I. CAMBRIDGE. The Cambridge University Musical Society (C.U.M.S.) was founded as the 'Peterhouse Musical Society,' in Peterhouse (now modernised into 'St. Peter's College') by a little body of amateurs in Michaelmas Term 1843. The earliest record which it possesses is the programinė of a concert given at the Red Lion in Petty Cury on Friday, Dec. 8: year 1878-79, the classes in music included 45 Glee Symphony Song Overture Ballad Song In its early days the Society was mainly deVI. As already intimated, it is not possible to voted to the practice of instrumental music, the name all of the reputable institutions, public or few glees and songs introduced being of secondary private, in the United States, where music is taught interest. The Peterhouse Society had been in by trained and competent instructors. Neither has existence for about eighteen months, and had held it been possible to do more than suggest the ful- eleven 'Public Performance Meetings,' when the ness of the means which, in each instance cited, name was changed to that of the Cambridge Uniare at the command of students, such as libraries, versity Musical Society. The first concert given lectures and concerts. In addition to the collec- by the newly-named Society was held on May 1, tions of treatises and scores which are found at 1844; it included Haydn's 'Surprise' Symphony, each of the institutions named, there exist seve- and Mr. Dykes of St. Catharine's College' sang ral large and carefully made up libraries, which, John Parry's Nice young man' and (for an en being generally of a public or quasi-public cha-core) the same composer's Berlin wool.' The Mr. racter, present another means of education. At Boston there is the Public Library, open to every inhabitant of the city, without distinction, in which is a collection of rare text-books and scores. The library of the Harvard Musical Association is also of great value. At the library of Harvard University, and at the Astor Library, New York, collections of musical literature and works have been begun. The private library of Joseph W. Drexel, of New York, noted as the richest in the Union in old and rare musical works, will eventually form a part of the Lenox Library of that city. A feature peculiar to the United States should also be noted-Normal Musical Institutes,' held in the summer, at some seaside or mountain watering-place, by leading professors, for the purpose of giving advanced instruction to students who intend to fit themselves for teaching. Once a year, also in the summer, there is held at a place previously agreed upon, a meeting of music teachers from all parts of the Union, under the name 'The National Music Teachers' Association,' whereat matters of interest to the profession are discussed, and lectures delivered. From this has sprung (1884) an institution, The American College of Musicians, the purpose of which is to examine musicians who desire to become teachers, and to grant graded certificates of ability. The hope of the projectors is that by this means the standard of capacity among music teachers will be raised and maintained. [F.H.J.] UNIVERSITY MUSICAL SOCIETIES. Of these there are four in the British Isles requiring notice. Dykes who thus distinguished himself was afterwards well known as the Rev. J. B. Dykes, the composer of some of the best of modern hymn tunes. There is not much variation in the programmes during the early years of the Society's existence. Two or three overtures, an occasional symphony or PF. trio, with songs and glees, formed the staple, but very little attention was given to choral works. The conductors were usually the Presidents of the Society. In 1846 Dr. Walmisley's name frequently appears, as in his charming trio for three trebles, "The Mermaids,' and a duet concertante for piano and oboe. In 1850 the Dublin University Musical Society, having passed a resolution admitting the members of the C.U.M.S. as honorary members, the compliment was returned in a similar way, and the Cambridge Society subsequently entered into negotiations with the Oxford and Edinburgh University Musical Societies, by which the members of the different bodies received mutual re cognition. In Dec. 1852 professional conductors began to be engaged. One of the earliest of these (Mr. Amps) turned his attention to the practice of choral works. The result was shown in the performance of a short selection from Men. delssohn's Elijah' (on March 15, 1853), 'Antigone' music (May 28, 1855), and Edipus' (May 26, 1857), when Dr. Donaldson read his translation of the play. On the election of Sterndale Bennett to the professorial chair of Music, he undertook whenever time would allow to conduct one concert a year. In fulfilment of this