dox. So that the large audience assembled at Steinway Hall yesterday were in a position to divest their minds of all questions of grammatical purity and scholastic "form," and criticize the symphony as a complete work As it was placed first on the programme it could be judged as well-or, more correctly speaking, as inadequately-as any large work can be judged on first hearing. There seemed to be a good deal of hesitation on the part of the audience in pronouncing an opinion. The first movement-allegro con brio-presented nothing particularly attractive to the general ear; it is interesting throughout, but the interest does not increase with its progress sufficiently to excite a craving for the second movement, and it was rather coldly received. With the Scherzo-allegro vivace-the attention of the audience deepened. It is a very tuneful movement, containing some reminders of Beethoven's scherzos, but it is not an imitation of Beethoven, its lively measure changing [not "episodically "] to a gravity not sufficiently in keeping with the scherzo as Beethoven has made us understand it. At its conclusion the applause of the audifence was warm enough to show that Mr. Thomas had not made a mistake in producing the work. The third movement-adagio-is undoubtedly the gem of the symphony. It is music, pure and undefiled, from beginning to end-plaintive, sweet, graceful as a pastoral poem. It does not contain a single phrase that seems out of place, and though it is rather long, and always exceedingly sweet, its sweetness does not cloy. It is not grand or imposing, there are no modern "effects" in it, and it may not suit ears accustomed to the accumulating richness of Schumann's or Beethoven's adagios, but for what it assumes to be it is beyond criticism. Certainly the audience liked it very much, and the orchestra seemed to like it greatly. Its enjoyment was, however, somewhat interfered with by an annoying noise from the heaters in the hall. The last movement falls short of the expectations raised by the beautiful Adagio, though it cannot be described as faulty. What it lacks probably is the evenness and clearness of purpose which characterize the other movements. Although the scorwork, every instrument having plenty to do and some considerable difficulties to master, the harmony is thin, and when the climax comes with the return to the original theme, the devices of construction which Bach always employs under similar circumstances, and which ears cultivated in Theodore Thomas's school [ have learned to regard as essential, are too much neglected. Mr. Paine, however, deserves very high praise for his modest, unsensational treatment of his subject. He has written an American symphony that will probably bear the test of the severest criticism by adherents of the old school, a symphony that will live as a beautiful work of art, simple and unaffected. If it is not strikingly original, the author is assuredly no plagiarist; if it does not astonish, it will never fail to please. Mr. Paine is a young man, and as "it takes a clever musician to write even a poor symphony," he may be congratulated both upon having written one that gives such good promise of a bright future for him in the world of art, and upon having had so able and so conscientious an interpreter as Mr. Thomas. Mr. EMIL GRAMM. Song of Eliza,.. .Mozart ..Cirillo ing in this number is as excellent as it is throughout the deepest sympathies; the Scherzo, with its rollicking staccato movement, fitfully alternating with the original; and the fugued Finale, very intricate and more pensive mood of its two Trios, is strikingly difficult, is full of spirit, and keeps the interest alive [From the New York Times, 6th.] Mr. Theodore Thomas yesterday gave a matinée concert at Steinway Hall. The principal element of the programme was a new symphony by Mr. J. K. Paine, a Boston composer of considerable local repute. We trust Mr. Thomas will sooner or later repeat his performance of this work, which belongs to an order of music of which several hearings are necessary bofore anything approaching an accurate opinion can be formed. We cannot, however, admit that we expect great results from Mr. Paine's commendable attempt at symphonic writ ing. The opening movement, which is by far the best, contains some graceful and fluent ideas, which the composer has developed with taste and clearness, but without marked felicity; the remainder of the work does not indicate that Mr. Paine is possessed of