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INSTRUMENTAL PIECES BEAUTIES OF THE SEASON!
IN THE WAY OF POPULAR SONGS,
OF DECIDED MERIT!!
Chiming Bells of Long Ago./Drifting into the Harbor,
Bridal Eve March.
Key of C. 4th degre of difficulty. By EngelAs publishers well know, it is almost impossible to prophecy the future of a song
brecht. when it issues from the press. One can tell whether it is a good song; whether it
Mendelssohn's W. dding March is not yet worn " ought to go"; whether it has the elements of prosperity. Whether it will go can out, and since the same couple are not married
twice, it has a character of newness (at least to only be ascertained by trial. The following have been tried, are successes, and it is the wedded pair) at each repetition. Still, safe to purchase them.
another good march is quite desirable, and Mr. Engelbrecht seems to be equal to the occasion. His Bridal Eve March is perfectly elegant. It has no appalling difficulties of execution, so that
a player of sufficient ability to perform it may Song, and Chorus. Fine Illustrated Title!
easily be found; and it is cordially commended Words by Geo. Cooper. Music by C. F. Shattuck. I can see the Shining Shore.
to the musical friends of brides and bridegrooms Price, 40 cents.
expectant. nike a Dream yo come to cheer me,
Words by Rev. J. W. Carhart. Music by J. P.
Chant du Matin.
60 Still your Mern'ries linger near me. Chiming Bells of long ago.
Author's edition, improved. Key of A. 4th
degree of difficulty. By Boscowitz. Sweetly fell your silv'ry numbers,
But I'm going home, sweet mother,
A beautiful “song of the morning” truly. Down the still and fragrant air,
Where is neither storm nor sear. Woke my soul from gentle slumbers,
I am drifting from the darkness,
Without attempting commonplace imitations of Listening to your echoes fair.
From the mist across the sea,
morning sounds, it brings one's mind very
Where the day is brightly breaking happily in unison with the “ perfect occasion " Friends and hopes of happy childhood,
And the angels beckon me.
of the sunrise hour. Very neat, chaste, and of Blest me in their purest glow, Softly rung o'er grove and wildwood,
delicate imagination throughout. The words are founded on the words of a dying Chiming Bells of long ago. lady, and this is quite worthy of a place with the and popular. But the author has seen fit to
The piece, as a whole, is already well-known This is one of those rich, high-toned, beauti- sacred pieces of a similar character that have retouch it and, no doubt, has provided increased ful songs that will not readily weary. The attained such popularity. chorus is very pretty.
enjoyment for those who please to resume their
practice of it. SCATTER
The Wayside Chapel. 50
Dreaming, Still Dreaming !
Seeds of Kindness! Lithograph Title. A Reverie for Piano. Key
Sung by Phillip Phillips.
Song by Mrs. Zelda Seguin. Composed by J.
of F. 31 degree of dificulty. By Wilson. R. Thomas. Illustrated Title! Easy, sweet,
A graceiul title page, on which is depicted the smooth and classical melody! Price, 50 cents.
rustic chapel, of simple architecture, but well Dreaming, still dreaming of days that are past,
Words by Mr. Smith.
designed, and in no point offending the eyes.
Music by S. J. Vail. Being such, it is a good type of the composition Flowers that have faded, too lovely to last, Price, 30 cents.
within, which is very simple in construction, Sweet is the vision that greets me again,
original, very pleasing, graceful, and so easy as Cheering my sorrow, and soothing my pain.
Let us gather up the sunbeams
to afford enjoyment to the multitude who can Childhood's endearments and innocent smiles,
Lying all around our path.
“admire, not play” so many master pieces. Passionate longings and love-lighted smiles.
Let us keep the wheat and roses Dreaming. still dreaming, while life glides away,
Casting out the thorns and chaff.
Home, Sweet Home. 75
A transcription. Key of Do. 6th degroe of Messrs. Cooper and Thomas were dreaming to With a patient
difficulty. By Chaloner. Home purpose when they thought out the new All the briars from the way.