promise, on Nov. 17, 1856, he conducted a concert and played his own Quintet for piano and wind, the quartet being all professionals. In the next few years the Society made steady progress, the most notable performances being Mozart's Requiem; Bach's Concerto for 3 PF.s; Beethoven's Ruins of Athens;' the 'Antigone' again; a selection from Gluck's 'Iphigenia in Aulis'; Beethoven's Mass in C and Choral Fantasia; and a concert in memory of Spohr (Dec. 7, 1859). In 1860 the Society gave its first chamber concert (Feb. 21). In the following year the Society gave a performance of the 'Edipus' in the Hall of King's College, the dialogue being read by the Public Orator, the Rev. W. G. Clark, At a subsequent performance of the 'Antigone' in the Hall of Caius College (May 20, 1861) the verses were read by the Rev. Charles Kingsley. On March 9, 1862, the name of Schumann occurs for the first time to the beautiful Andante and Variations for two pianofortes (op. 46). In the following year the Society produced for the first time in England the same composer's Pianoforte Concerto (op. 54), played by Mr. J. R. Lunn. Other achievements worth mentioning were the performance in 1863 of the Finale to Act I, of Tannhäuser,' of Schumann's Adagio and Allegro (op. 70) for PF. and horn, his Fest-overture (op. 123, first time in England), and of the march and chorus from Tannhäuser.' The concerts of the next nine years continued to keep up the previous reputation of the Society, and many standard works were during this period added to the repertory. In 1876 a series of Wednesday Popular Concerts was started, and has been continued without intermission in every Michaelmas and Lent Term to the present time. These are given in the small room of the Guildhall, and generally consist of one or two instrumental quartets or trios, one instrumental solo, and two or three songs. The performers consist of both amateur and professional instrumentalists. More important chamber concerts are also given in the Lent and Easter Terms; and to these, Professor Joachim—an honorary member of the Society-has often given his services. The Society, as at present (Nov. 1884) constituted, consists of a patron (the Duke of Devonshire), 16 vice-patrons, a president (the Rev. A, Austen Leigh), three vice-presidents, secretary, treasurer, librarian, committee of eight men bers, ladies' committee of six associates, conductor (Dr. C. V. Stanford), 280 performing, 130 non-performing members and associates, and 20 honorary members. The subscription is 218. a year, or 10s. a term. Besides the popular concerts once a week in Michaelmas and Lent Terms, there is usually a choral concert every Term, and in Lent and Easter Terms a chamber concert of importance, and choral and instrumental practices once a week. The following is a list of the most important works produced and performed by the C.U.M.S. Numerous overtures and symphonies and much chamber music, by Haydn, Mozart, Beethoven, Schubert, Brahms, Bennett, etc., have been omitted for want of space. The works marked with an asterisk were performed by the Society for the first time in England. Astorga. Stabat Mater, Music to Oedipus; Psalm quiem Mass, No. 1; Mass, No. XII; Minuets for 2 Violins and Violoncello. Palestrina. Hodie Christus; Se Concerto for 2 Pianos; Suite, Brahms. Requiem; Song of Des- In 1870 Mr. Charles Villiers Stanford (then an undergraduate at Queen's) made his first appearance at a concert on Nov. 30, when he played a Nachtstück of Schumann's, and a Waltz of Heller's. In 1873 he succeeded Dr. Hopkins as conductor, and one of his first steps was to admit ladies to the chorus as associates. This was effected by amalg mating the C.U.M.S. with the Fitzwilliam Mus cal Society, a body which had existed since 1858. The first concert in which the newly-formed chorus took part was given on May 27, 1873, when Sterndale Bennett conducted The May Queen,' and the Tannhäuser' march and chorus was repeated. In the following year the Society performed Schumann's 'Paradise and the Peri' (June 3, 1874), and on May 2, 1875, his music to Faust' (Part III) for the first time in England. The custom of engaging an orchestra, consisting mainly of London professionals, now began, and enabled the C.U.M.S. to perform larger works than before. The number of concerts had gradually been diminished, and the whole efforts of the chorus were devoted to the practice of important com. positions. By this means the Society has acquired a reputation as a pioneer amongst English musical societies, and within the last few years has produced many new and important compositions, besides reviving works which, like Handel's 'Semele' and 'Hercules,' or Purcell's Yorkshire Feast Song,' had fallen