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mental Nocturne of Chopin," it will take more than 3rd, Life of Beethoven read by Miss N. French, Symphony, No. 2. C minor, op. 134, new).... Reinecks

1. Allegro, H kon Jarl. Springfield.

2. Andante, Thora. the utterance of such a jaundiced oracle to convince

3. Intermezzo, In Odin's Hain. 4. Finale,
4th, Selections from the Sonata in A flat, No. 12,
And then the meanness
us.

Oluf's Sieg.
of talking of
Miss Nellie Noyes.

Concertetueck, op. 92, (first time).. Schumann the hardihood which it required to attempt this 5th, " Adelaide," sung by Miss Leonora Huntington

Introiluction and Allegro Appassionato.

Mme. Madeline Schiller and Orchestra. work so soon after the magnificent rendering by of Springfield.

Introduction,

Tristan und Isolde.... Von Buelow! Mr. L. had selected this work for 6th, Bonate Pathetique, by Miss Mary McKee of

.Wagner

Finale, this winter's concerts, and had been engaged in the Waverly, Ill.

Beethoven

Symphony, No. 7, in A, op. 92 Miss Huntington is a younger sister of Mr:. Ella Huntstudy of it, before it was even understood that Bue- ington Henkle, whose singing was heard in Boston three

At the second Concert of the New York Philharmonic low was to come here. And is such a work to be or four years ago. Miss Leonora's voice is not as high as

society, at the Aca lemy of Music on Saturday evening,

Dec. 11, the orchestral numbers of the programme were blotted out from the repertoire of such a series of her sister's but equal in strength and her singing is inore concerts, because a great man chances to come here

sympathetic, perhaps because she excels in Elocution, Spohr's Symphony in F, “Dic Weihe der Töne," which which is admirably taught at the Institute; indeed I'think

was smoothly and on the whole very well played; Schuand play it exceptionally well? It is a part of the the musical is not in advance of the other departments

mann's romantic“ Genoveva” ove ture and Liszt's Symsystem of the Harvard concerts to give every win. there, although I judge there was but little more prepara

phonic Poem, “Les Preludes," a piece which depends ter one or two of the Beethoven Concertos, as well tion made for this occasion than for the weekly exercises

entirely upon the orchestra for its effect, and which had as a fair proportion of the Beethoven Symphonies ; in the school room. Do you not think it gives the schol

but poor treatment at the hands of the Philharmonic these come round in their turns, as Christmas

players. ars more culture to study and play classical music themcomes; shall we renounce them from the moment selves, than to have concerts occasionally given at the

Thoroughly delightful and inspiring was the violin we have heard a better performance than we are

school by professional musicians? As we often judge of playing of the solo performer, Mr. Joseph White, who perable to command ourselves? And if the music is to

formed Mendelssohn's Concerto in E, and the Ciaconna in a place by its schools, I take pleasure in writing of the he given, for the music's sake, shall we not feel in

D minor by Bach. Every part of the beautiful concerto Ivstitute especially as my western pride has been sorely debted to that one of our own artists who will un

was interpreted at the best, and I have seldom heard so wounded by such questions as “Do the menageries ever dertake it in an artistic spirit, though probably not

satisfactory a rendering. while the Ciaconna, which deget as far West as Springfield ?” or “Do you have any dreaming of so r::sh a thing as rivalling a Buelow

mands talent and artistic qualiities of the very highest side walks there?” asked by intelligent people who had or a Liszt! To call this "presumption " is impu

order, was equally well played. never been out here. dent presumption in the critic.—But why waste

The Thomas Orchestra is again engaged for the season words on an attack so palpably malicious and so

by the Brooklyn Philharmonic Society. At the first con

ANOTHER PUPIL OF Liszt. The young lady of cert, Dec 18, the programme opened with Beethoven's base, that henceforth no respect or credit can attach

“ Eroica” Symphony, and the other orchestral selections to what may emanate from such a source. Cambridge, Miss Amy Fay, who wrote the brilliant

were the Introduction and Finale from Wagner's “ TrisThe Symphony (Joachim's instrumentation of the letters from Weimar about Liszt, in the Atlantic, is

tan and Isolde"and Liszt's “ Rhapsodie Hongroise," No.