particular originality in thought or method; and the impression of the whole effort, yesterday, was that the musician had occupied fifty minutes where half that time would have been sufficient to have had his say. Dwight's Journal of Music. BOSTON, FEB. 19, 1876. OUR MUSIC PAGES. The Part Song by Schumann, printed in this number, is taken by permission from "German Part Songs," edited by N. H. ALLEN, pub lished by Oliver Ditson & Co., Boston. Concert Review. BOSTON PHILHARMONIC CLUB. The last two Matinées of this fine group of artists (Jan. 19 and Feb. 2) were in the main so thoroughly enjoyable that keen regret was felt that they could not be continued at intervals for two or three months longer. But the attendance at Bumstead Hall, though larger than at first, was too limited to give encouragement. It was but the common fate of concert-givers, here and elsewhere, during these "hard times." The Club, however, have so established themselves in the good opinion of the truest music-lovers that, if they only persevere, their day will surely come.-Their fourth programme read as follows: to the end. Seldom, if ever, have we heard Mme. Mr. GRAMM won not a few listeners to the peculiar Miss LAURA SCHIRMER, with a naturally sweet and flexible voice, sang her two songs in a graceful manner, which showed careful training; but there was a certain hardness in the quality of some of her tones, which may have been the effect of too much she is winning, lady-like and modest in appearance. concert singing at so early a stage of her career; Wednesday, Feb. 2. Beethoven Quartet in F, Op. 18, No. 1, ...... a. Pilgrim's Song, from "Tannhäuser,... Wagner b. Allegretto,.. Huber Mr. Adolph Hartdegen. a. "Die Welt ist so schön," Solo for Violin, Notturno, Op. 27,.. .Fischer ........ .Liszt This closing Matinée was the most interesting of all and had the largest and a really enthusiastic au dience. It was a comfort to old chamber music lovers to hear once more one of the six earliest Quartets of Beethoven, no one 'of which is more genial and beautiful, more ever fresh than this No. 1, in F. Never before have we heard it so delightfully interpreted. The pieces for four horns produced a marked sensation. The tones, so rich and mellow in the softer cantabile passages, with the fine contrast of the more breezy trumpet-like sounds in the strong accents (in the bass parts especially) fender their harmony peculiarly attractive. The per formers were the famous "Russian Quartet" who came to this country a few years ago; the leader, Mr. BELZ, has since distinguished himself in the Philharmonic Club as the finest solo hornist we have ever heard here; his three old associates, who proved themselves on this occasion worthy ones, are in our Harvard orchestra this winter. Mr. HARTDEGEN'S violoncello solos, in tone, style and expression, were most satisfactorily rendered. The single moveTschaikowski and the sound old classical master ments from Quartets by the young Russian composer Cherubini, were highly interesting; the former much more French in style than the latter, which was produced in Paris. Song, "Thou'rt like unto a flower," Selections from "The Phantom Ship,' teresting an orchestral work as the well known one Gluck's Overture to Alceste is by no means so into Iphigenia in Aulis; but it forms a dignified and serious introduction to the tragedy; it needed, for ing chorus sung. Still we are thankful for every a satisfying impression, to be followed by the openopportunity (too rare) of hearing one of these things. Think of it in contrast with the last number of the first part,-the wild, sensational, extravagant and stunning Rhapsodie Hongroise by Liszt!-The pieces grouped together from Bach,-in rather enough intrinsic beauty individually to bear hearforced companionship, we thought-have certainly ing for a second time. The Prelude is from the known G-minor Organ Fugue; the Chorale, scored Well-tempered Clavichord; " the Fugue is the well for the full brass of the orchestra, contrasted boldly vales.-The Beethoven Overture ("Namensfeier ") in the middle, a craggy height between two quiet is by no means so broad and grand a work as the other one in C, op. 124 ("Die Weihe des Hauses;") but it has beauties not so readily appreciated and is far too seldom heard. 