what in musical criticism is called "effect." It is the resort to ad captandum artifices, where "the vision and the faculty divine," where Art, is wanting. A man like Mendelssohn or Schumann must, by the very law of his own moral and artistic being, bring this charge against the popular "sensation"art of Meyerbeer or Verdi, withholding recognition as jealously as a sovereign free people must withhold it from a robber Emperor in Mexico. It is the serious conscience of the artist or the divinely smitten votary of Art protesting in the name of truth. So when the Great Fair in New York brings together the most imposing famous pictures of a number of our American painters, and there comes at last a critic to whom truth, told in however "sad sincerity," is even sweeter than the personal delight of praising, and who, while gladly recognizing all their skill, their wonderful effects, their clever imitations, their peculiar charm, yet feels the want of truth and loyalty to Nature, and declares that this is not highest Art, that it is only "sensational," it is no wonder that personal feelings and partialities are wounded, that the motives of the critic are suspected and called "venomous ;" yet it is possible that the critic-may be in the right, and if he stands in a minority of one, it is no more than a Michel Angelo or a Mendelssohn have done, than the true seer often must do, in the face of many an outward success and fashion of his art and time. Now we quote this "Plea" and this mock criticism of Shakspeare partly as a convenient text for pointing out certain important distinctions too often confounded in discussions about literature and art, and partly to show how signally it tells against itself. What have you done, O smart sensanonist? You have taken one of Shakespeare's genial creations and paraphrased it into a sensation story after your own vulgar, unimaginative method. You could do that, undoubtedly; you are at home in blood and thunder; but do not say he did it, never shake your gory locks at him! You and the like of you can find the materials for a dozen of your sensation plays in Macbeth; but the question is: Did Shakespeare make a sensation play of it, or was he capable of a mere "sensation" work in the offensive sense in which the word has hitherto with too much reasonbeen applied? The collective judgment of the thinking world has long since answered No. Your mistake is in supposing that the sensational materials of "Macbeth" contain the secret of its power, when you should seek it in the genius and the great humanity of Shakespeare. And now for our distinctions. 1. We do not condemn a novel, a play, or a poem as "sensational" because it may relate to something "out of the ordinary experience," because it deals with thrilling incidents of crime or murder "most foul and unnatural," or with passions swift and terrible as lightning, or with supernatural imaginings. With all these it may deal, and so deal as to escape the charge entirely; witness Shakespeare. The term never was suggested by the simple use of such materials, but by the use of them in the wrong time and manner and by the wrong person, that is without the warrant of genius, of the imaginative power which can divine and set forth (or embody) their essential humanity, and set the seal and charm of nature upon the seemingly unnatural. That is a "sensation" work, which would mask the want of genius under a startling subject; make harrowing plot and incidents, cheap effects of scenery and costume, &c., supply the place of poetry and subtle development of character. The man who can treat these harrowing subjects well, is he whose genius does not need them, who can find poetry in common life and nature anywhere. So in the art of tones, that is true music which springs from any fine essential musical feeling and idea, whose charm is in its inspiration, which finds its motive rather in itself than in its audience, and was honestly and sincerely born with no anxiety about the largest and the most immediate audience; which does not resort to clap-trap emphasis, or clothe itself in borrowed pomp of instrumentation and all sorts of ambitious accessories, which add nothing to its essential meaning, not being originally prompted and developed from within. "Sensation" music scores itself out with ringing complement of brass, or hides its poverty in dazzling pyrotechnic variations, or affects intensity of passion by all the approved operatic bursts and intensities of accent, “roaring like any nightingale,” simply because, stripped of such lion's skin, reduced to its musical substance, it would sing so lamentably small. These means, which genius uses by divine right so well, the uninspired and would-be popular composer borrows and uses them without the genius. 