the arts;
imitation first, self-development and originality afterwards. Happy
are those who do not stop in the first stage! It is certain that Mr.
Southard's music _pleased_, and that some of the most critical of the
audience were roused to a real enthusiasm. And it is to be borne in mind
that the music is cast in a grand mould; it has no prettiness; it is
either great in itself, or wears the semblance of greatness. On the
whole, we are inclined to think that the "Diarist" in Dwight's "Journal
of Music" was not extravagant in saying that no _first_ work since the
time of Beethoven has had so much of promise as the opera "Omano." We
shall look with great interest for its production upon the stage with
the proper accompaniments and scenic effects. It is due to the composer
that this should be done. If the music we heard had been performed by
a company of great artists in the Boston Theatre or in the Academy of
Music, it would have been received with tumultuous applause. The
singers on this occasion gained to themselves great credit by their
conscientious endeavors. They generously offered their services, and
sang with a heartiness that showed a warm interest in the work. One of
them, at least, Mrs. J. H. Long, would have established her reputation
as an accomplished artist, even if she had never appeared in public
before.

We suppose our readers will agree with us in looking with eager delight
to the promise of a national school of music. Every nation must create
its own song. The passionate music of Italy electrifies our cooler
blood, but it does not adequately express all our feelings nor in any
way represent our character. We also find many of the compositions of
Germany so purely intellectual that they do not touch us until we have
_learned_ to like them. If we ever have a school of music, it will be in
harmony with our rapidly developing characteristics. But it must grow
up on our own soil; exotics never flourish long under strange skies. We
think that many things point to this country as the place where music
will achieve new triumphs. We are not bound by old traditions, we have
few prejudices to unlearn, and we are able to see merit in more than
one school. The same audience that becomes almost intoxicated with the
excitement of the Italian opera will listen with the fullest, serenest
pleasure to the majestic symphonies of Beethoven or to the sublime
choruses of Handel. The devotees of the various European schools