“It is the encore pieces that please," a fact ballad. Mrs. Seguin has already given it fame,
The beauty lies in the sentiment, which with sionally condescended to play his (to him) easy
occasionally verified by Thalberg, when he occaand the sale will doubtless continue to be large.
a simple and attractive melody, and the power transcription. Since those days the piece has
ful endorsement of Mr. Phillip Phillip's singing, been the Ultima Thule of the practice of multiWhat Mollie Said! is quite enough to cause the song to be in tudo of
tude of learners. demand.
Thalberg's composition, however, like many
other perfect things, may after awhile weary. It Answer to
is only Sweet Home that will never wear out.
Mr. Chaloner's transcription is good enough to be MOLLIE. DARLING.
It is about as difficult, and
will be thought to be quite as graceful as the well Song and Chorus. Elegant Illustrated Title.
known one of Thalberg. Words by Grace Carlton. Music by W. F. Well Illustrated Title. Words by Geo. Cooper. man. Price 50 cents. Music by W. H. Brockway. Price 40 cents.
Easy Instructive Pieces. Smile upon your Mollie, darling, Like the stars above, to-night,
Twilight in the Park!
The following little list will be gratefully welMake the heart within my
Cupid lingers there, bosom
comed by perplexed teachers in search of the
No one near to mark ! Throb again with sweet delight.
"first pieces for scholars."
Some one by your side,
Happy as a lark.
Hall. 30 neatly with the music. Although an "answer"
That's the time I love,
30 to snother ballad, this one can very well stand
30 alone, and may, perhaps excel the other in A jolly song for the boys. Will soon be Echo Villa Mazourka. Turner. 30 popularity. sung and whistled everywhere.
TWILIGHT IN THE PARK. played anywhere.
& CO., Publishers,
277 WASHINGTON STREET, BOSTON.
For Sale by all the principal music dealers.
Any book sent to any address, post-paid, for retail price. *** It should be understood that DITSON & Co. advertise but a comparatively small portion of their publications. A large number of Standard Works are so well known, and in such constant demand, as to need no new announcement. If you are ever in need of any kind of music, or any kind of musical information, you can supply every want in our large and varied stock. Catalogues containing descriptions of 1000 books, sent free on application. ***
For Music Classes.
Church Music Books.
THE SONG MONARCH.
Price 75 cents.
Per Dozen, $7.50. Tuis useful work was compiled by H. R. PALMER of Chicago, with the very valuable assistance of L. O. EMERSON.
Many teachers of singing schools have become dissatisfied with large collections of church music, partly because of their containing much that was valuable for choirs, and not for classes; and partly because they were reluctant to use the sacred words of hymns so commonly as they were obliged to do in drilling classes.
The Song Monarch contains a first rate Singing School course, with a fair number of exercises. Also a very fine collection of easy Secular Music for practice. Thus the Song MONARCH is in one sense an excellent
EASY GLEE BOOK.
Per Doz. $12.00. Some years since, it occurred to Mr. L. O. EMERSON and Mr. H. R. PALMER, the most successful compilers of Church Music Books, East and West, to combine their forces, and produce a book of double merit. The result was “ The Standard,” known as a most popular church music book. They now combine again to produce “Thx LEADER," not so large as its predecessor, but of excellent quality. There is the usual Singing School course, and a goodly number of Metrical tunes, Anthems and Chants,
How to Teach
ORIGINAL HYMN TUNES.
Boards, 80 cts.
Cloth, $1.00. Gen. H. K. OLIVER, the composer of the solidly good music of this work, is well known in public life, but principally to musical people as the author of “Federal Street." and other sweet psalm tunes. Composition is his recreation, He gives to it the freshness of his mind, and the 100 tunes, chants and anthems here presented to the public, form a useful collection for choirs.
BY DR. LOWELL MASON.
Price 38 cts. This little work is in great request, and contains a luminous description of the inductive method of teaching Singing Classes, in use by the learned Dr., who was probably the greatest teacher of bis day. Every musical instructor will be benefited by a perusal of the pamphlet.
For Musical Societies.
For Vestries, Social Meetings, and Opening and Closing exercises in Schools
and Seminaries :
Price 40 cts.
GERMAN POUR-PART SONGS.
Price $1.50. For MIXED VOICES. A new and attractive work, and decidedly modern in character; that is, while the music is as classical as that of well known German “gems," it is in general more brilliant, and perhaps fitted for a wider public than those jewels of song.