1. of the orchestral series. thoroughly symphonic “Grand Duo,” Op. 140, for

Mme. Antoinnette Sterling now in New York. The Brooklyn Union, about a sang a Recitative and Aria from “St. John the Baptist four hands), we still think, as we have said before. to be, next to the matchless No. 9, in C, by far the fortnight since, had the following notice of a Mat- Lisztos "König in 'Thule.""; For an encore she gaver schu

bert's “ Doppelgaenger." most important of the larger instrumental works of inée in which she performed:

At Chickering Hall a series of six classical concerts was Schubert; and, if so, it is not rash to assert that,

An entertainment of novel and unusual interest was begun on Friday evening, Dec. 17, with the following among all the pretentious new Symphonies which inaugurated on the afternoon of Monday, December 20, at

programme. have been brought out here within a few years,

Mendelssohn

Quartet in B minor..
Chickering's former rooms in Fourteenth street, New
Raff, Rubinstein, Brahms, Svendsen and the rest, — York. Mrs. Charles S. Pierce, of Cambridge, addressed

Mme. Carreno Sauret, MM. Sauret, White and

Werner. it is by far the most important, the most interesting an audience of ladies on the subject of the duties of women,

Nardini

Violin Soloand full of genius. Here again the oracle above

18 Barcarole and Scherzo...... .Spohr the importance of occupation, and the advantages of the quoted shows a lack of quick perception and appre- cn-operative system in reducing the cost of living. Mrs.

M. Emi e Sauret. ciation when he speaks of it as “dull” and “dreary,' Peirce is well known in the literary world as the author of

“ Ballade," in G minor......

.... Chopin

Senor Cervantes, and harps almost exclusively on its "

a series of articles on co-operative housekeeping, which " inordinate

Voca! Selections. length." Yet he confesses (to lend his article an air appeared a few years ago in the Atlantic Monthly She was followed by her sister, Miss Amy Fay, who gave

Andante con Variazioni, for Two Pianos...Schumann of candor, as sometimes when he praises, even over a piano recital of the following pieces:

Mme. Carreno Bauret and Senor Cervantes.

Sonata in Crinor, for Piano and Violin... Beethoven praises, this or that in a review of which the gener Study in sixths...

.Chopin

Mme. Carreno Sauret and Senor White.

Beethoven al drift is meant to be disparaging) that it is impos.

Bonata, op. 27, No. 1...
Chant Polonaise, No. 5..

(hopin

The second concert of this series came on Thursday sible to judge of it upon a single bearing. Why Clavierstueck..

Schubert

evening, Dec 23, and a matinée was given on the same not, then, avail bimself of the opportunity of hear Canzonet.......

.Jensen

day. ing it in rehearsal, before saying : Go to, it is Märchen.

The second series of Von Buelow concerts hegan, at Gnomen-Reigen..

...... Liszt Chickering Hall, on Monday evening Dec 27, where a large naught, of one of the greatest works of the most in.

audience gathered to welcome the great pianist on his respired musician after Beethoven ! He finds the Miss Fay has lately returned from Germany, where for

turn to New York. The programme which I subjoin was Andante charming, and is reminded by it of the Al. six years she has studied the piano-forte under masters of

one of the most remarkable ever offered in our city. world-wide celebrity. Her letters from Weimar, l'ublished legretto of Beethoven's eighth symphony, to which in the Atlantic Monthly last year, interested the musical

1, J. S. Bach-Concerto in the Italian Style.

Allegro-Andante-Presto.

in their author as in her subject, and no one it bears no resemblance whatsoever, though it strik- world as much

2. Handel. ingly resembles in one subject the slow movement

can hear her play without prellicting for her an unusually
brilliant career. Her technique is faultiess, her touch

la] Prelude and Fugue in F minor. of the second symphony. We venture to intimate clear, elastic, and sympathetic, and her interpretntion of

(b) Chaconne in F major.

3. J. S. Bach. also that he is too strong in his self-conceit, when the most varied compositions equally successful. The

Concerto in C Major for two Pianos and string he declares that Joachim's "method" (of instrumen

ease with which she plays the most difficult works is only
equalled by her extraordinary memory, and we hope sin.

quartette, tation) " is not that which Schubert would have fol. cerely that the opportunitv may soon again be offered the

Messrs. Richard Hoffman and Hans von Buelow. lowed.” May be not, who knows? Not he, at all pubiic to listen to music of such an entirely satisfactory

4. Mozart-[a] Fantaisie in C major, No. 3.

Dedicated to his wife. events.-We shall need more space and time here. character.

Haydn-[6] Rondo in C major. after to record our own impression of this Sympho

5. J. S. Bach. ay.- Another of the tribe praises the Symphony

NEW YORK, JAN. 3, 1876. The New York Quartette, re Concerto for three pianos and strings, in D minor. bat abuses the orchestra in this wise : cently organized here for the purpose of performing clas

Miss Marion Brown, (Pupil of Von Bielow), Messrs.

Hoffman and Von Buelow. “Of the rendering by the orchestra yesterday, litile can sical Chamber music, is composed of the following well

6. L. Van Beethoven. be said in praise, being too generally mechanical, hard and known artists :- Edward Mollenhauer, first violin; Max

Adagio with Variations. Opus 34. unsympathetic, and in some places positively weak and at Schwarz, second violin; Geo. Matzka, viola and Freder 7. J.S. Bach. loose ends. Diligent rehearsal under a strong hand is in

Concerto for pianos and strings in D minor. Their circular announces six

ick Bergner, violoncello. dispensable to the fit production of such a work."