2. It is not the want of subject, but the want of genial treatment, that exposes a "thrilling story" or play to the charge of being "sensational." And we like to use the word genial in the German sense, as derived from genius. A genial poet is simply one whose poetry is poetry, and not mean prose, such as no plot however "out of the common," no startling images, no tricks of rhyme or swelling diction can redeem. If a writer or an artist always resorts to startling subjects, as Signor Verdi does, confessing his muse powerless to charm or produce "effect" within the bounds of Nature, or to find any poetry or music in what is near and common, he is of the sensation school in the worst sense. But a Shakespeare or a Mozart, able to interest with gentler themes and fond of them, can also handle tales of blood and passion, with such art as to make them not only sublime and terribly fascinating, but sweet and genial, and full of the sunshine and fruitfulness and charm of nature at the same time. True art, true genius never leaves out nature; deeds "foul and most unnatural" it still treats naturally; your "sensationist” can treat nothing naturally, and therefore takes to unnatural subjects; he is nothing if he is not monstrous. 3. The objection to "sensation" literature or art, therefore, is not that it makes a sensation in the world, or in its own little theatre, but that it contents itself with this, does not approve itself to the solitary thought of the best minds, does not sink into the deeper consciousness and culture of the age, cannot afford to wait to be understood and appreciated. It astonishes but does not edify. It adds nothing to our knowledge of the human soul; its lurid fireworks hide the heavens and the stars. It lacks the sincerity, the humanity, the simplicity as well as the subtlety of genius. Its tragedy is arbitrary, far-fetched, superfluous, its arts meretricious, its effect for the moment only and upon the surface, and its appeal is to a green or vulgar audience. 4. The motive of "sensation" art is mean and mercenary. It is principally self-advertisement. It is the art of Autolycus, the peddler. Not only does it advertise its own wares, it is itself nothing but advertisement. It serves the vulgar god of trade, even though it trade upon its own account. The art of advertising, in newspapers, pamphlets, show bills, and so forth, is one of the great features of this trade phase of civilization. What clever pens are occupied in it! But it does not end with puffs and advertisements which appear as such; how much of the literature of the day, of the novel and play writing, nay even the lecturing and sermonizing, is, stripped of its disguises, merely advertisement! The same must be confessed of much of the painting and sculpture, of the popular music, of a hundred and one fashionable operas, of the sensation style of singing, &c., &c. Shakespeare wrote for poetry and truth, wrote as the inspiration came, and not to advertise William Shakespeare into notice. So Bach, Mozart, Beethoven wrought; so Titian and Leonardo. Think you, if Verdi were the Shakespeare of musicians and were destined to worldwide recognition as the greatest three hundred years hence, he would now be fashionable? There is plenty of art which has a main eye to business, and which therefore as Art is damnable and vulgar. It makes a sensation for the time being, but all this weighs nothing against one wise man's verdict, nothing while "some dozen men of sense" (as Robert Browning's Bishop Blougram has it): Withhold their voices though (you) look their way : Like Verdi when, at his worst opera's end (The thing they gave at Florence,-what's its name?) While the mad houseful's plaudits near out-bang His orchestra of salt-box. tongs and bones, He looks through all the roaring and the wreaths Where sits Rossini