For Common Schools.
SEVEN PART SONGS.
60 cts. By J. C. D. PARKER. This publication is owing to the fact of their AMERICAN SCHOOL MUSIO READERS. Book I, 35 cts. being noted as “successes" in concerts by the “ Parker Club."
Book II, 50 cts. Book III, 50 cts.
These books are adapted to the Graded System.of teaching, now exLEGEND OF DON MUNIO.
tensively adopted in our schools, and provide for about seven years Cloth, $1.75.
instruction; that is, three years in Primary schools, and three or four By DUDLEY BUCK, whose able hand has built on the incidents of a years in Grammar schools. Plain directions are given, and a multitude tale of Spanish chivalry, a most stately cantata. Solo and Chorus sing of interesting songs enliven tho different courses of study. Prepared ers will be well repaid for the trouble of practising the classical music. by L. O. EMENSON and W. S. TILDEN.
AOC HOME MUSICAL LIBRARY. Ditson & Co. have on their shelves, at a fair estimate, considerably over a million pieces of sheet music, all salable, and each piece liable to be ordered by one or another of their customers. But, although nothing can be reckoned as “dead stock," some pieces sell ten, or even twenty times as well as others. The firm are accustomed every few months to select the best of these “best” pieces, and bind them together for sale. Books so compiled must, of necessity, be the best of their kind; and such are the following : Collections of Instrumental Music.
Collections of Vocal Music. MUSICAL TREASURE. (Also vocal).
MOORE'S IRISH MELODIES. PIANO AT HOME. 4 haud pieces. New! Useful!
OPERATIC PEARLS. The chief songs of 50 operas. GEMS OF STRAUSS. Most brilliant collection extant,
GEMS OF GERMAN SONG. Songs that will never die. PIANISTS ALBUM. Popular and easy music.
GEMS OF SCOTTISH SONG. Sweetest of all ballads. PIANOFORTE GEMS. Popular, brilliant, easy pieces.
SHOWER OF PEARLS. Nearly all the good vocal duets. HOME CIRCLE, VOL. I. Easy music.
GEMS OF SACRED SONG. Pure, devout and beautiful. HOME CIRCLE, VOL. II. Popular 2 and 4-hand pieces.
SILVER CHORD. Large collection of the best popular songs. ORGAN AT HOME. 200 good pieces for Reed Organs.
WREATII OF GEMS. Large collection of the best popular songs. Price of each book in Boards, $2.50; Cloth, $3.00 ; Gilt, $4.00.
Dwight's Journal of Music
9 Paper of Art and Literature.
WHOLE No. 891.
BOSTON, SATURDAY, JUNE 12, 1875.
VOL. XXXV. No. 5.
New Music for June.
DWIGHT'S JOURNAL OF MUSIC, 20 Superior Music Books.
NATIONAL HYMN AND TUNE BOOK
Old Folks at Home. Quartet. 2. D to d.
arr. by Fairbank. 25 JOHN DWIGHT,
American School Music Readers. The Flower Girl. (La Fioraja). 6. Eb to b.
Bevignani. 75 FTERMS. – If mailed or called for, $2,00 per annum; Cheerful Voices.
C minor to c. delivered by carriers, $2.50. Payment in advance.
Molloy. 40 Advertisements will be inserted at the following rates :
For Sabbath Schools,
Staccato Polka. Bravoura piece. 6. F to b. One insertion per line 30 cents.
Mulder. 75 Each subsequent insertion, per line, 20 cents. River of Life. New Ed. $30 per 100. Ötto Lob's Sacred Trios.
ea. 35 Cards, 6 lines Nonpareil, (one-half inch of space), per annum, $10.00 in advance. Other spaces in propor ion.
For High Schools and Academies,
No. 1, Lord thy Glory. (Sop. Alto, Tenor).
4. G to g. J. 8. SPOONER, PRINTER, 17 PROVINCE ST.
Weber. Hour of Singing.
No. 2. Praise thou the Lord. (MezzoOrphean.
Sop. Tenor, Bass). 4. Eb to g. Mehul.