Miss Marion Brown, Mrs. Charles B. Foote, Messrs. soirées of Chamber Music at Chickering Hall. The pro

Hoffman and Von Buelow. “ Diligent rehearsal under a strong hand” is just what

Mr. Matzka....

.......Leader. gramme of the first soirée, which took place on Saturday it did have The musicians became unusually interested

The programmes of the second and third concerts were evening, Nov. 20, was as follows: in the work, and give it extra rehearsal, working with a

as follows: will most earnestly. Ignorant prejudice alone could have 1. Quartet-No. 10. Op. 76. D minor... Haydn

Second Concert, Dec. 29. BO written about a performance which even the other man” 2. Aria-Soprano." Alia stella confidente,"

1. Grand qnintet in E flat, for piano, hautboy, clari. V. Robaudi net, bassoon and horn...

Mozart who so disliked the work itself, found · conscientious and

Mad. Sophie Dowland.
2. Romanza, “La Rosa"

.. Spohr spirited." 3. Piano Solo-Ballade. Op. 23, G minor......Chopin

Miss Lizzie Cronyn.
Herr Constantin Weikert.

(a) Sonate Pathetique,

3. 4. Aria-Soprano, “Lascia ch'io piango"....Hardel We did hear the repetition this week of the admirable

....... Beethoven

(4) Rondo capricioso). Op 129, Mad. Sophie Dowland.

Mercadante

4. Canzonetta, La Primavera". concerts of the Apollo and the Boylston Clubs, and next

Miss Lizzie Cronyn. 5. Quartet-Op. 18, No. 1, F major........ Beethoven time shall have to speak of them, as well as of the fifth Symphony Concert, another brace of Thomas Concerts, The Quar:ets were admirably played and the audience

5. Grand quintet in F, Op. 55, for piaro, finte, clari.

Rubinstein

net, bassoon and horn. Mr. Perabo's Rubinstein Matinée. and several of the mix Ven Bülow Concerts (with the Philharmonic Club) which was fair in number. The second soirée took place Dec. 21,

Third Concert, Dec. 31. are to occupy every evening of next week. with the assistance of Miss Bertha Baruch and Mr. Alfred

1. Quintet in F, Op. 55....

Rubinstein Pease.

2. Cavatina from "Der Freyschuetz

Weber

Miss Lizzie Cronyn
A BEETHOVEN COMMEMORATION. We have re-
The first Thomas matinée of the reason took place at

[a] 32 variations on an original Theme,

3. [b] Characteristic Sonata, Op_81a, Les Steinway Hall, on Saturday afternoon, Nov. 27. The or.

Beethoven ceived the following communication from Spring. chestral pieces were Brethoven's Overture “Consecration

Adieux, l'Absence, le Retour...
field, I., bearing date Dec. 27, 1878.
of the House; " Schumann's first Symphony; 'The Ballet

(a) La Partenza.
4. Songs. joj Lumante impaziente.

Beethoven On the 17th of this month I went to the “ Bettie Stuart

Music and Wedding Procession, (new) froin Rubinstein's
opera," Feramors," and Wagner's Tannhäuser (verture.

Mies Lizzie Cronyn.
Institute" in this city, to listen to some mnsic performed

5. Grand septet, Op. 74....

Hummel Mme. Antoinette Sterling sang Bach's aria "Esurientes entirely by the pupils in remembrance of the great mas implevit bonis” from the Magnificat in D, and two Lie

P ano, flute, hautboy, horn, viola, 'cello,

double bass. ter's birthday

der: "Der Krenzzug."! by Schubert and “ Es war ein
König in Thule" by Liszt. Messrs. Carl Wehner and A.

A matinée was given on Thursday, Dec. 30, at which the ist, Scherzo from the 8th Symphony by Miss Nellie Lockwood performed a Coni'erto for Flute and Harp,

programme of the first concert was repeated. Noyes, from Evanston, Ill. (manuscript) by Mozart.

This week three evening concerts and one matinée will 2nd,

Moonlight Sonata, by Miss Bertie Latham, Lin. At the second Thomas Synıphony Concert, Saturday be given which will end the series. coln, ni. evening Dec. 4, the following programme was given.

A.A.C.

.... Raff

Special Notices.

