all over the Union, partly social in their organization, who study the lighter operettas, and give three or four performances during the season. The list of works available is very large. The larger associations sing Fatinitza, Little Duke, Crown Diamonds, Chimes of Normandy, Royal Middy, Doctor of Alcantara, Paul and Virginia, Bohemian Girl, and similar compositions; the smaller societies take up Princess Toto, Spectre Knight, Ages Ago, Charity Begins at Home, and the like. It is very gratifying to find that many of the larger companies, and almost all of the smaller, are made up of American singers; and with proper attention to details, and an unwillingness to do things by halves, the prospects of a national opera in the vernacular are excellent. While the extensive patronage of some of these compositions indicates a low grade of musical taste, and many of them are uninstructive, yet they are innocent in themselves, and argue a love of music, which experience shows, once awakened, may be easily directed into higher channels. A step in this direction has already been taken by the representation of Deseret by the Dudley Buck Opera Company. Operas by American composers are no novelty. Mr. George Bristow's Rip Van Winkle was produced in 1855; Mr. W. H. Fry's Leonora in 1858; and Notre Dame de Paris, by the same composer, in 1864; but after a few performances these were put aside, and have not been heard again. An operetta better known and oftener heard to-day than when first sung, eighteen years ago, is the work of Mr. Julius Eichberg, a native of Germany, who for many years has been a resident of Boston. Various English opera companies have received great encouragement in the past. Parepa, whose memory is held as precious in America as in England, gave, with Carl Rosa, a brilliant series of representations; and Miss Clara Louise Kellogg, one of the first American singers to win European laurels, organized a company in 1874, which was favorably received during the entire time of its existence. But Mr. Buck's is the first successful opera by American authors with an American sub DUDLEY BUCK. ject, and its success at first seemed commensurate with its novelty. The scene is laid in Salt Lake City, among the Mormons, and Elder Scram's relations with his twentyfour wives, to whom he proposes to introduce a twenty-fifth, form the basis of the comic situations and incidents. The male chorus is supplied by United States soldiers, while a sprinkling of Indians, Mormons, and army officers offers a wide field for quaint conceits and fine scenic effects. Brilliant orchestration is one of the strong points of the opera, and the voices in the choruses are so distributed as to secure the best effects. The solo parts, full of poetic fancy, are melodious and flowing, adding greatly to the power of the text. The comedy, never degenerating into buffoonery or vulgarity, is as unobjectionable as Pinafore itself, but unfortunately not as sparkling. The work is not that of a 'prentice hand. Ever since his return from the Leipsic Conservatory, where he was a fellow-student of Arthur Sullivan, S. B. Mills, Carl Rosa, and other since distinguished musicians, Mr. Buck's various compositions have met with the unqualified approval of musicians and the public. His reputation as composer and executant, while organist of the Music Hall, Boston, having attracted the notice of Mr. Thomas, he accepted the position of as RAFAEL JOSEFFY. most widely known. The Oratorio Society continues to devote itself to the study of Handel, Haydn, Bach, etc. The Mendelssohn Glee Club, under the direction of Mr. Joseph Mosenthal, consisting of a male chorus, sing English glees and German part songs, chiefly without accompaniment, with remarkable finish and precision. Some years ago, Mr. Mosenthal directed the Glee and Madrigal Society, in many respects the best chorus ever formed in the city. Glancing over the programmes from 1869 to 1874, many names familiar to the public appear as members of the chorus, those of Miss Emma C. Thursby and Miss Antoinette Sterling being the most conspicuous. This society sang madrigals by Morley, Wilbye, Festa, Gastoldi, Weelkes, Gibbons, and Ford, with admirable precision, intensity of expres sake, the society sang such compositions as Mendelssohn's Psalms, Gade's Erl King's Daughters, selections from Schumann's Paradise and the Peri, and the male chorus gave the Mendelssohn Greek choruses, Schubert's "Night,' Spirit Chorus," and similar pieces. The voices individually and collectively were good, and they sang in a way that demonstrated their careful and admirable training, and showed that they loved the music and delighted in the exercise. sistant director at the Thomas Garden | sion, and true intonation. For variety's Concerts. The highest compliment that an American composer could receive was paid to Mr. Buck by committing to him the composition of the music to a cantata to be sung at the opening of the Centennial Exhibition. Performed by a chorus of eight hundred voices and an orchestra of one hundred and fifty pieces, under the direction of Mr. Thomas, the result fully justified the confidence felt in Mr. Buck's powers. He has also published a large number of compositions for the organ, church anthems, and songs, which have become very popular. Two larger works, the Legend of Don Munio and the Mar-ral associations, of which their respective mion overture, were followed by the Golden Legend, which from more