66 The striking novelty of the programme was the "Dance of Death" by Saint-Saëns,-a Symphonic Poem with a vengeance, to which the key is furnished by the following cheerful verses from the French of Henri Cazalis: Zig, Zig, Zig-grim Death, in cadence, Death at midnight plays a dance tune, The winter wind blows, and the night is all dark, Thro' the gloom the white skeletons pass, Zig, Zig, Zig, each one is frisking, The bones of the dancers are heard to crack But hist! of a sudden they quit the round; They push forward, they fly, the cock has crowed. The music is certainly a clever freak of French| fantastical extravaganza, mingling the horrible and the grotesque, till they exert a fascination worthy of Meyerbeer. The doleful midnight bell, well imitated, introduces the piece; Death tuning his viol in fifths is strongly indicated, and the dance proceeds, wilder and wilder, as the shrouded skeletons frisk in and out among the tombstones; the cracking bones of the dancers are suggested by castanets and the xylophone (an instrument of wood and straw;) the cock crows, and away they flutter all!-There is a certain imaginative genius in it, of a thoroughly Frenchy kind; and it has this superiority over analorous works by Raff and others, that Saint-Saëns does not attempt to make too much of the conceit, but drops it at a happy moment. The audience were transported, and the whole thing had to be repeated-Miss THURSBY, in the Aria from one of Handel's Italian Operas (Muzio Scevola) confirmed the fine impression which she made in a Harvard concert a few weeks before. The roulades were evenly and beautifully executed, and the bright, emphatic, as well as the tender and melodious phrasəs of the happy love confession, were given with remarkable expression. We noticed in her voice a tremolo which was not there before; but it was soon explained by learning that she was singing with a broken arm after a fall in one of our slippery streets, a shock from which her nervous system could not have recovered. **Piano-Forte Concerto, No. 2, in G minor, Op. 22. Andante Sostenuto-Allegro Scherzando-Presto....... Camille Saint-Saëns Beethoven B. J. Lang. Overture to "Coriolanus," The light and charming Overture to Faniska, with its stately introduction, its teasing playful Allegro subject, and its quaint laughing second theme led in by the bassoon, offset by piquant pizzicatos of the vio'ins, was nicely played. After this the great feature of the programme, the Double Symphony by Spohr, was listened to with zest. It was a bold and beautiful idea, well worthy of the highest powers, to portray in music, in symphonic movements, the successive periods of the struggle between the Earthly and the Divine principle in human life, with the final victory of the Divine. And the peculiar means chosen, that of contrasting and combining two distinct orchestras, the one consisting of eleven solo instruments (quintet of strings, flute, oboe, clarinet, bassoon and two horns), the other fully manned, served to heighten the illustration and increase the interest in proportion to the unu sual draft upon the artistic resources of the musician. It must not be supposed, however, that the two principles in life are impersonated by the two orchestras respectively. That idea is erroneously suggested in the extract from Spohr's Biography printed on the programme. On the contrary, themes started in one orchestra are frequently caught up and worked to fuller development in the other; each in turn illustrates, colors and completes what the other has said. The ideal contrasts run through both alike; nor is the contrast always so forcible as one would expect; the gentleness of Spohr, the sweet subdued tone of his picturesque imagination is felt even here. With Beethoven passion would have asserted itself with more defiant and Titanic force; what Raff or Rubinstein would make of such a theme one shudders to imagine. The weaknesses of Spohr's music we all know well enough. The cloying sweetness of his harmony, abounding in diminished sevenths and in subtile creeping modulations through chromatic intervals, is perhaps the chief one. Heavy-moulded mortal as he was. he had a large vein of sentimentality, as well as a rare gift of original, fresh melody. But he was an artist through and through, a thorough master of form, of the contrapuntal resources, and especially of instrumentation-rotably of what is called instrumental coloring-nowhere shown to finer advantage than in this Symphony, which we confess to finding quite as interesting (perhaps because more fresh to us), as the "Weihe der Töne." At all events the entire work, in all three movements, is an exquisite unfolding of