MUSIC.

The promise of the autumn has not been fulfilled; instead of the
anticipated feasts, we have had but few concerts, and, as yet, no opera.
Some few noteworthy incidents have occurred, however, which we desire
to record. We pass over the ever welcome orchestral concerts, the quiet
pleasures of our delightful chamber music, and the inspiring four-part
singing of the Orpheus Club. Neither can we give the space to notice
fully the _debut_ of a young singer,--a singer with a rare voice, full,
flexible, and sympathetic, and who, with culture in a _larger_ style,
and with maturity of power and feeling, will be a real acquisition to
our musical public. Few young performers know

"How much grace, strength, and dignity lie in repose."

They dazzle us with pyrotechnics in the finale of _Com' e bello_ or _Qui
la voce_, but the simple feeling of _Vedrai carino_ is beyond their
grasp. Firmly sustained tones, careful phrasing, flowing grace in the
melody, and just, dramatic expression, are the great requisites; without
them the brilliant flourishes of a modern cadenza astonish only for a
brief period.

The appearance of Carl Formes in oratorio was something to be long
remembered. The Handel and Haydn Society brought out "Elijah" and "The
Creation" before immense audiences at the Music Hall. For the first
time we heard "Elijah" represented by a great artist, and not by a
sentimental, mock-heroic singer. He infused into the performance his own
intense personality. Every phrase was charged with his own feeling.
He thundered out the curses of Heaven upon idolaters; he prayed with
all-absorbing devotion to the "Lord God of Abraham"; he taunted the
baffled priests of Baal in grim and terrible scorn; he gently soothed
the anguish of the widow; and when his career was finished, he
reverently said, "It is enough; now take away my life!" The _music_
we had heard before; we had been rapt many a time while hearing the
magnificent choruses; but we never had known the dramatic power of the
composer as shown in the principal role.

"The Creation" was performed on the following evening. Its ever fresh
and cheerful melodies presented a fine contrast to the severely
intellectual style of "Elijah." In rendering purely melodic phrases,
Herr Formes was not so preeminent as in declamatory passages. Not always
strictly in tune, not specially graceful, slow in delivery, even beyond
the requirements of a dignified style, he impressed