into undeserved oblivion. A glance at the summary of compositions performed, at the end of this article, will show the good Leo. Dixit Dominus. work which it is doing for music in England, lection, Missa Papae Marcelli. Parry, C. H. H. Scenes from Prometheus Unbound; Symphony in F; PF. Trio in E mi.; PF. Quartet in A minor. Purcell. Yorkshire Feast Song. Romberg. Lay of the Bell. Schumann. Andante and Varia tons, op. 46; PF. Concerto, op. 54; Adagio and Allegro, op. 70; Fest Ouverture, op. 123; Paradise and the Peri; Faust (Part III); The Pilgrimage of the Rose. Gluck. Selection from Iphigenia Spohr. Selection from The Last in Aulis. Goetz. Sonata for Piano (4) Judgment; Selection from Calvary: God Thou art great." Stan'ord. Pianoforte Concerto: Trio. Piano and Strings; Resurrection Hymn; Sonata, Piano and Violin; Psalm xlvi Elegiac Symphony; Awake, my heart.' siah: Ode on St. Cecilia's Day; Overture: Mendelssohn. Selection from Eli- Festival Anthem. op. 63. [W.B.S.] II. OXFORD.-At the close of the last and the beginning of the present century, Oxford concerts were probably superior to any in England outside London. A performance was given once a week in Term-time, and the programmes in the Bodleian show that at least one symphony or concerto was played at each. But the old Oxford Musical Society disappeared, and the societies now existing are of comparatively recent date. There has been no Choral Society on a large scale confined to members of the University since the disappearance of the Männergesangverein' some seven years ago; but there are two important societies largely attended by members of the University, the Oxford Choral Society and the Oxford Philharmonic Society. The former was founded in 1819, but in its present shape may be said to date from 1869, when the late Mr. Allchin, Mus. B., St. John's, became conductor, a post which he held till the end of 1881. Under his direction the Society became exceedingly prosperous, and the following works, besides the usual répertoire of Choral Societies, were performed:-'Israel in Egypt,' the Reformation Symphony,' Schumann's Pilgrimage of the Rose,' and Wagner's Siegfried-Idyll.' The following English compositions were performed by it in Oxford almost as soon as they were brought out:-Barnett's 'Ancient Mariner,' Macfarren's 'St. John the Baptist' and 'Joseph,' Stainer's Daughter of Jairus,' and Sullivan's 'Martyr of Antioch.' Mr. Allchin was succeeded as conductor by Mr. Walter Parratt, Mus. B., organist of Magdalen, and on his departure from Oxford in 1882, Mr. C. H. Lloyd, M.A., Mus. B., organist of Christ Church, assumed the bâton. Amongst the most notable works given under their direction may be mentioned Schubert's B minor Symphony, Gounod's Redemption,' and Parry's 'Prometheus Unbound.' The president of the Society is Dr. Stainer, who was also the founder of the Philharmonic Society in 1865. He, however, conducted only one concert, and in October 1866 Mr. James Taylor, organist of New College, Mus. B. (1873), and organist of the University (1872), accepted the post of conductor, which he has held ever since. The compositions performed under his direction include the following:-Bach's 'God's time is the best,' Beethoven's Eb Concerto and Choral Fantasia, Cherubini's Requiem in C minor, Schubert's Song of Miriam,' Spohr's 'Fall of Babylon,' Schumann's 'Paradise and the Peri,' Bennett's Woman of Samaria,' Benedict's 'St. Peter,' and Ouseley's 'Hagar.' The attempt to establish Symphony Concerts in Oxford has so far proved a failure, but the Orchestral Association, which meets weekly under Mr. C. H. Lloyd's direction, boasts about fifty members, many of them belonging to the University. Chamber music owns two strictly academic associations. The older of these, the University Musical Club, originated in the gatherings of some musical friends in the rooms of the present Choragus of the University, Dr. Hubert Parry, during his undergraduate days. After him, Mr. C. H. Lloyd, then a Scholar of what is now | Hertford College, took up the meetings, and in 1871 they developed into a public institution. The number of members rose rapidly, reaching as high as 138 in 1880. In the following year the Club, then under the presidency of Mr. Franklin Harvey, M.A., of Magdalen, celebrated its tenth year by a great réunion of past and present members. During the last few years the tendency of the Club has been to give good performances of chamber music by professional players, and it occurred to some, including the writer of this notice, that it would be desirable to establish an association for the development of amateur playing. The scheme was floated in the summer of 1884, and the University Musical Union' met with a success