despise, he frequently employs. But these few make up for, returns to the scene of familiar triumphs, evening, the 17th instant, commencing loyally with Mr. glimpses of sunshine through the storm were only and with her come Millle. Albani, Malle. Thalberg, the Leslie's arrangement of the National Anthem. The proremarkable from force of contrast. After having youthful dibutunte of last year. Malle. Bianchi, Malle. gramme contained a good and varied selection of unachad our ears continually strained by Wagner's pe- Marimon, Molle. D'Angeri, Mdlle. Smeroschi, and Malle. companied part-music, in which the choir always appear. culiar harmovies, even the smallest and commonest Scalchi. These names demand no comment, because to the greatest advantage, and though there may be piece of tune was delightful. How deficient Wag their value in the prospectus every one can estimate. good reason for occasionally varying the style of music ner is in melodic beauty anyone may easily see by Passing to the gentlemen, we find among old acquaint- performed, we always go to these concerts with some playing on the pianoforte the “Swan Song" and

ances Signori Nicolini, Bolis, De Sanctis, Pavani, Piazza, regret that Mr. Leslie should find such a course necessathe" Bri:lal Chorus," which were the most applaud Sabater, Bettini, Rossi, Marino, Graziani, Maurel, Co ry. The programme of the 27th comprised (besides more ed numbers in Lohengrin; the latter will be found togni, Bagagiolo, Capponi, Ciampi, Tagliafico, Fallar modern things) four fine specimens of the old madrigals, to be a commonplace “jiggy" kind of tune, which

and Raguer-a strong band, and perfectly able, in con. viz:-Wilbye's "The Lady Oriana;” Weelkès's “As Veswould not be at all unsuitable to a pantomime over junction with their sister artists already named, to carry ta was from Latmos' hill descending;" Manin's "O hear ture, Simplification is one of the best tests of the season through. Nevertheless, we are sorry to miss me, love;" and Savile's well known “Waits," with which the real value of music. Take any one of the

M. Faure from the troupe of which he has so long been a the concert ended. The performance of these madrisymphonies of Beethoven, arranged for the distinguished ornament. It is true that M. Faure has gals, excellent as it was in many points, did not give us pianoforte, and, though necessarily much of the engaged to appear under the auspices of Mr. Mapleson; that complete satisfaction which we had expected; in gorgeous coloring will be lost, the inherent beauty and that his pupil, M. Maurel, will succeed him, but the fact it was over-refined (Query: “ Dead perfect."—ED.); of thonght and form remains undiminished. At. change can hardly fail to be looked upon as regrettable.

we had beautiful pianos and crescendos, but no vigor, tempt to arrange one of Wagner's preludes or Ti. There will not, however, be one Frenchman the less at

and not a single real forte, the nearest approach to one

being at the conclusion of Weelkes's “ As Vesta," where tanic choruses for the pianoforte, and we see at

Covent Garden, M Capoul having left the “other house" the basses gave out the augmented subject, Long live once that whatever effect they produce upon us, as to go over to its rival. How far this event may compen

fair (oriana," with a power which set a good example to scored by him, is due to the intricacy of treatment,

the rest of the choir, but unfortunately did not obtain sate in public esteem for the withdrawal of M. Faure

a response from them. In alldition to the above the and not to any originality or beauty of fundamental

rhoir sang a madrigal by Mr. Henry Leslie, “Charm me conception. They are like a book written in the depends on the value attached to M. Capoul's services as a dramatic singer, about which curiously diverse opin

asleep,” which is a beautiful specimen of part-writing, purest literary style (!) by one possessing an unsur

and being throughout in a quiet, dreamy style, was exions are entertained. Mr. Gye does heavy work duringquisitely sung; another madrigal by Pearsall, “Allan-apassed command of language, but who, unfortunate

the season, and it is not surprising that he seeks to Dale," of whose good and vigorous music we cannot hear ly, has no thoughts of value to communicate. strengthen, from time to time, his normally powerful

tro much, and we hope the first time of performance of Wagner's music has been forced into notoriety as company. On this occision he promises seren débuts,

this week by the choir will not be th“ last; and another much by his writings, as by his having obtained and holls out hopes of an eighth-that of Signor Gayarre,

madrigal, and one of the most beautiful, Sweete flowthe patronage of the King of Bavaria. As an au respecting whom rumor says much that is favorable.

eres, ye were too faire," composed by the Thomas Attthor, he has certainly great talent; but when his ly are Mille Rosavalle, Miss Emma Abbott, an AmeriThe new comers who'n we are told to expect confident

wood Walmisley of Cambridge.- Jus. Standard. powerful pen is no longer wielded in attacking his can lady of whom report speaks highly, Millle. Proch,

Music in New York, critics and in defending his compositions, they prob. Millle. der Synnerberg, Signor Conti, Signor Monti, and ably will not be found to possess any great vitality say either a biographical or laudatory word, and we

March 27.- At the fourth Symphony concert of their own. There is scarcely an art which some shall imitate his example by abstaining from any specu- given by Theo. Thomas, at Steinway Hall, Feb. 26, enthusiasts have not tried to force beyond its prop- good cause to give each and all a hearty welcome. With er limits. Many of them have found followers for a

the orchestra played Haydn's Symphony in G, (No. time, but their deaths have always been the signal Signor Vianesi and Signor Beviinani will again be joint: | 13 of Breitkopf's and Haertel's edition), a fresh and for the gradual dispersion of their disciples. With; son luctors; a new dancer, Malle. Bertha, will appear; charming composition, which was given with all in the last twenty years, we have seen in pictorial Mr. Carrolus continues to act as chof d'attaque, Mr. Bet

the perfection of encemble in which this band is un. art pre-Raffaelism dawn, flourish, and decay. We jemien, as leader of the ballet, and Mr. Pitniann as orhave not forgotten the many attempts that have As no present and absolute necessity existed for the surpassed. Something of the naive and beautiful been made to tint or color statuary. 'In this, Gib. addition of new members to the company, so it may be a character of the work seemed to inspire the musi.

repertory of forty-eicht overas made it neeilless to bring gon, one of the best English sculptors, was very

out unfamiliar works But Italian Opera, even in Its cians, for they played as if they loved the music. successful, and for a time his novel ideas met with present condition, is not beyond the range and intlıgreat encouragement and support. But even for ence of musical opinion, and the director finds it politic

Besides this they played Beethoven's overture “Co. to humor that npinion by offering a molicum of novel. years before his death he recognized that the at

riolan," and a new Suite (No. 2, in F, op. 194), by ty. This spar he mentions fons works-Verri's Aïda, tempt to transcend the restrictions of his art. by im. Wagner's Tannhäuser, Donizetti: L'Elisir d'Amore, and Raff, which was received with great interest. The itating the color as well as producing the form of Rossini's Moxii thrre of which he pledges himself to

new Suite is remarkably well scored, and its execu. nature, was false and unhealthy in principle, and he roluce. We fail to see the reason for classing L'Elixir

tion was refined and spirited. It is divided as fol. had the good sense to abandon it." That Wagner certain to be heard, one of the remaining operas stands will become convinced that his efforts are not based a poor chance. Let us hope it is not Aida, which, for

lows: upon sound principles we do not believe; he is the

very shame. ought no longer to suffer neglect: while 1. Au der Grenze-[Onerturel.

Tannhäuser has claims deserving consideration. Should 2. Auf der Puszta-[Träumerei). god of a small clique, and every one who does not these two be put upon the stage, Mr. Gye will have done 3. Bei einem Aufzug der Honved-Marsch. recognize his powerful genius is, in his opinion, act hi duty, and conferred no small lustre upon the season, 4. Volkslied mit Variationen,

especially as Madame Patti is promised in Aïda and uated by some religious or interested motive.