&weet one.

site result; the sunshine of the last few bars of cho. / glory and power, be unto Him, be into Him, that My gentle Fisher-Maiden. 4. A to e. Grant. 30

The third part of “The Messiah ” begins with conclusion, in this great hymn. A brond stream of NO. 45. AIR-I know that my Redeemer liveth, and that har:nony from the voices, all moving deliberately He shall stand at the latter day upon the earth; and together, beginning effectively with a syncopation,

• Worthy is the Lamb." convers at once a sense of though worms destroy this body, yet in my flesh shall I the importance of the cadence number. After a few

DESCRIPTIVE LIST OF THE see God. For now is Christ risen from the dead, the first

bars, the pace is quickened, and the notes subli. L A T E S T MUSIC, fruits of them that sleep. vided to quavers at the words“ to receive power ;

Pablished by Oliver Ditson & Co. A sacred song. this, preeminently religions in its at the saine time the higher stringerl instrurnents, character. breathing a cheerful but solemn confi.

80 powerful when provider with suitable passages, dence. Note the character-figure of dotted quaver in creating excitement, foretell, by a rushing succes.

Vocal, with Piano Accompaniment. and semiquaver groups in the accompaniment, nev

sion of scale passages in thirds, the busy animation er appearing in the voice part, but giving the song

which is coming. It is, however, but a foretaste. Kiss me to sleep, Mother. 3. Eb to e, much of its point, and serving. hy its comparative in accordance with his practice in many instances.

Benedict. 40 unevenness, to enhance the effect of the firm well- Handel has scarrelr given an indication of the com.

"In the dark midnight whin all werk repose, built melody assigned to the singer.

Freef om the world with its cares and its woes." ing tumult of effects, when he suddenly hushes the No. 46. QUARTET-Since by man came death. action, and goes back to reopen his discourse. It is

“ Mother's songs are safe to sing, and this is a The new effect which this number introduces has not, however, a mere reopening. The key of the

Two Sacred Pieces. already been noticed. It remains to be said that the initial largo passage is changed on repetition, and chords here assigned to four voices are the essence when the andante—“ to receive power, and riches,

1. Deus Miseratus. 3. G to g. Burden, 35 of all that is solemn in harmony; seldom has a mu and wisdom"-recurs also, it is also a new key,

Neatly arranged from an Agnus Dei, by De

Monti. 3 parts. sician laid on such deep color by so few strokes. and the strings rush down their scale passages from a higher part of their compass. These violins should

2. Trisagion. 3. C to e. No. 47. CHORUS-By inan came also the resurrection

Burden, 30 of the dead, be listened to.

Base polo and chorus, to the words, “Therefore

with Angels" etc. Both pieces are fresh, easy and Is an exuberant passage of joy, in contrast-almost All this, however, is but the prelude to the sub. musical. too great—to the preceding number. In

ject proper, which, after a moment of silence, is now O, when shall I be free. 3. F to c. Clara Scott. 30 No. 48. QUARTET-For as in Adam all die, propounded, by all the men's voices, in sheer unison

“ My Eaviour. I cry unto thee." The effect of No. 46 is recurred to, with an exqui- of voices, and instruments, Blessing and honor,

A simple sacred eong, with a chorus. rus is again obscured by dark summer storm clouds, the same sheer unison, vocal and instrumental, the sitteth up in the throne, and into the Lamb." In

" Vy heart is like the ocean, but only for a moment, and in

With storm and ebb and flow." trebles now echo the subject. Before the sentence The fingrse, as well as the voice have to sing. as No. 49. CHORUS-Even so in Christ shall all be made is completed, the tenors throw in a phrase of inita.

the harmony of the acenmpaniment is closely con. alive, tion in the octave, the alti repeat the theme in the

nected with the air. Words by Heine. The choral sunlight bursts out again. dominant; through a gathering complication of Do I love thee? 2. G to e.

Boott. 30 No. 60. RECITATIVE-Behold I tell you a mystery; We florid and exclamatory passages the basses follow;

“If I told you ? If I told you ? shall not all sleep, but we shall all be changed in a mo and in a few bars we are in the height of choral

Would that keep vou? Would that hold yon ?

Elizabeth Phelps writes the words, which are fit. ment, in the twinkling of an eye, at the last trumpet, activity. A half cadence at the unusual distance ted up in the simplest way. to a sweet melody. Introduces the next. froin the tonic (for Handel) of the key of the mediant, Friend of my Soul, one hour with thee. 3.

D to e. No. 51. Air-The trumpet shall sound and the dend presently provides clear ground for another outset;

Bishop. 30 and the tenors restate the subject, at another stage

“In morning's glorious. dewy time." shall be raised incorruptible, and we shall be changed; for of the scale, the higher voices accompanying; then,

Very neat words, with appropriate music. this corruptible must put on incorruption, and this mortal without a break, the basses, tenors, and altos repent Newest Songs of J. R. Thomas.

ea. 40 must put on immortality.

it, in the original position, and in the original uni. A few of the latest productions of this gifted The new effect of the solo trumpet, which this son; three exclamatory passages follow, and in a

composer are here bronght together. Mr. Thomas's number introduces, is one which it will be worth few bars more the voices are again involved in cho.

portrait adorns the title page. some pains to appreciate. ral entanglement, a new figure, of four semiquavers,

No. 2. Golden Hours. 3. G to e. There is no point in which the ordinary hearer of scalar, legato, bringing increased action into play.