patient in his stall. We lack room to connect all this, as we intended, with the remarks we made last week on the meaning of the word "classical" in music. But especially do we mourn our inability to close these hints with fit "improvement" of the anniversary of the past week, the Tercentenary commemoration of SHAKESPEARE, the one example in whom the whole world owns the power of genius, the supremacy of Imagination over all the mental faculties: the infinite worth of that which is poetry and art for all time, compared with every cheap "sensation" of the day;—Shakespeare, in whom all thinking minds may read the shortest and the fullest definition of what constitutes true Art, to-wit: Genius true to itself. Shakespeare's Day.---Festival Concert. It was fit that music should bear a part in the honors paid to Shakespeare in the world-wide observance of the three hundredth anniversary of his birthday. The best way would have been the union of genial music with an unusually perfect performance of one of his great plays on the stage. But the times were unfavorable with us his countrymen across the ocean; and it was only by a variety of hasty, fragmentary tributes in our various cities-some of the best in private circles-that this distracted country claimed credit for the will that was better than the deed. An oration here, a dinner there; a Shakespeare play upon the bills of many of the theatres ; the laying of the first stone of a monument in the New York Central Park; a German celebration, with Liederkranz, and Bandmann's "Hamlet," and Nicolai's "Merry Wives" and tableaux bythe painters, in Philadelphia;-this was about all, besides the noble concert given in our Boston Music Hall by Mr. B. J. LANG. Music, it must be owned, has not contributed very richly to the illustration of Shakespeare; nor (one may add) did Shakespeare need it. In England Matthew Locke's "Macbeth" and "Tempest "music ---dry and common-place enough--with such little things as a host of glee and song writers have set, t the best only cleverly, without genius, is all. Beethoven composed one masterly overture (to Coriolanus), but has not done for Shakespeare what he did for Goethe's Egmont. He left that to Mendelssohn, whose musical interludes ånd accompanying phrases to the "Mid-summer Night's Dream" are as entirely unique as they are true in art, forming (as Schumann said)" a bridge between Bottom and Oberon, without which the passage into Fairy Land is almost impossible." Schubert, who turned poets of all times and countries into song, composed "Hark, the Lark," with exquisite genius. For the rest we have only a beggarly account of third and tenth rate operas, which borrow plots and characters (names) from Shakespeare, but have nothing in their music in the least akin to him. Verdi's Macbetto, heaven save the mark; a better opera called Macbeth, but of the effective, showy order, by Taubert of Berlin; Nicolai's "Merry Wives of Windsor," sparkling, pretty music, but the absurdity of Falstaff singing !---Rossini's Otello, which of course does not lack Rossini's genius; and finally " Much Ado about Nothing" operatized by Berlioz. We have also heard a Hamlet" overture by Gade, which by any other name would sound as sweet, and a noisy one called "Lear" by Berlioz. What could we expect? Music is its own world; the Bachs and Beethovens and Mozarts had their own work to do, their own inspirations to follow, as well as Shakespeare, and some day one or more of these will be confessed as widely. Mr. LANG made the best choice possible in his selection of music. First, the "Midsummer Night's Dream" music entire-all but the little snatches that go with the action-including the Overture; the Scherzo, introducing Act II. and the fairies; the "Lullaby" Duet: "Ye Spotted Snakes" and fairy chorus; the Intermezzo, in which Hermia seems to pursue her lover through the tangled wood; the lovely Nocturne; the "Wedding March," and the Finale, song and chorus of fairies blessing the house. The solos were beautifully given by Miss HOUSTON and Mrs. CARY; the choruses were sung by a large choir of the freshest and best voiees in the city, and the Orchestra, under CARL ZERRAHN, played with more than usual delicacy and spirit, to the credit of themselves and of Mr. LANG's conductorship. Beethoven's Coriolanus