ideas lovely in themselves, offset against well-chosen background, and glowing in the shifting atmospheric light of or chestral effects. A few words on each of the three parts. I. The World of Childhood. A single horn in the first orchestra leads off in a quiet, dreamy melody, in sustained tones, pianissimo,—a brief Adagio. in which you seem to feel the first awakening of consciousness. Then the Allegretto sets in with an innocent and childlike melody, (2-4), of a buoyant, soaring character; the wind instruments reinforce it: the melodic figure is inverted in the rounding of the period; and the second orchestra repeats with emphasis the closing part of it; and thus they answer back and forth, until a new theme in strong staccato tones is started in the larger orchestra, like a repeated challenge, instantly answered each time on a high tone sfarzando by the violins of the solo orchestra, which glide down in triplets as with frolic laughter. (The effect was somewhat disturbed here by the want of perfect tune between the violins; it needed a Joachim or a Spohr for one happy; are variously presented, and the whole reof them); and so all these motives, cheerful and peated in the usual way, to be worked up with still more complex, subtle art of what is called thematic treatment in the second part. It is a charming picture, and the instrumentation simply exquisite. It was finely played too, the solo wind instruments taking up the melodic threads in turn with delicate precision and nice feeling. II. The Age of the Passions furnishes the poetic theme for the most elaborate and longest movement of the Symphony. The Larghetto, beginning with uneasy, fitful phrases of the strings in the larger orchestra, hints the coming storm, while presently a melodious duet of the bassoon and clarinet sets in in the solo orchestra; the key remaining doubtful, until the 4-4 measure changes to 12 8, when it settles clearly into A flat, and, on an arpeggio chord the slowest movement, which is followed by two quick ones. The Andante Sostenuto is a broad and massive movement, full of fire and strength, the difficult figures of the piano making up one whole with the rich and noble instrumentation. The Scherzo is a sort of hunting strain, full of elasticity and grace; the slight change of rhythm in the second theme lends it a witehing charm. This movement was so fascinating and was played with such airy life and freedom, such unflagging, easy energy, that all were delighted and the movement was repeated. The Presto has a Tarantella rhythm, and whirls itself away in ever widening circles with an exhaustless impetus. Mr. LANG proved himself fully equal to the unrelenting demands of this most trying movement; and indeed his whole performance was magnificent, surpassing all that he has done before. The task was to his fancy, and he embraced it con amore. -Then came Beethoven, who seemed to say: All that is very well, bat now for something serious! and with the first strong tones of Coriolan, fire from the heart and centre of the planet, we were in another world. BACH is for once in the ascendant here, and in the light of such a fresh Spring promise one may forget all strife of rival enterprises. Three of his great vocal works are in preparation: the Cecilia are studying one of his Cantatas for the last Symphony Concert: the Sharland Choral Society are at work on the Magnificat for a Thomas concert; and the Handel and Haydn Society have resumed rehear This is "progress," in the of the Passion Music. best sense! MISS THURSBY'S TEACHER, place to the following: We cheerfully give MR. EDITOR; In an article on the Fifth Harvard Svm phony Concert, in the "Journal" of Jan. 22, there is an admirable critique on Miss Thursby's singing, which makes what seems to be a misstatement. however, which I am sure you will be glad to correct. You state that Miss Thursby is a pupil of Mme. Rudersdorff. I have had the pleasure of knowing Miss Thursby for some time, and know that she has been studying with Sig. Achille Errani, of No. 323 E. 14th St., New York, for several years past. To be certain, however, I wrote him, inquiring the exact facts, and he tells me that from Nov. 1, 1871, until Oct. 9, 1875, he has, to his certain knowledge, been Miss Thursby's only teacher. While since October last Miss Thursby may have studied with Mme. Rudersdorff, it seems to me evident that the greater part of the credit for her training must belong to Sig. Errani, and with so accompaniment, Italian