“ Hopes that bloomed with loving sweetness, an oratorio goes less prepared to listen well than in This, however, is again soon lulled, and a fine half

All were yours, dear golden hours !" regard to orchestral effects. The effect of a trum. close, adagio, brings us anon to a sense of the fact

Instrumental. pet is, indeed, one of the most palpable of these; it that up to this point, in spite of some degree of In Good Humor. Galop. (En bonne humeur). is also one of the finest, and the hearer of “ The elaboration, all has been but a magnificent prelude;

2. Gh

Aronsen. 35 trumpet shall sound," in Handel's“ Messiah ” should and we hold our breath for the real subject, the un

Dedicated to all good.hrmored Americans, who train his ear to distinguish and enjoy the mellow paralleled " Amen."

will be qui'e pleased with the light, merry music, brilliance of the instrument. The bold and stately

Sharpshooter's (Schutzen) March. 2. C. conformation the air is especially adapted to disIt comes. Who shall describe that lead of the

Faust. 30 play this beauty.

basses ? that nervous, syncopated, upclimbing vari. A deciderlly brilliant march, showing th: t the

ation on the diatonic scale of the key, which is so No. 52. RECITATIVE-Then shall be brought to pass

composer has fairly bit the mark.

Consolation, 4 hands. 3. A. the saying that is written: Death is swallowed up in vic- grand in its simplicity, so manly, so rugged, so

Loeschhorn. 35 hearty, rising in capricious rhythm gradually from tory,

One of 6 four-hand pieces, cary and Interesting.
D to D?
Carries the sense on to

Marche Funebre d'une Marionette. 3.
D minor.

Gounod. 40
No. 53. DUET-O Death! where is thy sting? O Grave!
where is thy victory? The sting of death is sin, and the
JOM

Very queer and pretty. Who would think of

componing music for a doll's funerall will be in strength of sin is the law.

high favor with little learners, and is pleasing for A number not often used; but exhibiting none of

f A

any player. men,

men, A that weakness which generally characterizes vocal

Six Easy Pieces. 4 hands. Loeschhorn.

The tenors follow, in the dominant, the basses duets, the rhythm of the two voice parts, and the

No. 3. Inquietude. 3. A minor,

40 harmonic intervals between them, being both unu. underplacing phrases of a more solid and ejaculatory 4. Dance Hongroise, 3. G.

35 type; the altos, and after them the trebles, in turn, sually varicd.

5. Ballade.

3. D.

40 lead out the subject; and presently-the make of 6. Saltarelle.

3. T.

40 No. 54. CHORUS-But thanks be to God, who giveth us

these great numbers repeats itself-there is a half Pieces of considerable variety and beauty, and the victory through our Lord Jesus Christ,

cadence. Then all the voices and instruments are rather classical in style. Is again not seldom omitted. It is a joyful, tu withdrawn, except the violins; and these have their Sylvan Set. Easy Marches, Waltzes, etc. multuous chorus; but the fatigued attention is by last opportunity of sweeping through the cleared

F. W. Riley, ea. 30 this time little disposed to exert itself; and the orchestral atmosphere, with a complete statement, 1. Sylvan Nook Mazurka. 2. C. number presents nothing new to excite it.

in their own register, of the subject already first 2. Newsboy's March. 2. G. No. 55. Air-If God be for us, who can be against us? propounded by the bass voices, and quoted above. 3. Lola Schottische.

2. Bb How the first violins will revel in this nervous but 4. Mamie's Waltz.

2. G. Who shall lay anything to the charge of God's elect? It

5. Allie's Schottische. 2. B6 is God that justifieth; who is he that condemneth? It is simple sentence! They will grip its every note, Christ that died, yea, rather that is risen again; who is every player of them ; and the second violins will 6. New Boots Galop. 2. F.

throw no less of vigorous firmness into the repeti. at the right hand of God, who makes intercession for us,

Easy instructive pieces of unusual beauty, and tion which, after five bars, is assigned to them; as they have considerable variety of key and form, Is usually omitted, though, except for the weakafter ten bars, the entire choir and band enters en

will be a capital set for a tencher to bny, and use ness of human nature, it shonld not be, if only on

for " recreations" in the 2d quarter's tuition, account of the effect which is lent, by its interven- repeating the theme, pure and simple, with accommasse to the treble strings; the bass voices again

BOOK 8.
tion, to the final entry of the chorus.
paniments from the other voice parts.

A. Loeschhorn's Piano Studies.
No. 56. CHORUS-Worthy is the Lamb that was slain,
Elaboration follows which need not be described, No. 1. Op. 65. Book I.