5. Vor der Czarda-Finale. Malle. Albani in Tannhäuser. With regarrito Moses, that Lohengrin, as far as the story goes, is infinitely opern, anno'ınned last year, is nised to waiting, and may Mr. Wm. Mason, whose reappearance in the coninferior to many of the German operas; and none again be put off without serious injury. On the whole, will deny that, for melody alone, there are, we might there is ground for anticipating a busy and hy no means cert hall we note with pleasure, gave an admirable say, hundreds that surpass it.' What value, then, uninteresting season at Covent Garden.-Times.

rendering of Mozart's Concerto in C, (Koechal 467), it should have, is as an exemplar of Wagner's theory

for piano and orchestra. A better performance of the perfect union of poetry and music. The test CRYSTAL PALACE. The feature at the sixteenth con

could hardly be imagined. Mr. Mason played with of the meaning of a musical phrase, to which we cert was a very striking performance of Beethoven's have alluded above, will prove conclusively how un. Pastoral Symphony, the opening piece being a dry “In

precision aud good taste, which was supplemented sucre-sful it has been in this respect. That Wag. tro luction and Fugue,” from one of the orchestral by a faultless orchestral vccompaniment. der bas in Germany, and in this country, a large Suites of Lachner-why brought forward at all it is diff Saturday evening March 11, Fifth Soirée of the number of adherents is undoubtedly true; but of cult to guess. The Te Deurn No. 1. composed by Handel

New York Quartette. The first selection was Men. these, probably not more than one fourth really ad. for the Duke of Chandos (that in B flat), supplied with

delssohn's Sonata for Piano and Violoncello, op. 45, mire his composition, or would be able to give a additional accompaniments by Mr. Ebenezer Prout, at satisfactory reason for so doing; while the remain once discreet and effective, was also a novelty to the performed by Master Rietzel and Mr. F. Bergner. ing three-fourt's pretend to likt his music because audience; but the execution generally left much to de The pianist, to all appearances, is not more than they inagine that, by so doing, they prove their sire, and the work, al hough here and there exhibiting twelve years of nge and certairly showed unusual superiority in musical knowledge and subtlety of Handel at his best, faile'l to make any strong impression. talent, getting through the piece very creditably appreciation to those who fail to discover truth in Professor Oakeley's “Elinburgh March” composed on his theories or beauty in his works.

the occasion of the Royal Marriage, was the last instru. and showing some insight into its meaning; but he JULIAN MAGNUS.

mental piece; songs by Mes'mes Patey and Blanche Cole, had not the requisite digital force for its performwhich call for no par icular remark, completing the se

ance, which was, therefore, somewhat strained. lection. At the 17th concert (on Saturday) every ama. Music in London. teur was pleased to hear once again Mr. Arthur Sulli

The violoncello part was of course faultlessly renROTAL ITALIAN OPERA. Mr. Gye has issued his pros

van's Symphony in E minor. This, which had not been dered, Mr. Bergner being an artist unequalled in pectus for the coming season, and we are glad to observe played at the Crystal Palace since 1866, would, it was America. that he continues the new fashion of making that erst- hoped, be merely the precur-or of other compositions of while vain-glorious and deceptive document as mo'ler- magnitude and importance from the same pen. Surely

Mr. E. Mollenhauer gave a careful performance ate in tone and business-like iu character as possible. with, shoull have urged on our young nd gifted musi

of Tartini's Chaconne, for violin. He is an earnest The director first of all announces that his establishment cian to fresh efforts in a similar direction. If Mr. Sulli and conscientious player, but he never succeeds in will open on Tuesday, March 28, with a performance, as van is apathetic, or indifferent, to whom may we now on several previous occasions, of Guillaume Tell. No one look for music of a high order, to do honor to our native

getting a good tone from his instrument. The pro. school of art? Mr. Manns took every pains wi!h the ex. will object to the choice of a masterpiece which com

gramme ended with Beethoven's Quartet in E flat, ecution of the symphony, which, in all respects satisfacbines with good music, scenic and other effect of the tory, was welcomed with genuine enthusiasm. Among

op. 74. Miss E. F. Richmond was announced to highest order, while the comparative insignificance of

the remaining interesting features were the MS., Inter sing Rossini's Aria, “O Patria ” from Tancredi, and

mezzo and Scherzo by another of our clererest and most the principal female part evades all difficulty with prime rising compo -ers, Mr. Henry Gadsly, written expressly

Handel's “ Semele ; ” but, owing to indisposition, she donne, none of whom like to head a procession the hon for the “British Orchestral Societv," and first introduced did not appear, and another lady took her place. orable place in which seems to be behind. As regards with unalloyed satisfaction, and were glad to find it so to the public in the spring of 1875. We heard it again

During the past week we have been favored with the list of engagements, habitués will, no doubt, rejoice thoroughly liked and understood.-Mus. World, Feb. 19.

three pianoforte recitals by Dr. Von Buelow, at on. to find that most of the artists who have done good ser

ly one of which was it my good fortune to be pres. vice lately are still members of Mr. Gye's company. HENRY LESLIE'S CHOIR. The first concert of the pres

ent, The Dr. has devoted the entire week to BeetMdme. Adelina Pat.i, the absence of whom nothing could ent season took place at St. James's Hall on Thursday | hoven, giving three evening recitals.



The programmes were as follows:

ness ;” but the Leipzig Leuckart edition, from Rivers of salt tears are flowing, floods are rushing ever. Monday, March 20.

which it was here sung, has it: “ Deep, within my more ; o'er me waves and waters going, seas of grief fonata Patetica, op. 13.

heart was sorrowing." etc. The additional accom that have no shore, whelm me, soul and body taking ; Adagio con variazioni, op. 34. Sonata quasi fantasia, op. 27, No. 1, in E flat.

paniments of Robert Franz were used, consisting masl and anchor all are breaking ; I am sinking 'neath Sonata quasi fantasia. op. 27, No. 2, in C sharp minor.

chiefly of two clarinets and two bassoons, besides an the tide ; yondar hell is gaping wide, etc. These images Sonata. op. 110. in A flat. Fantasia, op. 77.

Organ part, whereas Bach's score has, besides the suggest the movement to the string quartet, to Fifteen variations, fugue and andante finale on a theme from the Eroica Symphony.

string quartet, only a single oboe, except in one which Franz has added clarinets and bassoons, Wednesday, March 22.

number a horn, in another four trombones in unison Listen to these as they flow along with the voice in Sonata, op. 31, No. 2, in D minor.

with other parts, and in the concluding chorus three sympathetic sweet companionship, all pursuing the Ronata, op. 109. in E.

trumpets. It is of course impossible to give a sat. one persistent weeping melodic figure. But to apThree Sketches from op. 119 and 126. Rondo Capriccioso, op. 129.

isfactory description of the work without mnsical preciate the beauty of the song, which is wonderful Sonata appassionata, op. 57, in F minor. Thirty-two variations on an original theme in C mi. citations; but we may briefly characterize its con in its way, requires something more than an amuse. nor.

tents, which consist of eleven numbers: an instrument seeking hearer. One who listens in a light « Les Adieux. L'Absence et Le Retour:" Sonata Caracteristique, op. 81.

mental prelude; four choruses set to words from mood, not having studied the music and become This was an evening of pure, unalloyed delight. the Bible, one of which has a Chorul melody inter penetrated with its spirit, will find it monotonously Every one knows how Von Buelow interprets Beet- mittently running through it: three Arias, two Rec- mournful and perhaps passing long as well as strange. hoven's music. In rendering a Sonata he follows no itatives, and a Duet.