far exceeding its promoters' hopes. Over a hundred members were speedily enrolled, and regular professional instruction in quartet-playing, etc., has been provided every week, so that any amateur player who will work may, during residence, make himself conversant with a large amount of chamber music. No account of University music in Oxford can be considered complete without some notice of the College concerts. The first college that ventured on the experiment of replacing a miscellaneous programme of part-songs, etc., with a complete cantata was Queen's. In 1873 Bennett's 'May Queen' was given in the College Hall, with a band, and since then the following works have been performed with orchestra:-Barnett's 'Ancient Mariner,' Bennett's Ajax' music; Macfarren's 'May Day,' and 'Outward Bound,' Gade's Crusaders,' Mendelssohn's Walpurgis Nacht,' Handel's Acis and Galatea,' Gadsby's 'Lord of the Isles, Schumann's 'Luck of Edenhall,' Alice Mary Smith's 'Ode to the North-East Wind,' and Song of the Little Baltung,' Haydn's Surprise Symphony, Mozart's Eb Symphony, and Bennett's F minor Concerto. For its 1885 concert the Society has commissioned its conductor, Dr. Iliffe, organist of St. John's College, to compose a new work, which will be called Lara.' For some years Queen's College stood alone in the high standard of its programmes, but of late its example has been extensively followed, and the following complete works were given in the Summer Term of 1884. Gade's 'Comala' at Worcester, and his Psyche' (with small band) at Keble; Barnett's 'Ancient Mariner' at New, and his 'Paradise and the Peri' (with band) at Merton; and Macfarren's 'May Day' at Exeter. To sum up, we have in Oxford every year four concerts of the highest class, two given by the Philharmonic, and two by the Choral; we have two concerts of chamber music every week in each Term; any instrumental player has a weekly chance of practising both orchestral and chamber music, and at least six colleges may be depended on to perform a cantata of considerable dimensions every year. The following works will be heard in Oxford with orchestra during the early part of 1885:-Beethoven's Mount of Olives,' Štainer's St. Mary Magdalen,' Mozart's Twelfth Mass' (so called), Mendelssohn's 114th Psalm and Refor mation Symphony, Spohr's 'Christian's Prayer, new feature in Scottish student-life is that each IV. DUBLIN.-The University of Dublin Choral Society, like many other similar Societies, originated with a few lovers of music among the students of the College, who met weekly in the chambers of one of their number for the practice of partsinging. They then obtained permission to meet in the evening in the College Dining Hall, where an audience of their friends was occasionally assembled. These proceedings excited considerable interest, and in November 1837 the Society was formally founded as the University Choral Society,' a title to which the words of Dublin' were afterwards added, when the rights of membership were extended to graduates of Oxford and Cambridge. [See TRINITY COLLEGE, DUBLIN.] Lloyd's Hero and Leander,' Handel's Alex- | present to the Senatus a portrait of the presi ander's Feast' and 'Acis and Galatea,' Goring dent, but also to subscribe £50 towards the Thomas's 'Sun Worshippers,' Mackenzie's 'Bride, expenses of an extra concert given during the Gade's Erl King's Daughter,' and Iliffe's 'Lara.' tercentenary of the University in 1884, and a There will also be performances of three other large collection of music for men's voices, with works, but the details are not yet (Nov. 1884) orchestral accompaniment specially scored, for settled. [J.H.M.] much of it has been acquired out of the yearly III. EDINBURGH.-The germ of the first stu- balances in hand. A gratifying outcome of this dents' musical society established in Scotland is traceable to a University Amateur Concert' of of the other Universities of Scotland have folFebruary 1867, 'given by the Committee of Edin-lowed the example of Edinburgh-Aberdeen, St. burgh University Athletic Club, the performers Andrew's, and Glasgow, each possessing a musical consisting of members of the University, assisted society giving a very creditable annual concert. by the Professor of Music, by amateurs of the The formation of such a student-chorus, East Senatus Academicus, and by members of St. Ce- and West, North and South, cannot fail to raise cilia Instrumental Society.' The following winter choral taste amongst the most educated portion the Association was organised, and in 1868, of the male population of Scotland, and to afford, 1869, and 1870 concerts were held. An arrangeas in the days of Queen Elizabeth, opportunity of ment having been made for elementary