1.no and hath redeemed us to God by His blood. to receive but is all conducive to the adequate extension of

2.

1.00 power, and riches, and wisdom, and strength, and horor, the number; a “dominant pedal point "—the basses

The above two “books" include 32 studies, the and glory, and blessing. Blessing, and honor, glory and holding A for some bars—occurs, for the first time

first of which is very much like the “ first lesson" power be unto Him that sitteth upon the throne, and unto in the work, and has the precadential effect which

in an instruction book, from which beginning the

studies gradually increase in difficulty, (if that the Lamb, for ever and ever,

the old theorists assigned to it.; in a few more bars word can apply to what is all easy). Perhaps as Amen. the whole tide of voices and orchestra is suddenly

good studies for beginners as could be contrived. The final number of the “Messiah ” is this elabo- arrested, on a dissonant chord which is the recog. rate and largely laid out chorus, comprehensive and nized antepenultimate expression of modern harmo. ABBREVIATIONS.-Degrees of difficulty are marked grand, rather than sensational or climacteric; the ny; a bar of imposing silence intervenes; and in

1 to 7. The key is marked with a capital lette: a8 C, B special effects have been displayed, the points all one final “ Amen.” to the simple expression called

flat, &c. A small Roman letter marks the highest note,

it on the staff, an italic letter the highest note, if above made, and the work row marches majestically to its | the “perfect cadence,” the “Messiah” concludes. the staff.

« IL.

HOME MUSICAL LIBRARY.

COD

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Each book of this splendid collection is separate and independent of all others, is generally bought by itself, and used by itself. Still, as the volumes are all uniform in binding, size and style, price and general plan, it is quite proper that they should be brought under one general designation. Indeed, what more perfect musical library can be imagined ! Each book contains the best music of the kind indicated by the title, and in some cases nearly all of it. For instance, “ Operatic Pearls” contains nearly all the pieces from standard operas; at least nearly all that are sung in concerts. 66 Gems of Strauss tains nearly all the favorite compositions of the brilliant composer; and so of other books. Price of each book in boards,

$2.50. Price of each book in cloth,

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THE PAGES ARE FULL SHEET MUSIC SIZE.

200 pages.

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A Collection of Easy and Pleasing Music. Gems of English Song. Vocal. 232 pages. The Organ at Home. Instrumental. 180 pp.

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200

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200

Cems of Strauss. Instrumental. 250 pages. The last named book contains instrumental as well as vocal music, Nothing can be brighter than Strauss' music. And these are his but the other three have vocal exclusively. The four books have within best pieces. The choicest Waltzes, Polkas, Galops, Quadrilles, &c., intheir covers the cream of all the English Songs that are published. cluding those played under the lead of the master, during his visit to

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The pieces in this book are a shade more difficult tban those Vol. I., and to them are added a few excellent Four-Hand pieces.

Operatic Pearls.

200 pages.

Songs extracted from about 50 operas that stand highest in popular favor. Foreign and English words.

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THE SWEETEST AND BEST OF SACRED SONGS,

Filled with the best and most entertaining (easy) music for 2

performers. Gems of Sacred Song. Vocal. 200 pages.

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Two Comprehensivo and These are not psalm tunes, but sheet music songs. with accompani

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PIANO PIECES,
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pages. THE VERY BEST VOCAL DUETS.

216 Shower of Pearls. Vocal Duets. 240

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Each of the two Books includes the most successful music of the Duets by Mendelssohn, Glover, Bishop and others, including nearly all that are of acknowledged beauty.

period of publication; or, in other words, the best piano pieces

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240 pages.

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CHOICE SELECTION

OF

$ACRED

FOR QUARTET AND CHORUS CHOIRS.

Buck's Second Motet Collection, $2.50.

Thomas's Quartettes and Anthems, $2.50.

EXCELLENT BOOKS FOR QUARTET CHOIRS.

Buck's Motet Collection, $2.50.

Angels ever bright and fair. S. and T. Duet and Quartet.
E. 3....

.Otto Lob. 40
As the Hart Pants. A. Solo and Quartet. Ab. 4.. Southarıl. 40
As Pants, the Hart. T. Solo A. and T. Duo and Quartet.
Ab, 3...

..J. R. Thomas. 40 As Pants the Hart. $. Solo and Quartet. Eb. 3. Morrison. . 35 Ave Maria. (Latin and Eng.) T. Solo. A. and T. Duo and Trio. Bb. 4...

.Gilbert. 40 Ave Maria. (Latin and Eng.) Female v. Quartet. F. 4..

Boot. 30 Benedic Anima. (Praise the Lord). S. and A. Duet and Quintet. D. 5...

. Lloyd. '60 Benedic Anima. (Praise the Lord.) S. Solo and Quartet. E. 4..