But if you, too, need the sweet relief of tears, if you traditions, accepts no rule, but is himself the rule

1. A short Sinfonia in C minor, of a very tran. seek music out of the same inward need which with and the standard. It would be useless to particu- guil, delicate and serious character, at once impas. Bach found expression in this Air, you will the larize respecting his performance on Wednesday sioned and resigned. The oboe and first violin al rather crave continuance of so heavenly a comfortevening. Every one of the selections was given in ternate and imitate each other in liquid, long-drawn, er. We can hardly expect that of audiences. We the best possible manner.

The Sonata Appassionala florid passages, enriched by Franz with clarinets only know that no one who has any of the religion which he has already played several times in New and bassoons, while the other strings and organ of music in his soul, can by study or repeated hear. York, is a splendid example of his remarkable skill

move below in brond, expressive harmonies ; but it ing become familiar with this Aria without feeling crescendo effects and his wonderful use of the is the oboe that catches the ear as the chief singer and acknowledging its beauty. pedal. The programme on Friday evening, March in the mingled melody.

5. Chorus, in C minor. It begins with a few 24, was as follows:

2. Chorus: Deep within my heart was sorrowing and measures of Adagio, full of pathos, by the quartet of Sonata, op. 101, in A. Grand Sonata, op. 196, in B flat.

great affliction. So it begins, Andante con moto, soli, repeated by the tutti on a higher degree, Thirty-three variations on a Waltz of Diabelli, op.

44 measnre; first the word “deep” is thrice ex with more intense expression: Why, my soul, to which Dr. Von Buelow added the Sonata in E

claimed (in the German, “ Ich,") and then the fol. art thou rezed? Then a livelier movement (Spirituflat, op. 31, No. 3.

oso) starts off to the words : and art 80 unquiet in me! A matinée recital was announced to take place on lowing motive: Saturday afternoon, but owing to the illness of Dr.

Four strong motives, rhythmically contrasted, are von Buelow it was postponed. Next week one ev.

assigned to the voices, which with the instruments, ening will be devoted to Chopin, one to Schumann

&c. forming so many "real" parts, pursue each other and Mendelssohn, and one to Schubert and Liszt.

deep, with. in my heart was sor · rowing, &c. in Canon, or blend together, forming a most ingeAt Theodore Thomas's fifth Symphony Concert, Saturday evening, March 25, the following selec- is taken np, first by the Sopranos, then answered on

nious and most impressive web of polyphonic har. tions were performed : the last eighth of the first bar by the Tenors one

mony. The unquiet hopes and fears of the human Suite No. 1, in C. (first time).

..J.S. Bach

Weber note higher, while the Sopranos carry it up to E, heart could hardly be more vividly expressed. Aria: “O Fatima! from “ Abu Hasson,' Miss Anna Drasdil. the Tenors again to F; then it drops in the Alto to

Then follows a more tranquil movement for a few Symphony, No 3-Erotca

Concert Aria: “Hecuba," new..
A, the Bass echoes it in B flat, and so the marked

bars : For I shall yet praise Him, in which the soul and pregnant theme climbs and floats upward and

seems to gather up new life and strength; and then Eine Faust Overture...

....... Wagner The suite by Bach consists of an Overturo, For. downward by degrees of the scale, the four parts (Andante con moto, C minor) a splendid closing lane, Bourrée and Passepied, and is in no way infe- mingling in harmonious complexity, the instru. Fugue: For He is my glory and the rock of my salvarior to the Suites Nor. 2 and 3, which have already ments besides, developing into a rich and strangely

tion, been produced by Mr. Thomas. It was played with

Here ends the First Part, which is mostly sad and marvellous fire and precision. The performance | fascinating web of melodies. Then the movement

crushed and bleeding is srrested; two long chords on “ But," followed by mournful, the music of of the Eroica Symphony was one of the best I ever heard. Mies Drasdil made an an excellent impres- an animated Vivace, Thou dost comfort me with all

heart, yet finding hope in grief. The Second Part sion in both Arias—particularly in that by Weber. thy mereies," etc. Here the character is mostly Ma is full of assurance and of heavenly hope. It begins The honse was well filled, notwithstanding the

A.A.C. jor; voices and instruments imitate and blend in stormy weather which prevailed. long roulade passages of sixteenth notes, running

6. Recitative and Duet for Soprano and Bass, in thirds and sixths, with very brilliant effect,

which allegorically represent the Soul and Christ. ending with a quiet Andante, and with the major

Here, as in the Alto solo or chorus which open the chord of C. This chorus is sure to win its way upon

second part of the Matthew Passion Music, and else. BOSTON, APRIL 1, 1876. acquaintance ; and none can sing it together long is characteristic now and then of Bach. The open

where, we meet a certain vein of the romantic which enough to feel at home in it without learning to ing dialogue is most tender and expressive. S. Ak

love it. OUR MUSIC PAGES. The Part Songs in this number,

Jesus, light divine, my sun. when wili thou shine ?-B. are taken by permission from “German Part Songs,"

3. A most beautiful and touching Soprano Aria Fear not, soul, I am with thee.-S. With me? around edited by N. H. ALLEN, published by Oliver Ditson & (Andantino con moto), in which the melody is first is darkest night! And so on. With the first words Co., Boston. sung through by the Oboe, with quartet accompan- the dominant of the key, which is E flat major; at

the violins climb slowly a whole octave from B flat, imeut; in the original score there is nothing but the allusion to darkest night they suddenly drop an "Ich hatte viel Bekuemmerniss." oboe and figured Basso Continuo. The words are : octave and a half,-a marked and beautiful effect. This is the title of the Cantata by Sebastian Bach Sighing, mourning, sorrow, tears, etc., waste away Then follows one of the loveliest of duets, with

my troubled heart. The contrite and afflicted heart lung-drawn flowing melody, in 4-4 measure. Bach's -the first specimen of its kind yet given in this

pours out its lamentations and its fears in a series of score has only the Organ and Continuo for accom. country-which was performed at the last Harvard short, detached phrases, almost recitative-like, and paniment; but out of these mystical figures Franz Symphony Concert. It is one of some 380 Cantatas yet so balanced, so symmetrical, so connected, that has deciphered a full quartet with four reed parts. which he composed for every Sunday and church

the melody is perfect. De profundis clamavi. The Words : S. Come, my Jcsus, with thy blessing.–B:

deep religious sadness of the strain, its thrilling ten. Yea, I come, etc., fear yielding slowly and misgiving. festival for five years, mostly in the earlier period der pathos, is only equalled by its divine beauty. ły to reassurance, until the rhythm changes to a of his residence in Leipzig. This one, however, al. It gives the singer scope for most expressive accent, lively Allegretto in 3-8, on the words: Ah Jesus, though it is one of the most elaborate and most and admits of being sung somewhat ad libitum ; at thy peace to my sorl is returning, answered by: Away beautiful, was an earlier composition, and dates least the instruments should wait upon the singer. now, ye troubles, Ay, sorrow and mourning, and then

And yet it is all chaste, and healthy feeling, noth- | Da Capo. back to the year 1714, when he lived in Weimar. ing morbid in it, as is ever the case with Bach. 7. A Chorus of wonderful artistic subtlety and It was composed for the third Sunday after Trinity, 4. The anguish and distress is carried to still beauty, rich in harmony and rich in comfort. The June 17; and the text has reference to the Epistle more intensity of utterance in the Tenor Recitative movement is con moto, 3.4, the key G minor. A of that Sunday; nevertheless Bach wrote over it: and Aria which follows: Why hast thon, O my God, single Soprano begins: O my soul, be content and be " Per ogni tempo” (good for any time). These op in my sore need, in my greal fear and trembling, so thor peaceful, soon joined by a single Bass, a single ening words: " Ich hatte viel Bekümmerniss," turn'd thy face from me ? etc. One of a thousand fine Alto, which pursue their even way, when presently might be translated, with some resemblance to the instances of Bach's eloquent recitative, (still in C. all the Tenors in dotted half-notes begin to sing the sound of the original, " My heart was full of heavi. minor), leading into the Aria in F minor (Largo): first line of a Choral (Wer nur den lieben (Goli lässl


