, a
"Tantum Ergo," and several songs, among them "Am Strom," "Der Hirt auf
den Felsen," and a part of the "Schwanengesang," all belong to this year.
The authorities differ as to the time of the first performance of
"Miriam's War Song." Nottebohm in his catalogue says that it was first
sung at a concert, Jan. 30, 1829, given for the purpose of raising funds
to erect a monument in memory of the composer, who died on the 19th of
the previous November. Others assert that Schubert was induced to give a
concert, March 26, 1828, the programme being composed entirely of his own
music, and that it was first heard on that occasion.

The work is for soprano solo and chorus, the words by the poet
Grillparzer, and the accompaniment, for the piano, as Schubert left it.
He had intended arranging it for orchestra, but did not live to complete
it. The work, however, was done a year or two afterwards by his friend
Franz Lachner, at that time officiating as Capellmeister at the
Kaernthnerthor Theatre in Vienna.

The theme of the cantata is Miriam's hymn of praise for the escape of the
Israelites, and the exultant song of victory by the people, rejoicing not
alone at their own delivery but at the destruction of the enemy. It opens
with a spirited and broad harmony, "Strike the Cymbals," changing to a
calm and graceful song, describing the Lord as a shepherd leading his
people forth from Egypt. The next number, depicting the awe of the
Israelites as they passed through the divided waters, the approach of
Pharaoh's hosts, and their destruction, is worked up with great power. As
the sea returns to its calm again, the opening chorus is repeated,
closing with a powerful fugue. The cantata is short, but it is a work of
imperishable beauty.

SCHUMANN.

Robert Schumann was born at Zwickau, in Saxony, June 8, 1810. In his
earliest youth he was recognized as a child of genius. His first teacher
in music was Baccalaureus Kuntzch, who gave him piano instruction. He
studied the piano with Wieck, whose daughter Clara he subsequently
married, now world-famous as a pianist. In 1830, in which year his
artistic career really opened, he began the theoretical study of music,
first with Director Kupsch in Leipsic and later with Heinrich Dorn, and
at the same time entered upon the work of composition. Schumann was not
only a musician but an able critic and graceful writer; and in 1834, with
Schunke, Knorr, and Wieck,