PROGRAMME.

Part First.

1. OVERTURE.—"La Muette de Portici"Orchestra.
2. THE FAVORITE.—"Prière."—DonizettiMiss Mc——.
3. LE BOHÉMIEN.—Samuel Snaer[19]Mr. O.P.
4. SYMPHONY.—For Two Violins and Piano,L.M., J.M., and Miss A.F.
5. MY SUNDAY DRESS.—SongJos. L., Jun.

Intermission.—Part Second.

6. OVERTURE.—"Sémiramis"Orchestra.
7. JUDITH.—ConconeMiss R.F.
8. THE ENCHANTRESS.—Fantasie for ViolinL.M.
9. L'EXTASE.—Valse brillante.—L'ArditiMiss F.
10. FORTUNIO'S SONG.—"Alsacian Dream"Jos. L., Jun.

Intermission.—Part Third.

11. OVERTURE.—"La Dame Blanche"Orchestra.
12. CONSTANTINOPLE.—A. LoydMiss R.F.
13. UNE DRÔLE DE SOIRÉE.—Scène Humoristique,J.A. Collin.

Miss A.F. will preside at the Piano.
The Orchestra under direction of Mr. Louis Martin.

DOORS OPEN AT 6.——CONCERT TO BEGIN AT 7 PRECISELY.

From the notes of a musical critic of New Orleans I learn that this concert was in all respects a fine success. The different overtures were well executed by an ensemble of twenty instrumentalists, all colored men; while all the numbers on the programme were rendered, generally, in a manner that would have been creditable, even had the performers been, as they were not, professionals.

The audience was a large and brilliant one, composed of members of both races, and was quite demonstrative in the bestowment of applause and in floral offerings. As at first remarked, concerts like the one just described are frequently given in New Orleans.

New Orleans has several fine brass bands among its colored population. "Kelly's Band" and the "St. Bernard Brass Band" deserve particular mention here. The "St. Bernard" is composed of a very intelligent class of young men, studious, and of excellent moral character; in fact, they form a splendid corps of musicians, equalled by but few others, and excelled by none. With these two bands and some others, the names of which I have not now at hand, the people of New Orleans are always well supplied with the best of martial music.

Before the late war, the city had an association of colored men called the "Philharmonic Society." Several liberal-minded native and foreign gentlemen of the other race were always glad to come and play with the "Philharmonics" overtures and other music of a classical character. This was really a scholarly body of musicians, with whom the very best artists of any race might well be proud to associate. Constantin Deberque and Richard Lambert were among those, who at times directed the orchestra. Eugène Rudanez, Camille Camp, Adolph Angelaine, T. Delassize, Lucien and Victor Pessou, J.A. Bazanac, Charles Martinez, and over one hundred other amateur musicians, added a lustre to the good name of the colored men of New Orleans, even during the gloomy days of oppression. These men with all their souls loved music and the drama; but were kept away from the grand opera, from concerts and theatrical performances, because they would not submit to the degradation of sitting in a marked place designated "for colored persons." Nevertheless, they were not to be deterred from following that bent of their minds which a love of art directed; and so, thrown entirely upon their own resources, these high-minded men formed the "Philharmonic Society" and other musical associations, finding in the same much to compensate them for what they lost by being debarred from entering those circles of culture and amusement, the conditions of entrance to which were, not a love of and proficiency in art, but that ignoble and foolish one, the mere possession of a white face.

And thus has been briefly and (as the writer fears) imperfectly told the story of these highly musical people of New Orleans. Bearing in mind the great and manifold difficulties against which they ever had to struggle,—not only such difficulties as all must encounter who study the science of music, but also those far, far greater ones that are caused by color-prejudice, the extent of whose terrible, blighting power none can ever imagine that do not actually meet it,—bearing in mind, I say, all these obstacles, and their triumphs over the same, it will be seen that much has been accomplished that may be considered really wonderful. As better opportunities for culture, and that fulness of recognition and appreciation without which even genius must languish and in many cases die,—as these come to them, as come they surely will in this new era of freedom,—then will such earnest votaries as have here been mentioned, with

"No fears to beat away, no strife to heal,
The past unsighed for, and the future sure,"—

attain to even greater degrees of proficiency and eminence in that noble art of which Pope thus beautifully sings:—

"By Music, minds an equal temper know,
Nor swell too high, nor sink too low.
If in the breast tumultuous joys arise,
Music her soft, assuasive voice applies,
Or, when the soul is pressed with cares,
Exalts her in enlivening airs;
Warriors she fires with animated sounds;
Pours balm into the bleeding lover's wounds;
Melancholy lifts her head;
Morpheus rouses from his bed;
Sloth unfolds her arms, and wakes;
Listening Envy drops her snakes;
Intestine war no more our passions wage;
And giddy factions bear away their rage....
Music the fiercest grief can charm,
And Fate's severest rage disarm;
Music can soften pain to ease,
And make despair and madness please;
Our joys below it can improve,
And antedate the bliss above."

APPENDIX.

MUSIC.