Overture, in which a proud and fiery spirit storms itself away so grandly, is one of his best, and quite in the vein of the play. But the feast was more of Mendelssohn than of Shakespeare, and was, indeed, originally intended for the first of May, the revival of the Cantata composed to Goethe's "First Walpurgis Night," so admirably brought out by Mr. LANG two years ago, being a main feature. This formed the second part, and was given (we are told) not quite so successfully as before, at Icast in one or two of the solo parts, although in general it is much praised. The audience was immense, and the enthusiasm great, and Mr. LANG's good services will be remembered. Concerts. We have room only to recall some features of the music of the past two or three weeks. Perhaps the pleasantest thing that rises in the memory is the little Concert, twice given to an invited audience, by the Amateur Singing Club, under the direction of Mr. J. C. D. PARKER, at Chickering's rooms. Rare is the charm of choice choruses and part-songs sung by twenty or thirty fresh, refined young voices. The ensemble of tone, as well as the execution, was admirable. We had the entire 95th Psalm ("O come let us worship"), by Mendelssohn, a noble work, interspersed with interesting solos, in one of which a new tenor, Mr. MERRILL, made his mark, as he has Some of the noblest and least familiar choruses from gan and closed the concert. The "Cantabile, Largo Far worthier of the time, the place and Mr. Wheeler was the tenor song from Elijah: "Then shall the righteous." There was also a duet by Spohr, and an Ave Maria (contralto) by Bassini. All the songs were with piano-forte accompaniment by Mr. Ha mann. The same place was the scene of the first perform-ceived in the Italian operatic style, and that was sung! ance of Bennett's" May Queen" Cantata, by a choir of singers, with piano accompaniment, under the di rection of Mr. HENRY CARTER, preceded by a miscellaneous first part. The whole seemed a basket of green fruit. At least the chorus singing was unripe, voices harsh and out of tune, especially in the opening part-song. A chant-like simple song of Mr. Carter's, "Roscoe's Bride," in which two lugubrious lines of solo: " O dig a grave and dig it deep," are echoed in each stanza by a quartet in harmony, was quite impressive, if not cheerful. The "May Queen' has some fine music in it, and is always refined, though sometimes tedious and faint in its impression. The solos were generally well sung by Mrs. R. M. SMITH as the May Queen, Miss A. L. CARY as the Queen, Mr. L. H. WHITNEY, tenor, as the lover, and Mr. J. KIMBALL, basso. as Robin Hood. For a fair chance of effect we think this music needs an orches. tra, and we understand there is a prospect that it will so be given in one of the Wednesday Afternoon Con certs. Mrs. Smith, a new singer to us, commended with orchestra, with such truth of intonation and of Preludes," and the Semiramide overture also came up again. Last Wednesday the concert was again in the Music Hall, aud of uncommon interest from the high. er point of view, since, besides the Leonora overture, it offered us for the first time in many years Schumann's remarkable first Symphony, in B flat. It did not go so smoothly as it will the next time, and we will say no more of it to day except to advise every lover of great orchestral music to hear it. There are very few things indeed which come so near to Beethoven. There were Suss waltz and Gounod Potpourri, by force of hablt; and Mr. THAYER played on the Great Organ, with much pedal execution, some concert Variations by Hesse, and his own Of fertoire, for Vox Humana, which is cleverly enough contrived, the end being to gratify curiosity about that "fancy" stop. | The BOSTON MOZART CLUB (amateur orchestra) had their fourth and last social entertainment of the season last Monday evening, and treated their friends to a remarkably good programme, including: The first Symphony of Beethoven; Mendelssohn's overture "Return from Abroad;" a piano-forte Concerto, with orchestra, in D minor, by Mozart, played by an honorary lady member of the Club" (Miss Mary Fay); transcription of Schubert's "Serenade," and the overture to Don Giovanni. These amateurs set their standard high and make earnest efforts to reach it. They play together more