Marsh. 50 Benedic Anima. (Praise the Lord.) B. Solo and Quartet. C. 5....

Pease. 60 Benedic Apima. (Praise the Lord.) S. Solo and Quartet. D. 3..

..J. R. Thomas. 50 Bonum Est. (It is a good thing.) A. Solo and Quartet. Eb. 4....

...Campiglio. 50 Bonum Est. (It is a good thing.) S. and A. Duet and Quartet. D. 3.

..J. R. Thomas. 40 Bonum Est. (It is a good thing). B. Solo. A. and T. Duet and Quartet. D. 4...

Marsh. 40 Bonum Est. (it is a good thing.) B. Solo. T. and B.

and S. and T. Duets and Quartet. G. 5.. .Lloyd' 60 Bow down thine ear. B. Solo and Trio. C. 4....... Lob. 35

S. A. T. and B. Solos and Quartet.
Ab. 3...

Behrens. 40 Cantate Domine. (O sing unto the Lord.) S. Solo.' S. and

A. T. and B. Duets and Quartet. Bb. 4. J. R. Thomas. 75 Cherubim Prayer. Russian Chorus. Quartet. D. 4.

Slaviansky. 35 Come said Jesus Sacred Voice. S. Solo and Quartet. Å. · min. 3....

Smith. 30 Come Thou Fount. S. and T. Solo & Quartet. G. 3. Thomas. 40

S. and T. and S. and B. · Duets and
Quartet. Ab. 3...

.. Smith. 35 Come to Me. S. Solo and Quartet. F. 3.. .. Sinith. 35 Cross. (In the Cross of Christ I Glory). S. and T. and A.

and T. Duet and Quartet. C. 3........G. H. Martin. 33 Deus Miserater. (God be merciful.) T. and B. Solo and Quartet. C. 4..

. Fairlamb. 65 Deus Miserater. (God be merciful.) B. Solo and Quartet. F. 4..

. Southard. 70 Deus Miserater. (God be merciful.) B. Solo and Quartet. D. 3..

Thomas. 50 Earth is the Lord's. B. Solo and Quartet. G. 4. Lob. 40 Fade, Fade each Earthly Joy. S, and B. Solos, A. and T. Duet Eb. 3.....

Crandell. 40) Father of Mercies. S. Solo and Quartet. F. 3.... Smith. 40 Fear Not. A. Solo and Quartet. F. 3....

Smith. 30 From the Cross Uplifted High. S. and B. Solo. S. and T. Duct and Quartet. F. 3.

.Boyd. 35 God is a Spirit. (Woman of Samaria.) Quartet. E. 4.

Wm. Sterndale Bennett. 40 God shall Charge His Angel Legions. T. and B. Solos; S. and T. & S. & A. Duet and Quartet. G. M. and M. 4.

Lucantoni. 50 Hark, 'tis the Saviour's Voice. A. and B. Solos. T. and B. Duet and Trio. Ab. 4...

Deems. 40 Have Mercy. S. Solo and Quintet. F. 4... Southard. 50 Hear our Prayer. S. Solo and Quartet. Bb. 2.... Ryder. 40 Ho! every one that Thirstetli. S. and T. Duet and Quartet. F. 4..

Wilson. 40 I will be glad. Quartet. D. 3...

...Petri. 30 I will go to the Altar. S. Solo and S. T. and B. Trio. G. 4..

.. Southard. 35 I would not live always. S. Solo and A, and T. Duet and Quartet. D. 4..

Andrews. 50 In Holy Devotion. T. Solo. A. and T. Duet and Quartet. F. 4...

Deems. 40 In time of Tribulation. B. Solo and Quartet. F. 3. Lob. 40 Jesus Loves Me. S. and A. Solos and Quartet or Quintet. D. 3...

..L. O. Emerson. 40 Jubilate Deo. (0, be joyful.) S. T. and B. Solos and Quartet. I G. 4...

.Gordon50

Jubilate Deo. (0, be Joyful). S. Solo and Quartet.
Eb. 4..

. Lloyd. 60 Jubilate Deo. (O, be joyful.) S. and B. Duet and Quartet. Bb. 3....

..J. R. Thomas. 60 Lord is in his Holy Temple. Quartet. Eb. 3.... Otlo Lob. 40 Lord, Thy Glory. S. and A. Solos and A. and T. Duo and Trio. G. 4...

... Otto Lob. 35 Lord, with glowing heart. S. Solo and Q’tet. D. 4. Southard. 85 Lord's Prayer. S. and B. Solos A. and T. Duos and Quartet. Eb. 3....

.Clouston. 40 My heart doth find. T. Solo and Quartet. Bb. 4. Southard. 40 o God, the Protector. T. Solo A. and T. Duo. S. A. and T. Trio and Quartet. Bb. 5..