fashion, the melody pro charming and accomplished a singer, it should be un ceeds, a tender love duet; the second orchestra is silent for awhile, but soon begins to disturb the sweet serenity by ominous mutterings in the bass, which gradually gain possession of the quartet even in the solo orchettra, and growing to a climax burst forth (Allegro) in the full conflict of the passions wind instruments on one side replying to the impatient violins upon the other. All this is worked up with great fire and energy and with wonderful skill and beauty. The trumpets come in, and the warlike passion now asserts itself; the strife becomes: more complicated, as the field continually widens, which only such a master of his art could occupy with life and power so present at all points. The strife is relieved too by occasional moments of repose, unelodic hints that seem to pour oil on the waters. III. Final Victory of the Divine. Passion is at its height. A stormy Presto (6-4), like a Scherzo, begins in the second orchestra; but sweet, sustained tones of clarinet and bassoon, flute and oboe, in the first band, gradually appease its fnry and begin to gain the upper hand, till even the stormy figure itself, transferred to the softer flute and reed tones, acquires a new and gentler expression. At last both orchestras unite in a rich, solemn, tranquillizing Adugio, in broad rhythm, and the victory is gained. Of course it is impossible to describe all this, but the consistent development of the idea, and the never failing beauty of the work took a deep hold upon the audience, and a repetition would be welcomed if it should occur. Of equal interest and more exciting, more entirely fresh and novel, was the Concerto by SaintSaëns. We have heard no Concerto by either of the " new composers comparable to it in point of individuality of genius. It is very modern, to be sure, and very French; but with all its technical difflculties, which are immense, and all its sensational effects, there is a spontaneous energy of life and purpose in it which justify its existence. It departs from the usual Concerto form, beginning with derstood who it is who has done so much for her voice and style. May I beg that some such correction as this be made? An incorrect statement in the "Journal" may do Sig. Errani serious injury. For confirmation of the above facts, may I beg to refer you to Sig. Errani himself, or to the honor of being for some time connected on the MusiMr. Hassard, of the N. Y. Tribune, with whom I have had cal Department of the "Tribune." Very truly yours, Washington, D. C.. Jan. 31. F. H. POTTER. from an esteemed correspondent in Portland. Me. THE "WHISTLING SONG." We have the following DEAR SIR: The "Sussex Whistling Song" published in the Journal of Jan. 22, was familiar to me in boyhood --being then not unfrequently sung as a humorous song at huskings and similar occasions, among the rural population of New Hampshire. The version differed slight ly, but not materially, from the "Sussex." It was not given as a whistling song, but with what was called a "chorus," sung by the one vocalist who gave the song thus: If well whistled, the effect might be better, I should perhaps have hardly troubled you with this, but for the fact that a version of the same thing is given in Johnson's Museum-more at length and with more sharp points-entitled: 'Kellyburnbraes. Written for this Work by Robert Burns.” This no more proves that New Hampshire was peopled from Sussex, than that Scotland was, but shows that Burns thought there was enough of humor in the legend to make it worth preserving. In the Museum, it begins: ely There lived a carl in Kel lyburnbraes, Hey, and the rue grows bon-ie wi' thyme; And Impromptu bearing the same opus uumber and a "Valse At this concert, Miss Lizzie Cronyn sang La vita felice', The programme of the matinée on Saturday, Jan. 8th, which ended the series was the same as that of the concert the Monday evening preceding. The concerts were all well attended and they will never be forgotten by those who are interested in music. On Friday, Jan. 14th, the New York Philharmonic Society gave a matinée at the Academy of Music, with a programme substantially the same as that of the concert of the week following. The second concert of the Brooklyn Philharmonic Society came on Jan. 15th. on w ich occasion Rubinstein's Dramatic Symphony was played. This work has already been produced in New York 1 y Theo. Thomas [twice if I remember rightly] and