and more like artists. WHAT NEXT? This Afternoon, the usual Organ Concert in the Music Hall. This evening, same place, a concert by that true singer, one of the world's best contraltos, and great favorite here, Miss ADELAIDE PHILLIPS. The first in four years; will it not be pleasant to hear her! She will have distinguished assistance too. Mme. GUERRABELLA, who has been singing in Havana with her; her own sister, Miss M. PHILLIPS, a pupil of Sig. Bendelari; Mr. LANG, who will play the D minor Concerto of Mendelssohn; and Mr. ZERRAHN with his Orchestra. Tomorrow evening, a "Sacred," that is to say, Sunday Concert in the Music Hali by that excellent musician, JULIUS EICHBERG, who has composod for the occasion several picees for Violin, Violincello, Piano and Organ. Two Organ pieces will be played by Mr. LANG; two soprano songs will be sung by Miss HOUSTON, and two baritone songs by Mr. SCHRAUBSTAEDTER. Next Wednesday Afternoon, the ORCHESTRAL UNION will repeat the Schumann Symphony, and Mr. JOHN K. PAINE will play two pieces on the Organ. Next Sunday Evening, the last Oratorio of the season, and one of the best, "Elijah," which the HANDEL AND HAYDN SOCIETY always set about with zeal and which always is inspiring to the audience. Chorus, Orchestra and Great Organ will combine in the grand ensembles, and the array of solo singers is uncommonly rich. ADELAIDE PHILLIPS will sing the contralto airs; Miss HOUSTON and Mrs. SMITH the soprano parts; Mr. WHEELER the tenor, Mr. RUDOLPHSEN the bass. CARL ZERRAIN will conduct. ST. LOUIS, MO. The Philharmonic Society gave its sixth concert on the 21st. The overture to Semi and a flute solo formed the first part; the second included Beethoven's first Symphony; an aria for con tralto, "The Whippoorwill," by E. Karst; a Polo naise from Meyerbeer's Struensee, and the everlasting March and Soldiers' Chorus from Gounod's "Faust," which one hopes the hand-organs will grind up this summer until there is nothing left of it. The aforesaid Vox Humana Offertoire also figured in two Organ Concerts given by Mr. Thayer lastramide, the entire "Spring" from Haydn's "Seasons," Saturday afternoon and Sunday evening. The very miscellaneous programme of the former was saved by the great Toccata in D minor by Bach and the third Sonata of Mendelssohn. And the latter, one of the concerts called "Sacred," had other things well enough in their way, but nothing interesting in comparison with the Toccata in F by Bach. We are glad that Mr. Thayer exercises his power on such noble organ works as these, and so successfully; since Mr. Paine, we have not heard them so well rendered. The March of Priests from Athalie, and the great March Finale of the Fifth Symphony, HARTFORD, CONN. On the sixth inst. the Mendelssohn Quintette Club (of Boston) gave a concert at the Female Seminary, under the auspices of Messrs. Buck and Wilson, the well known organists of the place. They played a Quintet by Beethoven, with selections from Haydn and Mendelssohn, popular arra gements from Rossini, Meyerbeer, &c. ending since done still more effectually in the " Walpurgis which the organist brought out very powerfully, be- | win the Soldiers' Chorus from "Faust," NEW YORK.-Among the manifold contributions of the musical art to the great Fair, which has given a million dollars to the Sanitary Commission, was a performance of Handel's oratorio "Judas Maccabæus." No musical work could be more timely during this war; it has the true ring of heroic patriotism. It was given at the Metropolitan Fair building, in Union Square, under the direction of Mr. Franz Ritter, with Miss Brainard as principal soprano, Mrs. Motte contralto, Mr. Geary tenor, and Mr. J. R. Thomas bass. Mr. Bristow "presided at the piano;" hence we infer that there was no orchestra, Otto Dresel's "Army Hymn" (words by Dr. Holmes, music not, as some of the NY. papers had it, "by O. Dresdel"), was performed at the inauguration of the Fair in grand style, by a picked chorus of 200 voices and the famous 7th Regiment Band, for which it had been instrumented by Carl Bergmann. The opening ceremonies of the Union Square department, later, also included a concert by the "German Liederkranz." The programme was as follows: 1. Overture-Der Freyschütz," 2. Der Frohe Wandersmann." Male Chorus and Orchestra. C. M. Von