No. 3. Loud Proclaim. (Sop. Tenor, Bass). For Home Entertainment,
5. Do to f.
No. 4. Bow down thine ear. (Alto,
Tenor, Bass). 4. C to g.
Wagner. Testimonials given if wished. Address 8. T.,
Winner's New Schools, each 75 cents., for I fear those beaming Eyes. 3. F to f. Glover. 30 892-4.
WEST CHATHAM, MAS8. Piano, -for Cabinet Organ-for Melodeon,- for Guitar, I will love thee. (Io t'amero). 5. D to d. -for Banjo,-for Cornet,-for Fife.-for Accordeon,-for
Campana. 30 A Clarionet.--for Flute,-and for Flageolet.
Good Night. 3. G to g.
Glover. 35 Vocal Department in a Ladies School. Understands
Sold by all the principal Music Dcalers. Sent post- Bonum Est. (It is a ge: a thug). Quartet German and French languages.
paid, for Retail Price. Address A. BMITH,
Campiglio. 50 872-4. WEST CHATHAM, MA88,
Sing not of the Past. 3. F to f. Trekell. 40
MUSIC BOOKS She never flirts. (Fairy Queen), 3. Eh to e. Valuable to Organists !
Hendle. 30 BEST FOR
The Cragsman. 3. A minor to e. Molloy. 35
Clarke's Complete List of Pipe Organ Stops. QUARTET CHOIRS. Frogtown Spellers. "Kommick Song and
Home Musical Library. Ek
GERMAN FOUR PART SONGS. FOICE MIXED Harpe Acolienne. "Tone Picture.
Beg. 30 More than 250 Stope, classified in comprehensive order. Thoman'. Sucred Quartets.
Longing. Canzonetta. 4. By to f. Barker. 33 by Wm. H. Clarke, Author of Clarke's New Method for Baumbach's Sacred Quartets.
Old sweet Story. 3. Eb to e. Reed Organs. Clarke's Short Voluntaries, etc.
Lindsay. 35 Address WM. H. CLARKE & CO., Box 119,
Buck's Mote Collection.
Waking at early Day. (Ballad Singer). 3.
Eb to f.
Hayter's Church Music.
Happy play-days. (Frohe Spiele). 4. C. EAST GREENWICH, R. I. Trinity Collection,
Lange. 50 A Seaside Music School during the summer vaca Price of each Book, in Boards, $2.50; in Cloth, $2.75. Fille de Madame Angot. Fantasie.. 4. Eb. tion, commencing July 13, and closing August 10th. The
Lange, 75 most eminent musicians as instructors. A rare opportuni
“Petit Carnival." No. 2. Polka. 4 hands. ty for teachers desirous of higher attainments, and for
Streabbog. 35 pupils of every stage of proficiency. Board and tuition
“Home Treasures." No. 6. Gypsey Countess. Very low. Address for circulars
Smallwood. 40 E. TOURJEE, Director,
“ Highland Gems."
Pape. 889-92. Boston, Mass.
No. 7. Annie Laurie, and Who'll be King G. W. FOSTER,
75 of " Federal St.," and other favorite tuner, contains 100
Durand. 40 TEACHER OP VOCAL CULTURE. Tunes, Chants and Anthems, all original and of the best
For The italian Method taught on a new and original plan, quality. Price, Boards, 80 ets; Clouh, $1.00.
Aeolienne by which unusually rapid progress may be made.
Lange. 35 Lessons, 2 pupils each, $40.00; Elass Lessons, 4 pupils published, is an unusually good collection of entirely Flight of the Nightingales. Commencement each. $20.00.
March. 3. D.
Whitney. 35 Rooms 154 Tremont Street, Bostun. For personal inter. right for Musical Societies. Price $1.50.
Lange. eo view call Mondays from 11 to 12 A.M. For further particulars address, care Mason & Hamlin Organ Co. 858-tf
Fandango. Morceau Caracteristique. 5. Db. Collections of Instrumental Music.
8. Smith. 75 G. W. DUDLEY,
Capt. Folsom's March. 3. Eb. Reeves. 40 Musical Treasure. (Also vocal). 225 pages.
Little Beauty Waltz. 2. F.