than a score of competitors carried off the prize of $1000 offered by the Cincinnati May Festival for the best composition for solo voices, chorus, and orchestra. To the large number of choral societies already in existence, Mr. Thomas has added one in New York and one in Brooklyn, for the purpose of aiding the two Philharmonic societies in the production of works demanding a large chorus and orchestra, such as Beethoven's Ninth Symphony and selections from Wagner's Trilogy. Of the numerous German societies, most of which are of a private or social character, the Liederkranz and the Arion are The organists attached to several of the larger churches have established cho choirs in some instances form the nuclei. These study the more difficult church music, and miscellaneous music of the highest grade. The low state of church music until within comparatively recent times was in a great measure the result of the influence of the first colonists and their successors. The Puritans, the Dutch, the Quakers, and in after-times the Methodists, Presbyterians, Baptists, and others, cared little for music beyond psalm and hymn tunes. period the organ even was not allowed in many churches, and until the growth in numbers of those churches whose ritual permitted an elaborate use of mu For a long sical forms, very slight attention was paid to the subject. It is true that in New England it was an object of desire among the young men and women to become members of the choir, but except the weary round of psalms, almost the only attempts at higher music were the so-called fugue tunes, familiar to the present generation through the medium of the "Old Folks" concerts. The musician of to-day esteems these compositions as beneath his notice, yet they were the sign of a struggle for something beyond. mere metrical tunes. Bach's chorals were seldom sung, their peculiar metre and rhythm, full of double endings, preventing their use in connection with the ordinary hymn-books. The walls of conservatism once broken down, music in many churches was made use of as a means to attract large audiences, and the competition that ensued was not confined to any one denomination. As a matter of course, the true function of church music was lost sight of, light secular music, arranged according to the fancy of the organist or leader, was introduced, gifted vocalists rivalled to the extent of their ability in brilliancy and effects the artists on the stage, and propriety was very often disregarded. This state of confusion was transitory only, and a change for the better has already taken place; but great diversity of opinion and practice still exists. A few churches have adopted the Gregorian music, and the vexed question of quartette or chorus choirs has been generally solved by the employment of both. In the Catholic and Episcopal churches the orchestra is often used as an auxiliary, and churches in which congregational singing is the rule are now well supplied with suitable hymnaries. The typical churches for the higher forms of music are the Trinity Episcopalian and several of the Catholic churches; that for congregational singing is Henry Ward Beecher's. Aside from the good effect on the instruments, the generous rivalry between the great piano manufacturers has resulted in a gain to the city of two fine halls. Fifteen years ago, Messrs. Steinway and Sons built a large and commodious hall, admirably suited for concert purposes, and gave their name to the building. Since its erection, many of the most successful concerts and most of the oratorios have been heard within its walls. Some years later, Messrs. Chickering and Sons followed this example with a hall on Fifth Avenue, admirably adapted for chamber con certs. FRANZ RUMMEL. At a great expense to themselves, the Messrs. Steinway and Chickering have aided in bringing to America many of the famous pianists of Europe. Come what may, the piano will permanently keep the first place as the instrument of the household. And in no country are there so many pianos and so many players as in the United States. The widespread use of this instrument has created an extremely large class to whom the masters of the piano can appeal. The appeal is never unheeded, and unless mismanaged, hardly any engagement in New York, or tour through the country, has failed to be profitable to the performer and to art. The most successful artist of late years has been Joseffy-a second Liszt in technique. Certainly no such extreme delicacy of touch, marvellous facility of execution, and exquisite finish have been reached by any artist ever heard in this city. In Chopin, Joseffy is unsurpassable; but with some composers, as he knows S. B. MILLS. no technical difficulties, he frequently hurries the tempo, and injures the effect. content. During the Bayreuth performances, it is reported that Liszt said of Wilhelmj, "He is so thoroughly adapted for the violin, that, were the instrument not at hand, we should have to invent it for him." Ever since his first appearance in America, his popularity has steadily increased. The tones he evokes from the violin are remarkable for their clearness and richness; technical difficulties cease to exist, and without ever straining for dazzling effects, the result attained is marvellous. Wilhelmj lacks that personal magnetism which is so potent a factor in the career of a public performer. Ole Bull Franz Rummel, while he can not rival possessed this in a remarkable degree. The Joseffy