Weber. The season of Italian opera at the Academy of Music closed last week with three more performances of "Faust," and La Traviata for the benefit of Mme. Ortolani Brignoli. On Saturday, Shakespeare's birthday was made the occasion for "a grand gala matinée," when selections from Rossini's Otello were 'given, besides the entire opera La Sonnambula; the latter suddenly substituted for Nicolai's "Merry Wives of Windsor" on account of the illness of Herr Hermanns. Where was Signor Verdi's Machetto! Maretzek commences a supplementary season next Monday with the "Huguenots." PHILADELPHIA. Mr. Carl Gaertner, the violinist, gave a classical soirée on the 16th, assisted by Messrs. Jarvis, Cross, Roggenburger and Schmitz, and a double quartet of singers. The pieces performed were: Quintet (strings), op. 18, by Mendelssohn; Vocal Quartets by Abt and Möhring, Grand Duo for two pianos by Kalkbrenner; Quintet (strings), op. 29, Beethoven. "Judas Maccabæus" was performed at the third and last concert of the season, on Wednesday evening, by the Handel and Haydn Society, assisted by the Germania Orchestra. The re The DESCRIPTIVE LIST OF THE LATEST MUSIC. On Friday, April 22d, Schlegel and Tieck's trans- Published by Oliver Ditson & Co. All this was realized, except the part to have been taken by Mr. Murdoch, who was ill. The net proceeds go to the Sanitary Commission. WORCESTER, MASS. The Spy speaks of a choice A symphony in B flat by Haydn, and sonata in C The new Mass by Mr. C. C. Stearns was to be A little paper, called The Grumbler, in Toronto, Canada, grumbles in this wise about a new "Oratorio" of "Convention"-al psalm-singer Yankee manufacture : Vocal, with Piano Accompaniment. For thee, and only thee. (Marietta mine.) A sweet song, in praise of "Marietta." A nice little home ballad. Fred Buckley. 25 F. Buckley. 30 . Balfe. 50 Faust. Fantasie elegante. J. Leybach. 60 Chanson à boire. (Drinking Song). J. Leybach. 50 G. W. Marks. 1.00 mazurka. E. Ketterer. 60 An admirable piece, worthy of being companion to the Pluie de Perles, and others of the same high order. Very graceful and musical. Of medium difficulty. "Esther, the beautiful Queen," an Oratorio----a | Yankee Oratorio! Is it possible? Is there no limit to the impertinence of those people? Is there nothing that is high, nothing that is sublime, safe from their degrading influence, from their desecrating finger? Oh! honored shades of Handel, Beethoven, Haydn, and Mendelssohn, is it to be permitted that this insult be offered to an artistic form which has been sanctified by your pens, over which your sublime genius La Perle du Soir. (Pearl of evening). Fantasie has shed its lustre? Is it to go by unnoticed and unpunished, when such a fabrication is called an Oratorio? Oh! that we could dip our pens into the scornful ink of Swift, that ours were the cutting satire of Thackeray, to lash, with deserved severity, productions of this kind! If Mr. Bradbury, the noble compiler of "Shawms," of "Jubilees," and who knows what else, if he had called this, his miserable attempt, a "Medley," we could have passed it over silently with becoming contempt. A medley it is; And, Oh, ye Muses! what a medley! Let us sce. "Come, come away;" "Oft in the stilly night;" "Fest March;" "Camptown Races;" "Fisherman's glee;" "The Bay of Biscay, O!"; recitatives reminding the listener of the horrible story of "Blue Beard," as told by Sam Cowell; and all these mixed with stirring waltz and quadrille melodies and contorted pilferings from Operas, and explained by readings which remind of the poor limner, who, after finishing his tavern sign and doubtful of its likeness to nature, The Music Committee of the Great Central Fair are making preparations for a series of operatic and other performances on a grander and more extensive scale than anything ever before attempted in this country. Among the novelties will be a grand new opera by William H. Fry, called Notre Dame, founded on Victor Hugo's novel of that name. hearsals and other preparations are going on briskly and with every promise of splendid success. first performance will take place early in May. Miss Teresa Carreno, the wonderful little pianist, has given a concert at the Musical Fund Hall, assist ed by Mrs. Kempton, the contralto singer.