orchestral practice; but the stringed instruments are deficient both in number and power of execution. The theatre? the spirit of the times is decidedly anti-theatrical, and this would therefore give an unsafe and scanty dependence. The ball-room? it unfits for the orchestra. And besides all these prospects only go far enough to give him sufficient means to live, while he is able to follow his avocation; but as soon as, by any accident, he is disabled, he is left destitute and his family unprovided for, and how much greater risk of accidents to life and limb is there in these times of careless and daring experimenting upon the mightier powers of nature, steam, electricity, &c.! This being the case, we ask again, what inducement is there for him to choose this avocation? and what can be done to remedy this defect? The only way is the creation of a fund for disabled and destitute musicians and their families. This the musicians themselves might effect, if properly aided by the public. But this is not the place for a further consideration of this subject, and we merely throw out this suggestion and proceed.

:

But having acquired good instrumentists, we want them also united into an orchestra, which would fully understand and coöperate with each other, which would enter upon the performance of a composition in the same spirit, thus amalgamating the mighty mass of tones into one connected stream, instead of letting each individual rivulet run a race with the other to the end. The only means of effecting this is regular and frequent practice together, with a hearty good will and constant attention to the effect of the whole, and under the judicious direction of a good leader. It cannot be expected that love of art alone will induce our musicians to devote considerable time to such practice their time fully employed, yields them only the necessities of life; nor that any voluntary association among them, would preserve that unanimity and unity, which is so necessary for effect where every one feels himself equal to his neighbor, it is difficult for all voluntarily to submit to one. But we are of opinion that, if two of our societies whose interests would not interfere with such a union, would unite to take the same orchestra, they might with little extra expense insure regular meetings once or twice a week for practice beyond the rehearsals necessary for their own performances and by such liberality the societies themselves would be greatly benefited, for very soon the orchestra would be enabled to give a much increased effect to their accompaniments.

To return however from our long digression; we cannot leave the instrumental music of last winter, without mentioning one concert, which introduced to us a highly accomplished artist. We mean Signor Paggi's Concert on the Oboe. His very appearance, his easy, graceful and elegant bearing, showed the well-bred artist, and his treatment of the Oboe confirmed this our first impression. He combined great power of tone, with purity and much expression; his passages are round and fluent, and we found the Oboe in his hands

altogether a new instrument. Why does Mr. Paggi exhibit his talents so rarely to the public? why does he hide his light under the bushel ? We want to hear such playing oftener, both that the public and our performers may elevate their taste by it.

In vocal music, we have not to notice so much life and progress as in instrumental. We have already mentioned that the Handel and Haydn Society produced Neukomm's Oratorio of the Mount Sinai;' but the public took so little interest in it that it was soon laid aside for better known and better appreciated oratorios. The only novelty which the Boston Academy of Music produced was McElvey's Oratorio of "The Resurrection," a work which, we understand, for we have not heard it ourselves, was not calculated to excite much interest; it was but once performed. Neither have the Musical Institute produced any thing new. A real improvement in chorust singing we have observed only in one instance-in the private concert of the Musical Education Society. The discretion and correctness in the choruses of this Society was as surprising as it was gratifying, and reflected great credit on their teacher, Mr. Webb, as well as on their own zeal. A want of efficient solo singers is every where observable; that is, not so much a want of good voices; for fine voices for every one of the four parts are occasionally met with; but of cultivated voices. Systematic, scientific study, so eminently required to make a good voice available, is seldom applied, or if it is, it is only continued for a very short insufficient period, and what little superiority over common amateur singers it then gives, is forthwith used as capital to trade upon. Our larger musical societies with the professors at their head, might do much towards an improvement in this respect. They have much opportunity of finding out natural talent and superior voices among the young pupils that are constantly flocking to them. By taking such voices in hand and thoroughly educating them, they would procure, what is now so much wanted. It would certainly require careful instruction and constant watching that such instruction be judiciously applied in study and practice; it would require that the pupil and all his singing be for years, entirely under the control of his teacher; so that the system of the latter be not interrupted by others acting on different principles; and that the pupil do not take solo parts in public before his education is finished. This seems to impose great constraint on him, but he will most assuredly reap the benefit of it in the end.

So much of our own vocal music. The most remarkable visit among the vocalists, that came here to give concerts, in regard to the art was that of Mr. Braham. We have already spoken fully of the impression which his singing made upon us; and we will here only say, that, however much he may have disappointed us in some respects, we rejoice in having had an opportunity of hearing him. Were it only on account of the personal recollection of a man, whose name will long figure in the history of English vocal music, it would

be a sufficient reason, but notwithstanding these disappointments, the accomplished artist shone forth so eminently in all his performances, that they always highly interested us.