instruc- taking part in most enjoyable artistic recreation. tion to members deficient in previous training, And by no means the least part of the value of the society was recognised as a University insti- University musical societies is that their associatution by an annual grant of £10 from the tions tend through life to foster and cement stuSenatus. But its numerical strength was weak, dents' regard for their 'Alma Mater.' [H.S.O.] and at a committee meeting in Nov. 1870 it was resolved to let the society, so far as active work was concerned, fall into abeyance for the session of 1870-71, in consideration of the difficulty in carrying on the work from want of encouragement from the students. In the winter of 1871 the present Professor of Music, warmly supported by some of his colleagues, was able to get the matter more under his control, and he was elected president and honorary conductor. Amongst reforms introduced were the use of his classroom and of a pianoforte for the practisings, and the drawing up and printing of a code of rules and list of office-bearers. The latter consists of a president, vice-presidents, including the principal and some half dozen professors, honorary In 1837 the amount of printed music available vice-presidents, a committee of some ten stu- for the use of a vocal association was small. The dents, with honorary secretary and treasurer, cheap editions of Oratorios, Masses, and Cantatas and with choirmaster. Subsequently the Duke were not commenced until nine years later, and of Edinburgh complied with the request of the it was not until 1842 that the publication of president that His Royal Highness should be- Mr. Hullah's Part Music supplied choral sociecome patron.-The main object of the Society, as ties with compositions by the best masters. stated in the rules, 'is the encouragement and The Society therefore for some time confined its promotion amongst students of the practical studies to some of Handel's best-known works, study of choral music.' After the reorganisation such as 'Messiah,' 'Israel in Egypt,' 'Judas of 1871 considerable impetus was given to the Maccabæus,' Jephthah,' 'Samson,' 'Acis and matter, and the annual concert of 1872 evinced Galatea,' and Alexander's Feast,' Haydn's marked advance and higher aim. Besides a 'Creation' and 'Seasons,' Romberg's 'Lay of the stronger chorus, a very fair orchestra of pro- Bell,' and the music to Macbeth' and the fessors and amateurs, with A. C. Mackenzie Tempest.' In 1845, however, an important as leader, played Mozart's G minor Symphony, advance was made by the performance, on May 23, some overtures, and the accompaniments; and of Mendelssohn's music to 'Antigone,' which the president and conductor was presented by had been produced at Covent Garden Theatre in his society with a silver-mounted baton. Recent the preceding January, and from that time foryears have brought increased success, both as toward the Society has been remarkable for bringannual concerts and as to numbers, which in five years rose from 64 to 236, the average number being some 200. The twelve concerts annually given since 1872 have been very popular, and on the whole well supported. Although the annual subscription is only 58., and expenses are considerable, in 1883 the balance in hand was about £200, enabling the society not only to ing before its members and friends every work of merit within its powers of performance. The following list shows the larger works (many of them frequently repeated) which, in addition to those mentioned above, have been performed at the Society's concerts :— 1 Mr. Hercules H. G. Mac Donnell. Bach. Passion (St. John); Mag- Macfarren. The Sleeper Awaknificat. Balfe. Mazeppa. Beethoven. Mass in O; Mount of Olives; Ruins of Athens; King Stephen. Carissimi. Jonah. Cherubini. Requiem Mass. Cowen. The Corsair. ened; John the Baptist. Mendelssohn. St. Paul; Lauda Sion: Athalie: Christus: The First Walpurgis-Night; Loreley. Monk. The Bard. Smart. The Bride of Dunkerron. Gade. The Erl-King's Daughter: Spohr. Last Judgment; Psalm 84. Spring's Message; Psyche; Stewart. A Winter Night's Wake; The Crusaders. Gadsby. The Lord of the Isles: Alice Brand. Gollmick. The Heir of Linne. Handel. Saul; Joshua; Esther; Theodora; The Dettingen Te Deum. Hiller. Lorelei. The Eve of St John (both written for the Society). instrument. The upright barpsichord (Fr. Clare- Sullivan. Martyr of Antioch; Te Upright harpsichords are now rarely to be met Deum; On Shore and Sea. Van Bree. St. Cecilia's Day. Verdi. Requiem Mass. Weber. Jubilee Cantata; Music in Preciosa; Liebe und Natur. Several large selections from operas containing a choral element have been given, as Mozart's 'Idomeneo,' 'Zauberflöte,' and 'Don