-The pe-in pity, lend your voices to such desecrations! If you tite prima donna, Miss Laura Harris, has had a concert, assisted by Brignoli, Sig. Dragoni (baritone, from Covent Garden Opera), Mr. Pattison, the pianist, and Mollenhauer, violoncellist. thought best to write over it, "This is a horse." Nay, in the name of charity, do not, Oh, ye good people! punish us with such performances! Do not, have a worthy object in view, like the one for which this "pseudo-Oratorio" was performed, give us something, if not good, at least bearable. Your efforts are unworthily bestowed. Turn away from such puerilities. Books. CZERNY'S GRAND FINISHING STUDIES. Books ANOTHER BOOK OF MUSICAL GEMS. NEW BOOK OF MUSICAL GEMS A selection of the most charming OPERATIC PEARLS: CONS, DUETS, AND TRIDS, A SELECTION OF THE MOST CHARMING Songs, Duets, and Trios, FROM Don Giovanni, Il Flauto Magico, Der Freyschutz, Lucrezia Borgia, With English, French and Italian Words. This New Book is issued in a style uuiform with that of the Popular Series of Music FROM Don Giovanni, Il Flauto Magico. Der Freyschutz, Lucreziv With English, French and Italian Words, and Piano Forte accompaniments. This New Book is in a style uniform with that of the Popular Series of Musle Books," he Home Circle," The Shower of Pearls," and "The Silver Chord," and contains the Vocal Beauties of the Best Operas, n a neat, compact and durable form, at a very low price, one-twentieth of that which the same music would cost in sheets, Price, in plain binding $2.00: Cloth. $2.25: Cloth, full gilt, $3.00: Mailed, Post-paid, on receipt of price. OLIVER DITSON & CO., Publishers, 277 Washington Streeet, Boston. LOW-PRICED Books,—“THE HOME CIRCLE," "THE SHOWER OF PEARLS," and "THE SIL VERCHORD," and SONG & MUSIC BOOKS, contains the VOCAL BEAUTIES OF THE BEST OPERAS, in a neat, compact and durable form, AT A VERY LOW PRICE, ONE-TWENTIETH OF THAT WHICH THE SAME MUSIC WOULD COST IN SHEETS, UNBOUND. By the subjoined table of contents it will be seen that the work is superior to any similar collection. Companions, thanks, (Merce dilette.)...... Vepres Siciliennes Dark day of horror, DUET.. Day and Night I thought of thee,.. Gentle Goddess, [Casta Diva.]. Good-Night, [Mezzanotte.]. Hear me, Norma, DUET... Heart bowed down,. Hernani, rescue me, [Ernani, involami ]. Holy Mother, guide his footsteps, DUET.. Hope that the nearest, DUET...... Hour of parting, DUET..... How so fair, [M'appari tutt' amor.]. I dream't that I dwelt in marble halls,. I'd weep with thee... If filial love. [Se M' ami ancor.] DUET.. I have riches, [Io son Ricco.] DUET.. I'll pray for thee........ I love thee far (L'amore me'].. I'm a merry Zingara... In dreams of peace, [In Cielo benedetto.].. In tears I pine for thee.... It is better to laugh than be sighing,. Liberty for me....... Life has no power, (Se il fratel.] TRIO. Light of other days,. List, 'twill be well, [Vedrai Carino.]. My pulse with anger, [Di quella Pira.]. .Rose of Castile .Anna Bolena . Bohemian Girl Lucia Bohemian Girl ..Oberon .L'Elisire d'Amore . Capuletti .I Lombardi ...Belisario Maid of Artois Lucrezia Nay, bid me not. [La ci darem.]. O brightly shines, [Alfin brillar.]. O calm, forgetful slumber, [Deh calma o ciel.]. O cruel fortune. [Infelice e tu credevi.].. Don Giovanni ..Il Colonello O guard, all bounteous, [Protegga il giusto] TRÍO........ Don O haste, crimson, [O Sole piu ratto.]. O home of my childhood, [Souvenirs du O loved Italia, [Partgi O cara.] DUET... O that I never more. [Deh non voler.]... O whisper what thou feelest. Plighted faith, [O Luce di quest.]. jenne.]....... Giovanny Le Pre aux Cleres .......La The Golden Wreath Containing nearly 200 Popular The Nightingale. A New Book for Schools. 35 cts. War Songs of Freedom. 20 cts. Songs for the People. With numerous Engravings. $1 Amateur Song Book. A Coll of Old Favorites. 40 cts. Boston Temperance Glee Book. 40 cts. Union Temperance Song Book. 12 cts. The above contain both Words and Music. The Shilling Song Book. Containing the best songs of the day, a large number of which are not to be found in any other collection. Two Parts. Each 12 cts. Any book sent by mail, post-paid, on receipt of the price. OLIVER DITSON & CO., Publishers, 277 Washington Street, Boston. JOHN CHURCH, Jr., La Traviata Music Publisher and Dealer, ....Beatrice di Tenda Poor though my cot, [In questo semplice.]