Turner. 36) Teacher of Singing and Voice Building. Plano at Home! 4 Hand pieces. Newi Usefull On the Wing. Galop. 2. C. Faust. 30
(Dr. H. R. Streeters Method) Room No. 3, Goms of Strauss. Most brilliant collection extant. L'Esperance Waltz. 3. Db. Fraser. 40 Mason & Hamlin's Building, 154 Tremont St. Pianist's Album. Popular and easy music.
A Night in June. Idyl. 4. Ab. Wilson. 50 (797) Pianoforte Gems. Popular, brilliant, easy pieces Home, Sweet Home. 6. Bb
Kuhe. 50 Home Circle. Vol. I. Easy music.
Icebrook Galop. 2. C.
Speck. 40 Home Circle. Vol. II. Popular 2 and 4 h'nd pieces. Firm Step March.
3. G. Steiner. 30 Orgun at Home. 200 good pieces for Reed Organ. Beauties of Ruy Blas. 3, G. Knight. 30
La Poste aux Grelots. Galop de Concert. REED ORGANS.
Boscowitz. 75 Collections of Vocal Music.
Meadow Pink. Brilliant pieces easily arr. by ($2.50), which occupies very nearly the same position
Chas. V. Cloy, ea. 30 with respect to books of its class as Richardson's dow to Operatio Pearls. The chief songs of 50 operas.
No. 1. Mazurka. 3. Eb other Pianoforte Methods. Gems of German Song. Songs that will never die
2. Waltz. 2. G. FINE COLLECTIONS OF EASY MUSIC. Gems of Scottish Song. Eweetest of all ballade.
* 3. Polka. 2. G. Wioner'- Bund of, Four.
Shower of Pearl». Nearly all the good vocal ducts. $1.00.
. 4. Quickstep. 2. C. Musical Garland. Violin, Piano acc't. $2.50.
Gems of Sacred Song. Pure, devout and beautiful.
Silver Chord. Wreath of Gems, Large collec:
MUSIC BY MAIL.-Music is sent by mail, the expense beViolin Amusements. $1.50.
ing two cents for every four ounces, or fraction thereof Flute Bouquet. $1.50. Price of each book in Bds, $2.50. Cloth, $3.00. Gilt, $4.00.
about one cent for an ordinary piece of music. Persons,
at a distance will find the conveyance a saving of time and LITER DITSON & Co., CHAS. H. DITSON & CO., OLIVER DITSON & CO., OHAS. H. DITSON & CO., expense in obtaining supplies. Books can also be sent ut Boston, 711 Bidway, New York.
711 B'dway, New York, double these rates.
Clarke's New Method for
PROF. & MRS. EDGAR A. ROBBINS, MRS. JENNY KEMPTON,
267 Columbus Avenue, Boston.
Address, care of Oliver Ditson & Co.
TO ORGANISTS AND
AND CHOIR LEADERS.
A GREAT WANT SUPPLIED.
MÄSON & HAMLIN DANKS'
A COLLECTION FOR QUARTETTE AND CHORUS CHOIRS. in capacity and excellence by any others. Awarded
Containing a great variety of ANTHEM settings to all the CANTICLES
H. P. DANKS. nary excellence as to command a wide sale there.
awarded highest premiums at Indus
trial Expositions, In America as well as The book is of the greatest value to Organists and Choirs of the EPISCOPAL CHURCH, as here Europe. Out of hundreds there have not been six in all where any other organs have been preferred.
are found anthems fitted to all occasions of the regular and special service, thus forming a BEST
Declared by Eminent Musicianr, in both
hemispheres, to be unrivaled. See complete STANDARD BOOK OF SERVICES. With the exception of the Gloria Patri's, these TESTIMONIAL CIRCULAR, with opinions of more than One Thousand (sent free).
fine anthems, with music by the best American and Foreign Composers, and noble words from INSIST
on having a Maron & Hamlin. Do not
the sacred scriptures, are also perfectly adapted for use in the services of
with most important improve-
and are worthy of careful examination. Solo and Combination Stops. Superb Etagere and other Cascs of new designs,
An PIANO-HARP CABINET ORGAN
exquisite combination of these instruments.
. Danks. ulars, free. Address MASON &
. Bialla. GLORIA PATRI. EDW. SCHUBERTI & CO.