Miss Anna Drasdil.

with :

Dwight's Journal of Music.


walten), which Mendelssohn has introduced in his more distinctly heard. We think the best guccess

sisted of Liszt's “ Prometheus," a Symphonic Poem, St. Paul. Intermittently, first a line and then a pause achieved by the Cecilia as yet was in their render followed by a series of choruses, solos and quartet to (as in the Organ Vorspiele) the choral is heard while ing of the Bach Cantata, of which we have given a words from Herder's poem. The Symphonic Poem, the solo voices steadily pursue their way. Then the very inndequate description above. The orchestra tutti swell the rich harmonious stream, and the So was well subdued, so as not to overpower the voices,

or Overture, was about the most thankless music we pranos take the Choral. Finally four troinbones the tempi were well taken, and the instrumentation

have listened to for many years. As for beauty we reinforce the quartet ; the Sopranos krep the Choral; for the most part was delicately and effectively pro- could find none in it, nor any meaning. The only the other parts still pursue the strain with which duced. The choruses had been carefully studied, thing it seemed to suggest, in connection with its they began; but a new motive, a descending phrase and in spite of the strangeness of the task to many of foor eighth notes, continually appears in one in the first rehearsals, were sung con amore, with

title, was the gnawing vulture and the groaning voice or another, or in some instrument, lending a precision, spirit, and good light and shade. This

victim, and this seemed helpless, hopeless, endless. wonderful richness and exhaustless charm to the was particularly the case with the third chorus, The vocal portion contained more variety, some whole. Such a chorus, broad, deep, limpid and which contains the Choral, and with the brilliant transparent, fills the soul with peace.

tantalizing signs of promise here and there, and What a de- and inspiring Finale. The quartet of soli, which some even beautiful effects, many wbich were very light it mast be to sing in it when it all goes well ! occurs in two of them, was satisfactorily given by

curious and striking, such as the chorus of the Dry10. Tenor Aria, F major. 3-8, Andantino con Miss Dorja, Mrs. Jesxy Noyes, Mr. GEORGE L. Os.

ads, and that of the Gleaners and Wine-dressers. moto: Rejoice, O my soul ... Change weeping to smil. GOOD, all of the Cecilia, and Mr. Joun F. Winch. In

The opening chorus of Oceanides excited hopes coning, etc. A buoyant, peaceful, blissful melody, with the solo arias and recitatives the place of honor be

tinually baffled. But most of the others,—Tritons, a delicate flowing accompaniment. As the instru- longs to Miss Doria, who sang the pathetic Air with

Spirits of the Lower Regions, chorus of the Invisi. ments begin, rou may be reminded of a song by ohoe obligato in the true Bach style and feeling, bles, and the concluding chorus of the Muses, were Franz: “Marie, am Fenster sitzend,"

with fine artistic execution, clear, pure, telling for the most bizarre, extravagant and straining 11. The splendid final Chorus, upon the same

voice, and heartfelt, chaste expression. Still more for effects unheard of, sometimes positively unmusi. text with that of Handel's Mexxinh. Here Bach's enjoyed, apparently, was the Duet with Mr. Winch,

cal and disagreeable. There was no fault to find, three trumpets come in with stirring effect. It is in which both sang admiralıly. Mr. Osgood had the

that we are aware, with the singers; the Sharland in C major. The words: The Lamb, that for us is most difficult and, under the circumstances, in such

Choral Society, the soloists (Miss E. E. KENDRICK, slain, to Him will we render porcer and glory, etc., are A place, before so large an audience, so

Alto, and Mr. REMMERTZ), and the Temple Quar. declaimed by all the voices with stupendous and tomed to such music, the most thankless task of all.

tette, all did their part as well as could be expected. startling modulations. Nothing could be more exBut he is probably much more at home in Bacli's

But we are sure that Music would lose all its charm citing and full of grand presentiment. As each music than any other of our tenors, and he under.

for us if all music should become like that. deliberate phrase rings out, you seem to hear the stood the work. The recitative: Why haxi thon, O

The second part of the programme comprised the echoes in the pause that follows. Then the tine my God, was well declaimerl; and the long Aria it

Introduction and Finale io Tristan ana Isolde, and changes to Allegro. A solo Bass voice declaims :

self was sung with fervor, and in passages requiring Wotan's Farewell” (Mr. RHYMERTZ) and the "MagPower, and glory and praise be unto Him forevermore,

the best part of his voice with beauty and intensity ; ic Fire Scene," from the Walkuere, works of Wagner lengthening out the Amen, Allelujah in florid rou.

the indistinctness of his low tones was the chief which have become somewhat familiar here. lades, while voice after voice (soli) take up the theme drawback; nor was his organ generally at its best ;

The second concert was in refreshing contrast to and pursue the Fugue. Presently the tutti join continual teaching and a snccession of colds im.

the first. Beethoven never fails and this was purely them, first in one part, then another, until the whole paired its freshness and its freedom. The second

a Beethoven Night. First caine an altogether beaumass is drawn into the harmonious vortex, and amid

Air: Rejoice, O my soul ! was more successful. Mr. tiful and admirable performance of his first Symphostirring trumpet calls, it surges on to a higher and

G. W. Sumner did good service at the Organ. ny, heard here for the third time this winter. Then, a higher climax, and the whole ends in a blaze of And what impression did the Cantata make ? -after a good rendering of his dramatic Trio: Treglory, almost too suddenly, you think, although the Good enough upon the whole, we think, to justify | mate, enp, by Mrs. H. M. Smith, Mr. W.J. Wiscu, musical matter has been fülly treated and exhalisted. the risk of introducing it, and to give promise of and Mr. REMMERTZ-Mr. Thomas gave us, in conIt is truly a sublime conclusion to a noble work. better yet in this sort for the future. Yet of course trast with the earliest Symphony, the last, the Ninth

there will be all shades of conflicting testimony, with Churus. Both orchestrally and chorally it was

from those who found it mournful, slow and tedious, one of the most finished performances of that great Concerts.

to those whose deepest sensibilities, both musical work that we have ever had here; and yet there have HARVARD MUSICAL ASSOCIATION. The tenth and and spiritual, were strongly drawn to it and been one or two occasions (Handel and Haydn Festi. last Symphony Concert of the eleventh series, which

charmed with it. We safely say that it was enjoyed | vals) when some parts of it have come out more intook place on the afternoon of Thursday, March 16, er's acquaintance with the music and with Bach in pleted the Quartet of solo singers,

precisely in the degree (1) of each individual listenspiringly and grandly. Mrs. Flora E. Barry comhad the most interesting programme of the season. general, and (2) in proportion to each one's depth and the largest audience. It was unusually long, to

of nature and of moral experience. There were HERE, by some strange miscalculation of space, we are be sure, but, with comparatively few exceptions, the many in whose hearts those serious, yet serene, sus. suddenly cut short, and must reserve the rest, including andience sat through it more than patiently. Sel; taining harmonies found warmest welcome; and dom have we heard so much satisfaction so generally there are many among cultivated music lovers, and

Mr. Lang's two interesting concerts, for future notice. expressed.

even some uncultivated, who, the more they become 1. Passacaglia, in C minor, Organ work, arranged