. Pure as the snow, [Piu Bianca,].. .Don Pasquale Rigoletto . Crown Diamonds .Linda Satanella Wholesale and Retail, in AMERICAN AND FOREIGN SHEET MUSIC, And every variety of Musical Instruments and Betly No. 66 West Fourth Street, Cincinnati. Norma Say, dearest thou [Ah, bello a me ritorna.]. Sound of harps, [Il Suon dell' Arpa.] DUET..........I Martiri Thee only. [Te sol quest anima] TRIO. There is a flower that bloometh,. "Twas no vision, [Non fu sogno.]... JOHN E. GOULD. As agent for the extensive catalogue of Messrs. OLIVER Smith & Ditson's Hall, CINCINNATI, For CONCERTS, LECTURES, FAIRS, &c. 514 Daughter of St. Marks J. SCHUBERTH & CO. Publishers and Dealers .Don Sebastiano. .L'Elisir d'Amore Norma La Favorita .......Il Flauto Magico .......Lucia Who treads the path [Qui sdegno.]. Price, in‐plain binding $2: Cloth, $225: Cloth, full gilt, $3. Mailed, Post-paid, on receipt of price. Oliver Ditson & Co., Publishers, 277 Washington St. in Foreign and American Music, St. Nicholas Hotel Building, pring Street near the corner of Broadway, NEW YORK. 357 &c. PIANO PRIMERS, CATECHISMS, Lenhart's Elements of Music, to which are added Burrowes' Guide to Practice, and Czerny's Celebrated Letters on the Art of Playing the Piano, 40 cts. Bertini's Self-Teaching Catechism, 25 ets. Burrowes' Piano Primer and Guide to Practice, 30 cts. Czerny's Letters to a Young Lady, 50 cts. Jousse's Catechism of Music, 25 ets. Oliver's Text Book, 40 cts. Knorr's Methodical Guide for Teachers, 50 cts. Calcott's Musical Grammar, 80. Forde's Class Book and Piano Primer, 25. The above comprise the best and most desirable books of their kind for both teachers and scholars. Copies sent postpaid. by OLIVER DITSON & CO., Publishers 277 Washington Street, Boston. MUSIC BOOKS ISSUED BY THE PUBLISHERS OF THIS WORK. Piano-Forte Instructors. 2 00 LABLACHE'S METHOD OF SINGING. .3 00 JUVENILE INST'TOR, 50; WOODBURY'S, 350 3 00 .2 50 3.00 50 CONCONE'S 40 LESSONS. For Bass voice. 50 .250 .200 50 CONCONE'S EXERC'S FOR THE VOICE. 100 50 FIRST STEPS IN THOROUGH BASS.... OPERA CHORUS BOOK. .....3 00 2.00 .2.00 OPERATIC BOUQUET. C.,2.00; bds.,1.75; pap. 1 50 ARION. A collection of Part Songs. 5 vols. .3.50 GO ...100 SILVER CHORD. Songs, with Piano Accom. 3883 .....2 00 FAMILY CIRCLE GLEE BOOK. 2 vols., ea. 1 50 YOUNG FOLKS' GLEE BOOK. .1 00 Violin and Flute Books and Music. 1 75 1 25 HELLER'S Op. 45. 25 Studies Introductory LENHART'S ELEMENTS OF MUSIC. Choir and Singing-School Books. 20 1.00 1 00 HARP OF JUDAH. By L. O. Emerson. 1 00 40 Violoncello, Double Bass, Accordeon, &c. GREATOREX COLL. OF CHURCH MUSIC. 1 25 ACCORDEON... ..... 1 00 50 GRACE CHURCH COLLECTION. King. .2 00 CHURCH CHOIR. By J. Muenscher.. .1 50 40 CHIME, GOLDEN HARP, CELESTINA. By Taylor. Each ACCORDEON AT HOME. Collection of Music. 50 1 00 50 Oratorios, Cantatas, Anthems, Choruses, CZERNY'S LETTERS TO A YOUNG LADY. 50 Two vols.. 2 00 JEWETT'S FLUTINA AND ACCORDEON. 50 Chants. 25 50 BAUMBACH'S SACRED QUARTETS. Cloth, 12 00 Banjo, Concertina, Dulcimer, & Bassoon. 2.25 BUCK'S MOTET COLLECT'N. Cl., 2.50; bds. 2 25 1 00 CHURCH AND HOME. Cloth, 2.75; boards,. .2 50 75 ORATORIO OF DAVID, 75; MOSES IN 25 EGYPT, 1.50; PRAISE OF GOD.......2 00 CANTATAS - As the Hart Pants, Mendelssohn, 25; Hymn of Praise, Mendelssohn, 1.00; Miriam's Song of Triumph, Schubert, 50; Praise of Friendship, Mozart, 30; May Queen, Bennet, 75; Burning Ship, Baker, 62; Storm King, Baker, 30; Morning, Ries, 30; Hear My Prayer, Mendelssohn, 30; Transient and Eternal,. . 50 CHORUSES-Creation, 50; Messiah, 50; Moses in Egypt, 50; May Queen, 50; Oratorio Chorus Book, 75; Convention Chorus Book, 10; Sacred Chorus Book, .2 00 TUCKERMAN'S CATHEDRAL CHANTS. 2 50 HAYTER'S CHANTS, 60; BIRD'S CHANTS. 40 CANTICA ECCLESIASTICA. thems. Webb... 50 75 Band & Orchestral Instructors & Music. HARMONICA SACRA. Anthem Book. ZUNDEL'S 250 VOLUNTARIES.. 40 WOODBURY'S MEL. INSTR., 40; HOWE'S, 40 STAR COLLECTION. For 5 or 6 instruments. 1 50 2.00 .1.00 Catholic Music, Masses, &c. 50 BURROWES' THOROUGH BASS PRIMER. 40 WINNER'S PERFECT GUITAR GUIDE. 50 JOHNSON'S HARMONY.. .100 In addition to the above, several hundred Instruction Books, and Collections of Music, with 37,000 various publications of Sheet Music. Catalogues sent on application. |