In conclusion, we will cast a glance upon the present position of our three musical societies. The Boston Academy of Music has struck upon a new branch of their plan, which they appear likely to follow up next season, and by which, if persevered in, they will undoubtedly farther advance the art; we refer to their instrumental concerts and their practical lectures on music. The other two societies also have stepped out of their regular course, by giving secular concerts on a week day, which, we believe, is a violation of their object, as expressed in their constitution. If so, and if it was merely done to obtain a momentary object or advantage, we cannot commend this movement. If however, it indicates a modification of their constitution and an extension of their objects, then certainly it is as yet premature to judge of it, and we must give them time to develope their new plans. The ample means of the Handel & Haydn Society, exempting their members from any personal sacrifices, would certainly enable them to operate for the art in a much wider sphere than they have done, if their constitution were so modified, or rather extended.

We have mentioned the practical lectures on music, by the Academy of Music; the subject is, however, of too much importance to pass it over by merely mentioning it. Popular lectures on subjects connected with the art, formed from the beginning one of the objects proposed to itself by the Academy, but this winter for the first time it was found practicable to enter upon this branch. Two lectures were given, one by Mr. Eliot on the poem and music of the Song of the Bell, and the other by Mr. Cleveland on the Organ. Both were still more intimately connected with music, and very appropriately, by practical illustrations. The subject was thus brought nearer home to the hearers; they were more interested in it, their intellect could the better follow it. We hope the Academy will continue to procure lectures on music by literary men, who take an interest in the art, for they will be one of the surest means of drawing the attention of the more intellectual part of our community to it. The science of musical Aesthetics would offer a rich field for these lectures.

From the same reasons we hail all other efforts to interest the amateurs of literature in the art, as a good omen, and we were rejoiced to see Mr. Power come forward with his lectures. For an individual, without the moral weight of an established society, the enterprise is a more difficult one, be his standing ever so high in the musical world, and in the present state of apathy against musical literature, it is not one, in which he can expect to see his labor rewarded and acknowledged yet we would encourage Mr. Power to persevere and others to come forward; for the art wants it, and its advance must be their high reward.

THE MUSICAL MAGAZINE.

NO. LXV.

BOSTON, SATURDAY, JULY 3, 1841.

THE LIFE OF A COMPOSER, AN ARABESQUE.

BY CARL MARIA VON WEBER.

(From the Musical World.)

* Here a considerable hiatus occurs, several pages, containing only broken passages, or heads of topics on which the author probably intended to have enlarged.-ED. M. W.

THE CONCERT. On leaving my lodgings in the morning, I see a most interesting young lady get into a coach-learn that her name is Emily-am determined to inquire further respecting her.

Engagement of musicians-the oboeist's wife will not allow him to come to terms, unless the same conditions are agreed to with her friend the clarionet-player-scruples with regard to precedency.

At last six flutes are engaged, and among them a dilettante, being his first performance on the instrument.

Am thus addressed by my landlord, on my return to my lodgings: "So, sir, you are going to give a concert; it is known everywhere; the girl who went to fetch our beer heard them talking it over in the public house.

Evening comes-concert empty-all the world gone to see the dancing-dogs which had just arrived in town-more than half my 25

VOL. III.

band decoyed away to this exhibition, twenty-four kreutzers (one shilling) a-head more having been offered them.

The thought of Emily inspires me, and makes me play my part with spirit.

Departure for a larger town-feeling of solitude and loneliness among strangers-introduction to Diḥl and his friendly circle-who should I meet there but Emily, the lady whom I had seen in the act of departure for X-, and who had made such an impression on my heart!

Sleepless night.

Data for a musical madhouse.

LETTER TO ERNSTHOF. Well, I have taken leave of my good friend A., and have again dashed into the vortex of the world. I can better endure the storms and buffets of fate than the gnawing pangs of disappointed hope that prey upon the heart in secret. As the soldier learns to despise peril in the dangerous sports of death, so will I acquire confidence and self-possession amidst the trials and tumults of the world.

I could never bring myself to admire those boasted martyrs to their own fancy or enthusiasm, who have rendered themselves illustrious either by self-destruction or some other striking final chord.

The smallest flame has its moment of brightness, and there is a moment (I might term it the focus in the burning-glass of existence) in the life of every man, in which he feels himself enkindled, and capacitated to perform something great.

The petty trials, the constant recurring vexations of daily life are the true touchstones by which the glittering gold of your philosophers is put to the test, and which, when submitted to this scrutiny, is so often found to sink into common metal.

How often has it fallen to my lot to observe minds called great, and which at a distance appeared so estimable, and so free from imperfection, dwindle into the most absolute littleness when seen within the narrow limits of the domestic circle-abroad, ever gentle in comportment and pleasing in demeanor; at home, acting the tyrant, and storming at the poor passive wife, if but a pipe be laid out of its proper place-calm and unmoved amidst the ruins of a falling state; fretful and discomposed if but a favorite flower droop and die.

Yet, knowing and feeling all this, how impossible have I always found it-how impossible do I find it at the moment I am writing