WELLESLEY, MASS.-The new female College in this acquainted with Bach, the more do they enjoy it, for the Orchestra by 11. Esser......J.S. Bach 2. Canons, for three Soprano voices (repeated by love it, and find peace and health and comfort in it place appears determined from the start to establish for

itself a high musical character. Mr. Charles H. Morse request).... Hauptmann beyond any other music. It is the music that will

is the Musical Professor, who has two assistant teachers : a. Tu sei gelosa." 6. " () cari boschi,"

wear best of all. All true inusicians come to this ac. c. “ Su, cantiamo." d. “Ah, tu sai." knowledgment. Certainly it is the farthest possible music). They have one of Chickering's best grands for

Miss E. Randall (Piano), and Miss Louise Gage (Vocal 3. Symphony, No. 1, in B flat, op. 38..... Schumann VOCAL, BY THE CECILIA.

from all that we call sensational music; and it can
hardly be expected that it will be much enjoyed by

concert use, and expect soon to have an excellent three1. **Cantata per Ogni Tempo. Ich hatte viel those who are taken off their feet by the dynamical

manual Organ. A series of six classical Piano-Forte Bekümmerniss," for fonr Solo voices, Choexcitements of the works of Wagner, Berlioz, Liszt,

Recitals, by the best Boston artists, was most success. rus, Orchestra and Organ,.........J. S. Bach

fully initiated on the 11th of February by Mr. Hugo etc., whatever incense each of these, in one way or 2. **Motet: “Laudate pueri," for Female Choir, with Organ Mendelssohn another, may have seen fit to burn before the shrine

Leonhard, whose interpretations of the following pro3. Finale to the First Act of “Euryanthe" (second of good St. John Sebastian, not to be ignored by as.

gramme were enthusiastically received:

Aria and Gavotte.

Bach This division of the programme was suggested in pirants in Art, however different the crown they

Sonata Appassionata. Op. 57.

.Beethoven order that the chorus might be off the stage during

“Kinderscenen,” (Scenes of Childhood)..Schumann The Motet by Mendelssohn-one of the three he Preludes. Op. 28, Nos. 17-16,

.... Chopin

Etude. Op. 25. in A flat, No. 1, the performance of the first part (conducted by Carl composed for the nuns of Trinità de Monti in Rome,

Capriccio. Op. 33-2..

Mendelssohn ZERBAAN) and allow a more convenient seating of is a pure and pleasing composition, which served well

From “Kreisleriana." Op. 16, Nos. 6-1...Schumann to show the beautiful ensemble of the female voices in Songs without Words. Nos. 29-48..... Mendelssohn the orchestra. The two orchestral works were well the Cecilia, and their refined, expressive execution.

Scherzo, in B minor, Op. 20......... ....Chopin performed, especially the B-fat Symphony by Schu. It has a second movement, a Terzetto (adagio): Beati

The programme of a concert by the pupils (March 3] maon, which promises to hold its place as one of the omnes, in which the three solo voices are presently is remarkable for the absence of all trashy music. great Symphonies of the great classical period, and joined by the three-part chorus. —The fresh, bright,

Overture to Lodoiska. [4 hands)......

.......... Cherubini charming finale from Enrganthe, with its buoyant, which we have seldom heard interpreted by any simpie choruses of peasants, answered by manlier

Sonata in E. Op. 14-1

Beethoven Air a la Bourrée.............

Handel orchestra with more fire and precision. The three strains of knights, proved as delightful as before;


Kirchner Souvenir for Elise.

Beethoven little Capons by Hauptmann formed an agreeablo Miss WHINNERY sang the blissful florid soprano solo Duet: "I would that my Love,". Mendelssohn entremel between the Passacaglia and Symphony. very beautifully, and the brief quartet was finely Rondo in A.......

.. Haydn

Sonata in A....... sung by Miss Whinnery, Miss Morse, Dr. Langmaid They were sung, as before, by Miss Clara DORIA,


Song without words. No. 48.
snd Dr. Bullard. -So ended one of the richest and
Mrs. F. P. WutxŁY, and Miss Ita Welsh, and made most varied concerts of our winter. We have yet to

Song: "Across the far blue hills, Marie,"... Marston
Scenes from Childhood.....

.Schumann A very charming impression, though they were hard sum up the whole season. lp given with the same exquisite nicety as before,

Overture to Egmont. [4 hands)

Beethoven Tue Tuomas Orchestra.


"In the Woods" particularly the first one.

The two extra con.

Song: “A Bird Sang in a Hawthorn Tree"...Hattou In the second part Mr. Laxe took the baton, and certs given in the Music Hall on Tuesday and Wed.

Mendelssohn Kindlerstuecke. Op. 72-5....

.....Bach the members of the Cecilia, who had carefully re

| Prelade. No. 1... nesday evening, March 14 and 15, wire but moder

i Sicilian.

.Schumann hearsed with him, were grouped together more comately well attended, especially the first, the “ Liszt

Versteckens. Op. 85-10.

Schumann pactly in the centre of the platform than before.

Ari: "O, rest in the Lord"

Mendelssohn and Wagner Night,” which fact goes some way to Waltz, in D flat.....

..Chopin The tenors and basses, still inferior in number and in volume to the solranos and contraltos, were not show that the “new music" has not after all the

a. "The Joy of Youth." (Euryanthe). Weber 80 widely separated, and in consequence they were most attraction. The first part of that concert con.

0. Evening Song..




Special Notices.

FARMINGTOX, Coxx. The 75th and 6th concerts at pullir schools are giving so much attention to music
Mi-s Porter's Young Li lies' School took place, under

and that conservator'es an I special inu-j!-schools are

sirringing up) on every hand, if is in re than pirubalile the direction of Mr. Karl Klauser, on the 9th and 10th of

that the num'ier of in isi tu lents will lirgoly increase. March. The executants were: Dr. Leopold Damrosch, As matrers now stan !, there is no opportunity for the

DESCRIPTIVE LIST OF THE violin; Mr. Fre:lerick Bergner, violoncell,; and Mr. F.

innsic stule::t, especially for the salent. f mu-ical his.

tort, to pulsue his stu lies otherwise than ly the aid of von Inten, piano. These were the programmes :

L A T E S T text-hools. Such a thing is stu lying the great mysers

M U S I C,

(ei her old or newl through their works is out of the
question. This is to a great extent true with the wher

Published by Oliver Ditnon & Co. Trio-Piano, Violin and 'Cello, G, op. 112..... Raff

arts, but there there is more excuse for it. The works of 1. Risch, froh bewegt. 2. Sehr rasch. 3. Maes

the great painters cannot lie reduplicated and really sig lang-am. 4. Risch, durchaus belebt. fine plaster ca-ts are not so easily obtaineil; but orches

Vocal, with Piano Accompaniment. Etudes Symphoniques-Piano, C Sharp Minor, op. 13,


tral scores are just as easy to get and keep as any other

books are. And be it rem-mbered that it is only throngh Must we then meet as Strangers ? For Alto. Sonata-Piano and Violin, G, op. 30, No. 2. thiir full scores that composers can be really studied to

3. F to d. Beethoven

Thomas. 40 Elegie -- Violoncello Solo...

any purpose; piano-forte transcriptions are extremely

“ Can we then meet, as strangers,
useful in their way, in 'leed to the special pianist they
Trio-Piano, Violin and Violoncello, C Minor, op. 66,
may lie technically interesting, but they are of little val-

When we recall the past?"

ue to the general music-stulent Would it not be well A great success is this fine song, which is in this II.

for those who have the needful powers to take this ques. forin accessible to Alto or Baritone Singers.

tion of a musical library into consideration ?- Atluntic | Beware! Take Care! Suite-Piano and Violin E op. 11...... Gollmark Jonthly.

4. Eb to J. Gilbert. 35 1. Allegro. 2. Andante sostenuto, 3. Allegro

". She is fooling thee.” ma non troppo. 4. Alle ro moderato quasi Allegretto. 5. Allegro molto.

