises to check the vicious tendencies most peculiar to our state of society; that it disposes men to blend, while all the other influences to which we are subject, emulation so sedulously infused in the infant school and sanctioned in the college, the selfish, reckless political ambition thereupon naturally consequent as fruit upon flower, the devotion to gain, the soul-contracting suspiciousness and prudence of the Yankee character, all tend to disunion and restlessness: believing, too, that this, of all the Arts of