Giovanni'; Weber's 'Der Freischütz' and 'Oberon,' etc. For many years the old-fashioned regulations compelled the Society to employ only the choristers of the Cathedral for the treble parts in the chorus, and on occasions where boys' voices were inadequate, to give its concerts outside the college walls; but in 1870 permission was granted to admit ladies as associates, and since that time they have taken part in the concerts of the Society. About the year 1839 the Church Music Society, of which Mr. J. Rambaut was conductor, was founded in Trinity College. It appears to have restricted itself to the practice of psalmody, and to have had but a brief existence. [G.A.C.] UPHAM, J. BAXTER, M.D., a citizen of Boston, U.S.A., where he has for long occupied a prominent position in the musical life of the city. He was for nearly thirty consecutive years (1855-1884) president of the Music Hall Association, and it was largely through his personal exertions that the great organ, built by Walcker of Ludwigsburg, was procured for the hall. Before concluding the contract for the organ, Dr. Upham consulted the most notable builders in Europe, as well as with organists and scientific authorities, and personally inspected the most famous organs in the Old World, with the view of securing an instrument that should be in all respects a masterpiece. For 10 years (1860 to 1870) Dr. Upham was president of the Handel and Haydn Society, and it fell to him to prepare and deliver the historical sketch of the society at its bicentenary festival in May, 1865. For 15 years (1857-1872) he officiated as chairman of the Committee on Music in the public schools of the city, and through his active supervision the system of music-training in Boston acquired much of its thoroughness. [See UNITED STATES.] [F.H.J.] UPRIGHT GRAND PIANO. A transposition of the ordinary long grand piano to a vertical position, so that it might stand against a wall. The upright piano was derived from the upright harpsichord, and like it, its introduction was nearly contemporaneous with the horizontal 1 The organ was sold and taken down in the summer of 1884, and stored awaiting the erection of a new concert hall, for which it was bought. with. One decorated with paintings was shown in the special Loan Exhibition of ancient Musical Instruments at South Kensington in 1872, contributed by M. Laconi of Paris. Another, in a fine Renaissance outer case, was seen in 1883 at Christie's, on the occasion of the Duke of Hamilton's sale. The museums of the Conservatoire at Brussels, and of Signor Kraus, Florence, contain specimens. There is also an upright grand piano at Brussels, the oldest yet met with. It was made by Frederici of Gera, in Saxony, in 1745. This was the very time when Silbermann was successfully reproducing the Florentine Cristofori's pianofortes at Dresden, which were horizontal grand pianos. [See PIANOFORTE; CRISTOFORI; and SILBERMANN.] Frederici, however, made no use of Cristofori's action. Neither did he avail himself of a model of Schroeter's, said to be at that time known in Saxony. M. Victor Mahillon, who discovered the Frederici instrument and transferred it to the Museum he so ably directs, derives the action from the German striking clocks, and with good reasons. Frederici is also credited with the invention of the square piano, an adaptation of the clavichord. The earliest mention of an upright grand piano in Messrs. Broadwoods' books occurs in 1789, when one in a cabinett case' was sold. It was, however, by another maker. The first upright grand piano made and sent out by this firm was to the same customer, in 1799. Some years be. fore, in 1795, William Stodart had patented an upright grand pianoforte with a new mechanism, in the form of a bookcase. He gained a considerable reputation by, and sale for, this instrument, Hawkins's invention in 1800 of the modern upright piano descending to the floor, carried on, modified, and improved by Southwell, Wornum, the Broadwoods and others, in a few years superseded the cumbrous vertical grand piano. [A.J.H.] URBANI. [See VALENTINI.] URHAN, CHRÉTIEN, born Feb. 16, 1790, at Montjoie, near Aix-la-Chapelle, was the son of a violinist. He early showed great taste for music, and while still untaught began to compose for his two favourite instruments, the violin and piano. The Empress Josephine happening to hear him at Aix-la-Chapelle, was so struck with his precocious talent that she brought him to Paris, and specially recommended him to Lesueur. The composer of 'Les Bardes' was then at the height of his popularity both with the public and the Court, and his countenance was of as much service to Urhan as his lessons in compo. sition. Urhan entered the orchestra of the |