in technique, possesses what many public that heard him once regarded him as pianists lack-breadth of conception, vigor, a friend, and every subsequent appearance a bold style, and the power of merging his was sure to awaken a storm of approval. own identity in that of the composer whose Though others may be acknowledged as work he is reproducing. Lacking some-greater artists, no one can ever expect to what in elegance of style, he yet at times rises to a height which suggests that great genius Rubinstein. At one concert of the Philharmonic Society he fairly electrified the audience by his brilliant rendering of Perhaps the most characteristic street in Liszt's Fantasia on Hungarian Airs. the city is the Bowery. For a short time Very few American pianists have adopt-a rival to Broadway, it soon sank into a ed the concert-room as their field of labor, preferring, in most instances, teaching as a profession. Their concert playing has been incidental only. One of the bestknown is Mr. William Mason, whose whole career has been that of a thoroughly conscientious artist of the highest aims. Mr. S. B. Mills, who has been more frequently heard on the platform, has few superiors in delicacy, accuracy, and technique. Piano and organ recitals have long been fashionable, and the next step is obviously in the direction of the stringed instruments. As musical taste is developed they receive more attention, and either as solo instruments or in quartettes are rapidly growing in public favor. Should Joachim and Sarasate visit this country, the many Amer win greater love and favor from an American audience than was bestowed on the charming old man who has so lately left us. secondary position; its broad street was given up to numerous lines of street cars; its stores and cellars were turned into beer saloons, cheap restaurants, clothing stores, etc.; the upper stories into tenements and cigar manufactories, and the sidewalks occupied by hucksters. In truth, it seemed that when the elevated roads should be added, and confusion be worse confounded, the street would sink into utter obscurity. But, strange to say, it thrives on the noise and confusion, and is now one of the most frequented avenues in the city, especially in the night-time. On a mild evening, up to eleven or twelve o'clock, it is a scene of marvellous activity. Almost every beer saloon has a brass band, or at least a pi well filled, and at no time was it necessary to "paper the house" to secure fair audiences. English managers and impresarii would do well to take a leaf out of Fräulein Cottrelly's book, and try the same plan for a season. Possibly the results might be similar to those of the Opéra Comique in Paris, where, during the summer, prices were reduced one-half, with increased receipts as the effect. Aside from the financial result, the effect on the actors and singers would be beneficial. Where now they go through their performance in a listless manner, the effect of empty benches, they would then feel the inspiring influence of crowded houses. Such a result' would please all parties: the management by its larger income, the singers by the magnetic influence between the performers and the audience, and the public by reason of the lessened expense. ano, violin, and cornet, and what the performers lack in finish, they make up in vigor. Through the open doors and from the cellars come outbursts of noise and merriment; the innumerable cars go jangling and rumbling along; every truck and wagon in the city seems to rattle through the street; the dwellers in the upper stories are congregated in the hallways and on the sidewalks, seeking a little fresh air; the street hawkers, with gasoline torches, are crying their wares; in front of the auction-rooms men with throats of brass are inviting the passersby to enter; every shop is open, and a vast tide of humanity is streaming down the street, met by a still vaster throng going up town, while, high above, the trains on the elevated roads thunder along. The discord is simply amazing, but the good citizens, accompanied by Frau or Schatz, do not seem to mind it in Through the enormous immigration of the least, but serenely go on their way, the last thirty years, many German manand turn into the stores, theatres, or beerners and customs have become fixed gardens, intent on an evening's shopping among us, and have exerted a marked or entertainment. The Old Bowery Theatre, time-honored seat of the "blood-and-thunder" drama, was altered, repaired, and renovated in the summer of 1879, its name changed to the Thalia, and its doors thrown open as a home of the German drama and light opera. On its boards, in rapid succession, were presented a large number of operettas and pieces, as the Germans have it, "Posse mit Gesang," and here the first representations in New York of the Royal Middy (Der Seekadet), Boccaccio, Prince Methusalem, Nisida, and other light operettas were given in the original with great success. The owners of this theatre, under the direction of Fräulein Cottrelly, have solved the problem of light music at low prices for the German population. They recognized the fact that their patrons, though fond of music, have little money to spend in the gratification of their pleasures, and the rules adopted by them are as simple as they are good: low prices, and no unsold reserved seats. By adherence to these rules the theatre has been generally influence on other immigrants and on AUGUST WILHELMJ. As |