Buck, 1.00 O God, Thou art my God. S. and T. and S. and A. Duos. and Quartet. Ab. 3...

Petri. 80 O Lord, veil not Thy Face. S. Solo. S. and A. Duos and

S. Á. and B. Trio and Quartet. G. 5......Davenport. 60 O rest in the Lord. S. Solo and Quartet. Eb. 4.. Sinith. 40 O, for wings of a Dove. S. Solo S. and A. Duo and Quartet. Ab. 5....

.Knight. 40 Praise thou the Lord. B, Solo and Trio. Eb. 4...... Lob. 35 Praise waiteth for thee. B. Solo. T. and B. Duo, A. T. and B. Trio and Quartet. F. 4..

. Southard. 40 Saviour Breathe an Evening Blessing. S. and T. Solos and Quartet. Ab. 3...

..... Southard. 35 Softly now the Light of Day. S. and A. Duet and Quartet. Ab. 3.....

Otto Lob. 40 Tantum ergo. (Lord of Heaven.) S. and B. and T. and B. Duet and Quartet. F. 4....

Rossi, 40 Tantum ergo. _(Heavenly Father Hear us.) S. and A.

Solos. A. T. and B. Trio and Quartet. F. 5.... Spohr. 50 Tarry with me, O, my Saviour. S. A. and B. Solos and Quartet. G. 3..

.L. O. Emerson. 30 Te Deum. (We praise Thee, O God.) S. A. T. and B. Solos and Quartet. Eb. 5...

Baumbach. 1.00 Te Deum. (We praise Thee, O God.) S. A. and B. Solos. A. and T. Duo and Quartet. C. 4.

. Marsh. 75 Te Deum. We praise Thee, O God.) S. A. T. and B. Solos.

S. and A. Duos and Quartet. F. 4...... . Millard. 1.00 Te Deum. (We praise Thee, O God.) S. A. T. & B. Solos

S. and T. Duo and Quartet Bb. 4.. .. Stearns, 1.00 Te Deum. (We praise Thee, O. God.) S. and B. Solos. and Quartet. F. 4....

Swartroout. 75 Te Deum. (We praise Thee, O God.) S. T. and B. Solos and Quartet. F. 4....

Thoinas. 1.00 Thou art, O God. S. & A. Solos & Quartet. Ab. 4.Clouston. 50 Thou shalt love the Lord. (3 Sopranos.) Trio. A. 4.Costa. 35 Thy Throne, O God. S. T. and B. Solos and Quartet. C. 5....

Verdi. 35 Thy will be done. S. Solo and Quartet. E. 4... Otto Lob. 40 Trust in God. Quartet. Ab. 4...

Southard. 40 Trust in God. s. Solo and Quartet. C. M. and M. 4.

Davenport. 30 Turn thy face. A. Solo and Quartet. E. min. and G. 4.

Southard. 40 Vesper Hymn. S. Solo and Quartet. E. min. 3.... Smith, 80 Wait on the Lord. B. Solo and Quartet. F. 4.. Southard. 35 When I can read my title clear. S. Solo. S. and T. Duo. and Quartet. Ab. 3....

..J. R. Thomas. 40 Why sinks my Soul desponding. S. A. T. and B. Solos and Quartet. Eb. 4....

Bassford. 40 God of the Fatherless. T. Solo. S. and A Duet and Quartet. Eb. 3......

Weber. 60 Guide me, O thou great Jehovah. S. and B. Solos, S. and

A. Duet and Quartet. Eb. 3.... ... Butterfield. 50 Have mercy Lord on me. T. Solo, S. and A. Duet and Quartet. Eb. 4...

Deems. 60 Heavenly Father. S. Solo and Quartet. Ab. 3...Perkins. 35 Lord is my Shepherd. T. and B. Solos and Quartet. B. 3...

.. Downs. 30 Make a joyful noise unto God. B. Solo. S. and A. Duet and Quartet. C. 3...

Butterfield. 50 Morning Hymn. S. A. and T. Trio and Quartet. F. 3.

Morgan. 40 Loud proclaim. Trio for S. T. and B. Db. 4... Otto Lob. 35 Refuge. (Jesus, lover of my soul.) S. and T. Solos and Quartet. Eb. 3.

.G. H, Martin. 30

Baumbach's Sacred Quartets, $2.50.

EXCELLENT BOOKS FOR QUARTET CHOIRS.

Baumbach's New Collection, $2.50.

Dank's Anthem Services, $2.50.

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2 Paper of Art and Literature.

WHOLE No. 907.

BOSTON, SATURDAY, JAN. 22, 1876.

VOL. XXXV. No. 21.

New England Conservatory of Music. $15.

New Music for Jan.

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40 Teacher of Singing and Voice Building. A Morning Communion and Evening Service in F. By 4. Dance Hongroise. 3. G.

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