Composer and Publisher.

Always,-2lways.- when she pleases. Long Prelurle and Fugue-Piano E minor, Notre temps,

fellow's warning" with yet another fiue musi. No. 7....

Men lel-solin PUBLISHER BUMPUS.- Well, Dr. Slim, what have you cal rendering. Dolorosa -Sonata quasi Fantasia, Violin Solo with brought me?

I had a Dream last night, Maggie.

Song and Piano accompaniment......... Pietro Locatelli, DR. SLIM. I have brought yon a symphony, Sir.


3. G to e. (1702-1761).

Knight. 30 1. Molto Largo, Lento, Allegro ma non troppo. PUBLISHER BOMPOS.-Symphonies don't pay. What

“She gently rests: She gently resis." 2. Aria key?

These soft words constitute the chorus, and the Sonata-Piano and Violoncello, G minor, op.5, No 2, DR. SLIM.-C sharp minor, Sir.

whole is placid, sweet, soothing music. Words Beethoven 1. Adagio sostenuto e espressivo, Allegro molto PURLINER BUMPUS.-C sharp minor don't pay. Why Paintly flows the falling River. 3. Do to f.

by Sophie May. piu tosto Presto. 2. Allegro

not major? Why the lesser third? Trio-Piano Violin and Violoncello, E, No 4 Haydn

Dr. SLIM.-I have arranged it, Sir, for four hands, Sir, 1. Allegro moderato. 2. Allegretto. 3. Finale,

Rerford. 30 Allegro. on one pionoforte.

Percival's well-known words, with a new musi. PUBLISHER BUMPUS.-Four hands on one pianoforte

cal seiting Musical Libraries.

don't pay. Can't you arrange it for two hands on four Punch! Brothers, Punch! Song and Cho. pianofortes ?

2. F to f.

30 of circulating musical libraries,-like Schuberth's or Dr. SLIM.-No, Sir-not without transposing it half a

“ A blue trip-slip for an eight cent fare. Schirmer's in New York, Flaxland's in Paris, Novello's tone lower; anıl then it would be difficult for the two

Punch in ihe presence of the passengare." in London, and many others, where anybody can sub hands, unless one hand was Arabella Goddard's and the

Here it comes! Buy it while its hot and let the

ch'erful conductare take his varied fare, 'mil scribe by the month or th quarter, and take out two or other Hans von Buelow's.

the chorns of the passepgare. The composare, more volumes, according to the amount of his subscrip PUBLISHER BUMPUS. --That's out of the question. (modest merit) does not reveal his name. tion, -we have as yet none in Boston. We have not Hans says Arabella plays like a wax antomaton; and Come back to de Ole Plantation. Song and heard of a circulating musical library on the Mudie Arabella says Hans plays wrong notes by the wax doz

Cho. 2. F to f.

Danks. 30 Loring principle being undertaken anywhere. It would en. That won't pay.

Ensy and pretty serio-comic song. be a great blessing to many of our music-lovers, espec DR. SLIM-Will you print the full score, Sir?

Daintiest Lass of Tralee. Song and Cho. ially to those who devote themselves to four or eight PUBLISAER BUMPUS.-Full scores don't pay. What 3. Bb to d.

Christie. 30 hand piano-forte playing, or to part singing, if some hrve you got in your left hand?

“Fairy one with the sweet rosebud month, such establishment could be set on foot in Boston. But Dr. SLIM.-A cantata, Sir.

As the breezes that blow from the south." what Bo-ton-and, if we mistake not, most of our great PUBLISER BUMPUS.-Cantatas don't pay. The sub

A dainty and taking song in popular style. American cities-still more needs is a good library of ject, if you please?

Sacred and Secular Quartets for Male Voices. reference; a place where the musical student


DR. SLIM.--A martyrdom, Sir. trustworthy editions of the works of the great masters,

By H. M. Dow. PUBLISHER Bunrus.- Martyrdoms don't pay. Can't both classic and modern. The institution that ought to

No. 1. Te Deum Laudamus.

30 yoni write a ballal, like Arthur Sullivan, or Diehl, or take this matter in hand would seem to be the Public Cowen, or Frederick (ay?

2. I cannot always trace the way. 3) Library. The Harvard Musical Association has a fine

3. Consolation..

30 DR. SLIM.—No, Sir; but I could try and write one like library of over two thousand volumes, which is kept in

4. Beware!

35 Dishley Peters.

5. Vocal March: The Trumpet calls. 60 the association's rooins in Pemberton Square; this col. PUBLISHER BUMPUs.-Oh! That would never pay, be

6. Drinking Song: Fill your-glasses. 40 lection (which is one of the finest, if not the finest, in the cause nobody would sing it.

These are some of the "successes" of the country) is rich in works of the old Italian and English Dr. SLIM.-Then, Sir, what am I to do with my sym famous Temple Quartette, and sure to be effectmasters, and almost complete in the works of German phony and cantata ?

ive. Of about the 31 or possibly for finest effect, masters of the classic period, but it is very poor in works PUBLISHER BUMPUS.-Bonfire!-they won't pay.

the 4th degree of difficulty. Nos. 2 and 3 are also of the post-classic period. Besides, it is a private col

arranged for wixed voices.

(Exit Dr. Slim.)- London Musical World. lection, open only to members of the association. The

Instrumental. Boston Public Library has some few volumes of music:

Aesthetic Publisher and Commercial

Composer. the scores of Sebastian Bach's works in the great Breit

Belle Grace Galop. 3. Eb.

Brown. 30 kopf und Haertel ellition, some few of Handel's scores,

(From the Same, March 11.)

Another boat club" galop. A fine piece. the scores of some of Mozart's symphonies, and one vol PUBLISHER.- I shall be glad, my dear Sir, to bring out Haymakers' Schottisch Caprice. 3. C. ume of Carissimi's oratorios; other full scores we have some work that will tend to elevate your reputation, and

Briggs. 35 not been able to find; there are also some piano-forte maintain the character of my house.

A stately and elegant Schottisch. scores of choral and dramatic works of Beethoven, Ben COMPOSER.- Blow my reputation !

Concert Gems from Robt Schumann's Pianonett, Gluck, Gounod, Haydn, Meyerbeer, Mendelssohn, PUBLISHER.--Fye, my dear Sir; remember your prom.

forte Works.

each 30 and Weber (notably the French e lition of the Frei. ise to compose a new symphony for the directors of the schütz with Berlioz's recitatives, which is a curiosity], Crystal Palace.

No. 8. Scherzino. Op. 26. No. 3. 4. Bb. and some few piano-forte and organ works of Liszt, Cho COMPOSER.- Blow the directors of the Crystal Pal

Pure classical music. pin, Schubert, Schumann, and one or two others, but the ace!

Cushing Guard Quickstep. 3. Bb. Milliken. 30 merest scattered collection, in no way approaching to PUBLISHER.-Softly, my dear Sir; you surely have not A powerful bright thing to which the “Guard” completeness. Of Allegri, Astorga, Baltazzarini, Cav- forgotten your undertaking to cornpose a new dramatic

must march, march, march with the greatest satis

faction. alli, Durante, Frescobaldi, Graun, Guglielmi, Adam de cantata, on Lady Godiva, for the approaching Birmingla Hale, Hasse, Hans Leo Hassler, Jomelli, Josquin des ham Festival?

Pilgrim Chorus from “Tannhauser." Spindler. 40 Prés, Lulli, Marcello, Monteverde, Palestrina, Pergo COMPOSER.-Blow the Birmingham Festival!