its bold, fanciful conception and he had a wife was the plague of his days, And the masterly instrumentation Fave created a profound im thyme it is wither'd, and rue is in prime. It is in the 4th volume of the Museum, and numbered 379. There is one point in the New Hampshire version, not in either of the others, to wit: that Satan had done a day's plowing for the Farmer, and was to have one of the family as a quid pro quo; that when he came for his pay, he was offered the eldest son, but was gallant enough to prefer the Lady. "The effect was the same," according to all three ditties. I can give you an item of some musical interest. Our "Haydn Association" are studying Handel's Theodora; have had three rehearsals. and their progress is exceedingly creditable and promising. Yours truly. Feb. 8, 1876. I. B. NEW YORK, JAN. 31, 1876. In my last letter I brought the concert record up to the New Year, and upon resuming it now, I find first on the list the fourth Von Buelow concert of the new series, on Monday evening, Jan. 3, when Dr von Buelow, assisted by Dr. Damrosch, played the great Kreutzer sonata of Beethoven, and also Schubert's Introduction and Rondo briliant, op. 70, for piano and violin. The piano soli at this concert were artistically grouped as follows: a. Scarlatti-Cat's fugue. b. J. S. Bach-Sarabande and passepied. c. Gluck-Gavotte from the ballet "Don Juan." d. Mozart-Menuet et Gigue. and following these came a set of Chopin's pieces. a. Nocturne. Op. 9, No. 3. b. Ballade. Op. 23. c. Three Valses. Op. 34. Miss Lizzie Cronyn sang Beethoven's "Song of Peniitence," op. 48, and a Romanza from Rossini's "Othello." At the fifth concert, on Wednesday evening, Jan. 5th, Herr von Buelow, with the co-operation of M. Aubert (Violoncello) played a brilliant composition by Camille Saint-Saëns (Grande Suite, op. 19, in D, and also Chopin's "Introduction and Polonaise for Piano and Violoncello," op. 3. The general effect of both pieces was niarred by the bad playing of the violoncellist, whose most apparent faults were weak bowing, uncertainty in stopping, and defective tone. The vocalist of the evening was Miss Rosa McGeachy, who sang two flashy operatic airs which were completely at variance with the general character of the programme, though not more so than was the singing of the young lady in question. Far from finding fault with her selections I esteem it fortunate, and remember feeling thankful at the time, that she attempted nothing serious. The only unexceptionable part of the evening's performance was the playing of Herr von Buelow, whose selections were: from Mendelssohn the "Variations serieuses' op. 54, and six songs without words, and from Liszt cantique d'amour," "LeLac," "Au bord d'une source and a Valse Impromptu. Each of these pieces was given with the greatest delicacy of finish and the very perfection of detail, while the genuine poetry of the Mendelssohn Lieder brought into strong relief the artificial character of Liszt's ingenious fancies. At the sixth concert, on Friday evening Jan. 7th, Rubinstein's sonata, op. 18, for Piano and Violoncello was played by Herr von Buelow and M. Aubert, and the great pianist gave a magnificent performance of Beethoven's Sonata in E flat, op. 31. He played also a group of soli by Schubert, comprising the Elegie, op. 90, No. 3, the pression which was still farther confirmed by this per- Besides this symphony, which is of great length, the The great charm of Senor White's violin playing is in the quality of the tone he draws from the instrument, which is singularly pure and sweet; other traits however are not lacking. Miss Thursby sang an air from Handel's Muzio Scevola, and a Recitative and Rondo "Mia Speranza Adorata" by Mozart. Voorthuysen. 30 Thy hand in mine, Music and words arranged in short, crisp phrases. which are very pretty and effective. Home so blest. 4. Eb to e. Abt. 30 "Oh, home so blest! Oh, sheltered nest! Oh! land so fair!" Abt gives us here another "Swallow" song of sweet and classic character. Words by Montgomery. On the Shore I wait and listen. Song and Voorthuysen. 3') Katie, the Rose of Kildare. 3 F to f. Danks. 30 "If I were a bird I would soon be a flying, Across the blue ocean to Katie and home." A neat imitation of an Irish song with a melody much prettier than the average. Nobody's Darling but mine. 3 C to a. Danks. 