For 4 hands. 3. E. lese, Rameau, the two Scarlattis, Stradella, Spontini, PUBLISITER.--Let me remind you, my esteemed Sir,

For 2

4. E. Cherubini, Halévy, Auber, Boieldieu, Herold, Bargiel, that you must do something to redeem the promises of Elegant and graceful, as Spindler's music must Brahms, Berlioz, Max Bruch, Gade, Goldmark, Félicien your youth.

be. David, Massenet, Raff, Reyer, Rbeinberger, Saint-Saëns, COMPOSER.- Blow the promises of my youth!

Cuban Dance. 4. Db and Gb. G. D. Wilson. 50 and Wagner, there is not a note in either form. For the PUBLISHER.-Then I despair of you, my respected Boston Public Library to keep a collection of piano-forte master. I would never have entered into an agreement

Skilful adaptation of the weird Cuban airs. music, or piano-forte arrangements of choral or orches to take all your compositions, had I known that you in. Maple Leaf Waltzes. 3.

M'Adam. 50 tral works, for public circulation would be ridiculous. tended to abandon works of high ait.

A tasteful name for attractive music, Also the wear and tear that piano-forie music, either COMPOSER.-Blow works of high art! bound or in sheet form, is liable to, is immense. But PUKLISHER --Your object may be to make money. Invitation a la Polka. 4. Eb. Bendel. 2 hands 60 the case is very different with a standard library of refMine is to publish for posterity.

4 " 80 erence, a collection of the full orchestral and choral COMPOSER.-Blow posterity!

In Polka form, and is a brilliant and elegant scores of the principal ancient and modern masters. As PUBLISHER.—Then I fear we must part. I have a du piece, in either form. Suitable for an exhibition

ty towar is the musical world to perform, and I must piece. such works are, in general, very costly, these scores

relinquish you to the care of my more commercial brethshonld not be allowed to go out of the library, though everybo ly shonld be free to consult thein there. In cases of urgency for instance, if any one should wish to

COMPOSER –Blow your duty to the musical world, and ABBREVIATIONS.-Degrees of difficulty are marked make a pianoforte or organ transcription from some bless your more commercial brethren!

1 to 7. lbe key is marked with a capital letter: as C, B work, be miglit lie allowed to take it home, * by special (Eri: Composer, inilignantly; - Publisher sighs, and re Mat, &c. A small Roman letter marks the bigbest noie, perinission. as is the case with books marked with an turns to the study of the score of Beethoven's Ninth

if on the staff, an ilulic letier the highest note, if above asterisk in the Bates Hall catalugue. Now that our

the stair. Symphony.


Oliver Ditson & Co., in Boston, New York, and Philadelphia.

Messrs. Oliver Ditson & Co., of Boston, beg to inform their customers and the musical public that they have recently purchased, at large expense, the entire stock of Engraved and Stereotyped Music Plates, Sheet Music, Music Books, Pianos, Instruments and good will of the old and well-known house of Lee & Walker, of Philadelphia, and have established a branch house in that city, under the firm name of J. E. DITSON & CO. For several years the firm has had a large and successful branch house in New York city, under the firm name of CHARLES H. Ditson & Co.

The Lee & Walker catalogue embraced over 50,000 music and book plates, and among the most valuable copyrights now added to their former immense catalogue, Messrs. Ditson & Co. call attention to the following:

VOCAL. ABBREVIATIONS. - Degrees of dificulty are marked from 1 to 7. The key is denoted by a capital letter, as C, Bb, etc. A large Roman letter marks the highest and

lowest notes if on the staff, a small letter if above or below the staff. Alone and from home. S'g and Cho. Bb. 2. F to F. Frank Stanley. 40 Little Brown Jug. Song and Chorus. C. 2. E to E.... Eastburn. 30 And eyes will watch for thee. Ab. 3. d to Fb..... Albt. H. Hassler. 30 Little Bud loveliness. C. 3. c sharp to E.........

Mack. 30 Angels wbisper sweet goodnight. S'g and Cho. Al. 2. d to Ed. Danks. 40 Loved and lost. Eb. 2. Eb to F..

.....A. H. Rosewig. 40 Beautiful Blue Danube. D. 4. c sharp to A...........F. Branson. 50 Make yourself at home. Song and Cho. G. 2. d to E. A. Hawthorne. 35 Arranged from the popular Danube Waltzes by Strauss.

Nellie's secret. Song and Chorus. Eb. 3. Eb to F.... H. Millard. 30 Birdie's Ball. D. 1. d to D... .A. Street. 25 No one to love. Ab. 3. c to F...

W. B. Harvey. 35 Blind Girl's dream. A. 3. E to g..

F. Branson. 40 Not a Crust; or, the Beggar Boy. S'g and Cho. F. 2. c to F. Persley. 35 Blue-eyed darling, whisper yes. D. 2. d to E.. .H. P. Danks. 30 Only waiting. Eb. 3. E6 to ř..

.G. Kunkle. 50 'Cause Birdie told me so. G. 2. d to E..

E. Mack. 30 Open the gates as high as the sky. S'g and Cho. Bb. 2. F to F. Mack. 40 Columbia the Gem of the Ocean. A. 3. d sh to F sharp.... Shaw. 30 Our good old friends. Song and Chorus. G. 2. d to E. A. Hawthorne. 30 Come when you will I've a welcome. A. 3. c sharp to È. Lansdon. 40 Our mother in heaven. Song and Chorus. Ab. 3. Eb. to F. Millard. 30 Died in the streets. Song and Chorus. Bb. 2. F to F... Eastburn. 30 Our sweethearts at home. Song and Cho. G. 2. d to E... Winner. 35 Dance me, papa, on your knee. Bb. 3. d to E.......H. P. Danks. 30 Pretty as a picture. Song and dance. A. 3. F to F sharp. Bishop. 35 Don't forget to write me, darling. G. 2. d to D... .. Launder. 40

Sung with great success by Mlle. Aimée.
Dying Nun. Alto. Eb. 2. B. to C...
.Brewster: 25 Robin, pretty Robin. Eb. 3. F to g.....

...... M. Loesch. 50 Ellie Rhee, or Carry me back to Tenn. S'g & Cho. G. 2. d to D. Winner. 35 Rock beside the sea. Ab. 3. Eb to F..

..C. C. Converse, 40 Farewell song of Enoch Arden. S'g and Cho. G._2. d to E. Winner. 35 Slumber not darling. Song and Cho. A. 3. E to F sharp. Persley. 35 Gates are ever open. S’g and Cho. F. 2. d to F. Alice Hawthorne. 30 Somebody's darling slumbers here. c. 4. c to E.....J. M Muller. 30 A companion song to “Gates ajar."

Song of Jokes. Medley. 1. 2. d to F sharp... Sep. Winner. 35 Good-bye Liza Jane. Comic. D. 3. d to F sharp...... Eddie Fox. 33 Sweet Ethel May. Song and Chorus. A. 2. d to Fsharp. Butterfield. 35 Guess who? F. 3. d to F...

Frank Howard. 35 Ten little Injuns. Comic Song and Cho. G. 2. d to E. Sep. Winner. 30 Sung with great success by Lotta.

Trust to Luck. D. 2. dto F sharp...

W. P. Cunnington. 35 Great Centennial Song. C. 2. G to E....

.Howard Paul. 30 We have met, loved, and parted. S'gand Cho. Bb. 2. d to E. Eastburn. 35 Happy Hours. Song and Chorus, G. 3. d to E..

.....H. Millard. 40
What care I. G. 2. b to E.....

. Alice Hawthorne. 35 He's going away to leave me. G. 2. d to g...

.C. J. Mier8. 30 What do Birdies dream of. Fl. 2. c to E.. Theo. T. Crane, 30 How sweet are the roses. D. 2. d to D.. Alice Hawthorne. 35 What is home without a mother. D. c sharp to D..A. Hawthorne. 30 I am dreaming of the loved ones. Eb. 2. Eb to C. Alice Hawthorne. 35 What the candle told me was true. S'g & Cho, D. 2. d to F sh. Merton. 35 I want to see mamma once more. S'g and Cho. Bb. 2. F to Eb. Mack. 40 · Answer to “Letter in the Candle." The words of poor little Charlie Ross.

When mother married pap. Comic S'g and Cho. A. 2. E to E. Eastburn. 30 In my swift boat. Ab. 3. d to F......

....Concone. 35 When the purple lilacs blossom. S'g and Cho. Eb. 3. d to Eb. Huntley. 30 Just as of old. Song and Cho. G. 2. d to E. .A. Hawthorne. 37 Whispering Hope. Duet. Eb. 3....

Alice Hawthorne. 40 Katy Avourneen. D. 3. D to F sharp...

..J. E. Johnson. 30 Whisper softly, tell me darling. F. 3._ c to g........ V. Keratry. 35 Kissing thro' the bars. G. 2. d to D... ..J. Wood, Jr. 35 Would I were with thee. F. 3. c to F.

C. Bosetti. 35 Listen to the mocking bird. S'g and Cho, G. 3. d to E. A. Hawthorne. 35 You musn't fool with Cupid. Song and Cho. Eb. 2. Eb to Eb. Staub. 35

Ada. Meditation. Ab. 4.....
Meininger. 75 Memorial March. C. 3. Illustrated..

.E. Mack. 50
April Shower Mazurka. F. 4....
E. Mack, 50 Minnie Waltz. F. 2......

35 Banjo. Iinitation for Piano. A. 3.. .H. C. Harris, 30 Mocking Bird Schottish. G. 3..

30 Bird of the Forest. Eb. 4. An elegant parlor piece....Carl Leduc. 50

Transcription. C. 4..

C. Kinkel. 50 Birdie's Waltz. F. 1.... .E. Mack. 20 Mocking Bird. Easy arrangement. G. 2..

.C. Everest. 20 Black Swan set of Cotillions. G. 2.

Sep. Winner. 35
March. F. 3....

E. Mack. 30 Blue Bird Polka Mazurka. C. 3.

F. Brandis. 30
Variations, G. 3..

.C. Grobe. 50 Blue Bird Echo Polka. Eb. 4....

Mary Morrison. 30
Waltz. F. 3....

E. Mack. 30 Blushing Morn Polka. Eb. 4...

Carl Meyer. 50
Transcription. A. 4..

B. Richards. 60 Centennial March. Illustrated. Eb. 4..

E. Mack. 50

Gr. Fantasia, in'ding "Auld Lang Syne.” Hoffman. 1.00 Introducing National Airs of United States.

Perhaps the most popular Piano piece ever published.
Centennial Gallop. C. 3.....
.John Solan. 30 Mocking Bird Rondo. Éb. 3

E. Mack, 30 Charity. Variations on Glover's Song. Eb. 4..

C. Grobe. 50
Polka. F. 3....

30 Chasseur Grand March. Eb. 3...

E. Mack. 75
Quick Step. F. 3..

Aug. Schaffer. 50
Chesney Wold Quadrille. F. 3..
F. Green, 50 Mozart's Oxen Waltz, C. 3...

Arranged by E. Mack. 40 Chicago Fire Bells. Fantasia. Ab. 4..

.Clara H. Saylor. 40

With the story of its composition.
Chick Waltz. G. 2....
E. Mack. 40 Music of the Waves. Ab. 5...

..John Werum. 50 Cinderella. Descriptive fantasia. C. 4..

60 Music on the Water. A moonlight reverie. Db. 5... A. P. Wyman. 75 Come Along Scottisch. Eb. 3....


Companion to “Silvery Waves.” Contraband Scottisch. G. 2......

.8. Winner. 40 Natalie Waltz. Simplified. Moonbeams. G. 1.... E. Mack. 20 Cracovienne. Fantasia. Eb. 6... W. V. Wallace. 1.50 Nellie Grant's Wedding March. Bb. 3...

40 Dance of May Queen. Db. 5... .Theo. Moelling. 60 Nevada Grand March. Ab. 4..

W. F. Meyer. 35 Emma Mazurka. F. 3.... .C. J. Miers. 35 No One to Love. Brilliant variations. Bb. 4..

C. Grobe. 60 Empire March. G. 2... ...Converse. 30 Old Hundred. Variations. G. 4..

50 Evening Song to Virgin. Variations. Eb. 4.. ...Grobe, 50 Orphan's Prayer. Fantasia. Eb. 4..

.E. Mack. 50 Fairies' Carol. Reverie.. F. 3...

.A. H. Rosewig. 35
Patchwork Polka. Bb. 2...

Walters. 30 Five Finger March. C. - 1... . E. Mack. 20 Paul and Virginia Waltz. Eh, 3..

E. Mack. 40 Five Finger Waltz. F.' 1..... 20 Peri Waltz. Simplified. F. 1....

20 Florence Galop. G. 3.... .C. J. Miers. 30 Pleyel's German Hymn. Variations. G. 4....

Grobe. 50 Fortification Storm March. Bb. 3.. G. Piefke.' 35 Purling Brook. Fantasia. Bb.

E. Mack. 50 Freeburg Grand March. Eb. 3... W. T. Meyer. 30 Ray of Sunshine. Ab. 4..

Carl Leduc. 50 Grant's (General) Grand March. F. 2.

E. Mack. 40
As its name intimates a ‘Ray of Sunshine.'

What more Grains of Gold. Morceau. A. 3....

Carl Meyer. 60

could be said. Hancock's (General) Grand March. Bb. 3. ...8. Winner. 40 Rock Beside the Sea. Variations. Ab. 4..

C. Grobe. 60 Hawthorne Scottische. F. 3... .J. T. Quigg. 30 Sardinian Shepherd Boy. Reverie. G. 4..

E. Mack. 50 Heidelberg March. F. 2.. .C. C. Converse. 30 Satanella, or Devil's Call Galop. A. 3....

A. M. Schacht. 40 Her bright smile haunts me still. Ab. 4.. Ch. Grobe, 50 Silver Cloud Polka Brilliante." G. 4..

Cul Le Duc. 50 Variations on Wrighton's popular song.

Solitude. Fantasia with variations. F. 4...

E. Mack. 50 Home, Sweet Home. Variations. Ab. 5....

.E. Mack. 60 Sounds from the Ringing Rocks. F. 4..... .B. Fr. Walters. 50 F. 4. op. 207. ...C. Grobe. 50

A Romantic Fantasy which charms all hearers. (Moonbeams.) F. 2...

.E. Mack. 20 Tit-Tat-Toe Scottish. Illustrated. G. 2..... Marion Florence. 35 I would not live alway. Variations. F. 3...i

...C. Grube. 50
Tolling Bell. A musical delineation. Ab. 4..

.C. Grobe. 60 Jolly Brother's Galop. Simplified. G. 1....

...E. Mack. 20

Descriptive of approaching Mount Vernon.
Last Rose of Summer. Variations. Eb. 4...

..C. Grobe. 50
Tom Thumbs Grand Wedding March. Eb. 3..

E. Mack, 40
Little Mischievous Scottisch. G. 2...
F. Drayton. 35 University March. D. 2...

C. C. Converse. 30 Memory's Dream. Waltz Reverie. Eb. 4... .J. E. Muller. 50 Wings of a Dove. Variations. Bb. 4..

..Ch. Grobe: 50 As popular as “ Falling Leaves,” by same author.

Yankee Doodle. Variations. Eb. 4..

.C. Grobe. 60





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