30 "In your bright eyes softly shine, love, Visions de ightful to see." Evidently one of the brightest and best of darlings. for noné else could prompt such a soaring, brilhant, sparkling love song. For a high tenor or soprano. On Saturday evening Jan. 22nd, we had a double allow- Symphony No. 3, in Eb, major.... .Haydn a. Adagio-Vivace assai.. b. Adagio cantabile. Beethoven ..Beethoven Overture-" Coriolanus," Op. 63.. The Haydn symphony is an attractive work and it was Allegro ma non troppo-Larghetto-Rondo. Symphony, No. 9, D minor, Op. 125, With final Chorus to Schiller's Ode Recitative, Solos, Quartet and Chorus. 3. D (minor or major) to d. Molloy. 35 "So Gerome came one, and Finette came two, Two little steps half way." A decidedly merry little minor song, as pretty as pretty can be." Come back to Erin. Fantasie. 4. Bb. Grobe. 75 A well known beautiful air, varied in Grobe's well known interesting style. Mrs. H. M. Smith, Miss Antonia Henne, Mr. Wm. J., Tramway Galop. Four Hands. 3. C. Winch, Mr. Franz Remmertz. and The Oratorio Society of New York. Space would fail me should I attempt to give an account of this performance in detail, and I will only say that the enormous difficulties presented by the great choral symphony were surmounted with success and apparent ease by the orchestra; and that the singing of the impossible vocal parts was very well done by those to whom they were entrusted, while the chorus was creditable both to the singers and to Dr. Damrosch who directed the singing. The violin concerto, which is seldom given entire, excited much interest; and the playing of Mr. Jacobssohn displayed all the qualities necessary to the best interpre tation of the work. A. A. C. Marked with the Key, the Pitch, and the degree of difficulty, and concisely described for teachers and players. "O come thou down to me." A charming German peasant ballad, in the form F to f. (Plaisir d'Amour). 3. "Je t'aimerai, me repetait Silvie." If I only knew her Name. 2. D to f. "My heart was like a lark, There is an extraordinary evenness in the beauty In 6-8 time, and will do either as a march or Brockway. 40 | Aria and Polacca. From Ernani.. By the author of "Twilight in the Park," and 3. Bb.to d. "She was a little fairy dancer, Molloy. 30 Hans Andersen's little story set to music. Those Fox. 30 Broken Rhythm. 4. Crandall. 40 Includes good solos, duet, etc., and is a very Grand Magnificat. For 4 voices. 4. C to a. Du Mouchel. 75 "Magnificat anima mea." A rich quartet or chorus. Latin words only. "Dream that my spirit floats Ever to thee." Song in the drama "The Grand Admiral." Sweethearts. 3. Ab to f. Sullivan. 40 3. Eb to e. Boott. 30 2. D. La Sylphide. Morceau de Salon. Op. 55. Carl Faust lives in such "a distant" land that Marche Brillante. 4. Eb. S. Smith. 75 Marche des Amazones. 3. D. Maylath. 40 A spirited Spanish Air. Wilson. 60 Irish Diamonds. Similar to others of the set in beauty, difficulty, Very bright, anyway, but may be made still in small notes. Glover. 30 You and I. (With liberal Variations). 4. Ab To the land where all thy loved ones dwell.” Aubade. Serenade. 4. F to g. "The stars are sleeping, and, dim with weeping, CHARLES H. DITSON & CO., NEW YORK. Nobody has been more liberal in really good vari- PUBLISHED BY Oliver Ditson & Co., BOSTON. The pieces are all fingered, and are very clever Streabbog's March. 6 hands. 2. C. Easy pianoforte trio. 365 Bandit's Pranks. Overture. 4. C. Suppé. 75 Scrap Book. Valse de Salon. 3. F. Briggs. 40 4. Briggs. 40 HIGH SCHOOL CHOIR. For High Schools, Acad- Analysis and Practice of the Scales. By ABBREVIATIONS.-Degrees of difficulty are marked LYON & HEALY, CHICAGO, RICHARDSON'S NEW METHOD FOR GETZE'S SCHOOL FOR PARLOR ORGAN, BELLAK'S ANALYTICAL METHOD FOR DITSON & Co's HOME MUSICAL LIBRARY The Library at present, (1876) contains 18 volumes, each entirely (We furnish a catalogue, containing the names of every piece and THE HOME MUSICAL LIBRARY contains nearly 4,000 pages, of The books are uniform in size and style. For a full description, Musical Treasure. Vocal and Instr. 200 pages. FATHER KEMP'S OLD FOLK'S CONCERT Gems of Strauss. Instrumental. TUNES, has abundant materials for these quaint entertainments, which 2.50 3.00 4.00 2.50 3.00 4.00 2.50 3.00 4.00 200 66 200 200 66 200 46 200 240 66 2.50 3.00 4.00 66 216 RECREATIONS FOR CABINET ORGAN, PIANO, is one of a series of books of easy music, admirably fitted for is a classical collection of Reed Organ music, all in correct Organ style A descriptive Catalogue, containing concise descriptions of 1200 books published by Ditson & Co., will be sent to any |