.Best. (Ten arrangements, by Danks, Caswell, OFFERTORY SENTENCES. IMPORTERS AND PUBLISHERS OF MUSIC,
Bialla and Poznanski.
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. Stephens. MUSIC PUBLISHERS,
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G. ANDRE & CO.
1104 Chestnut St., Philadelphia. A large assortment of American Music constantly on hand.
WHOLE No. 891.
BOSTON, SATURDAY, JUNE 12, 1875.
VOL. XXXV. No, 5.
Executants and Editors.
ences, from scanty indications in the original have hitherto suffered in proportion to their (From “ Concordia," London.)
copies, I lay myself open to being twitted with negligence. Would it not have been infinitely "Clear your mind of cant, Sir.”—Johnson to Boswell.
that irrepressibie story of the German professor better if Haydn and Mozart, especially the lat
who evolved the idea of a camel from his ter, had taken the trouble to indicate their inSince the advent of Kant's critical philosophv, "inner consciousness." But it is encouraging tentions more minutely? men have become cautious in dealing with ab- to find the facts, on the negative side of my But if Bach's works, or even Beethoven's, are stract notions. The wish to see things as they position at all events, so completely favorable. in some sense riddles difficult of solution, our really are, the desire for precise and detailed
Take Sebastian Bach's works. He habituals perplexity is increased tenfold, when we come knowledge, has increased greatly. Scientific thinkers are agreed that to understand any phrasing, light and shade, &c.; even the actu- vouchsafed no direction whatever as to execu
ly neglected to give hints concerning tempo, to deal with works wherein the composer has phenomenon truly, it is necessary to dissect it, A1 pitch'in which certain of his earlier works tion, and where suggestive contemporary comexamine its component parts minutely, and then build up the conception of it anew. And
are to be played, is open to doubt, and can on-
Take any work by Palestrina. There is no this modern tendency towards an enlightened parison between the amount of transposition
indication of tempo or sentiment; the actual criticism has borne good fruit in the field of in the notation of some of the wind-instruments, pitch is left to the discrimination of the singers; music.
From this point of view then, I hope the fol- the pitch of which is known, and the pitch of chromatic inflections are not indicated (though lowing fragments may appear tolerably consist: extant; and which, by the way, were in some the organs he wrote for, most of which are still doubtless no contemporary craftsman hesitated
as to their proper introduction). Is it not a ent, and may tend to throw some little light upon a few questions much debated of late, as
cases tuned a full third above the usual "cham- matter of serious regret, that a clear method ber pitch."
of dynamical notation was not then thought to whether or not certain novel readings, arrangements, editions, are to be recognized as
It is easy to conceive the mental position Se-of? authoritative. bastian Bach must have taken up if he troubled
Experiments have for some time been made It is a matter of daily experience that the himself at all about the notation of nuances of at Berlin, Regensburg, Munich, and elsewhere, observations of average minds not specially who could not help being familiar with his of rendering Palestrina; but I know not wheth
expression. He had a circle of articled pupils with a view to reconstruct the proper method trained to observe prove worthless; they act mode of execution. The amateur element in er any definite result has atttended them. I am like convex mirrors, transforming, or rather his time was very small; only people with aware that a claim to the pure tradition of the malforming, whatever passes through them.
means and leisure could afford to take up muAnd in the presence of this fact it seems evi- sic for a recreation. There was little or no so by the members of the Papal choir at Rome; dent that no candid musician can refrain from cial
influence to be gained with true musical and though such a thing is prima facie theniedoubting the calibre of the greater part of attainment, certainly no momentary success. whatever is
ished up to him as oral tradi- And so no‘one dreamt of encountering the diffi- ity-as much as that of the authenticity of the tion; ".. Such tradition, as a rule, has no prac. culties of the art, unless propelled by genuine embellimenti introduced by the Papal singers tical value whatever; and anyone who has met love for it; which, as a rule, implies some with half-8-dozen soi-disant pupils of Chopin. degree of talent.
into Allegri's “Miserere " which Mendelssohn and heard them play bits of his compositions, sional were virtrally in unison; and Bach may By the way does Mozart's copy of these embel
Thus amateur and profes- quotes, in a letter to Zelter, is doubted by him. will, I am sufe, ** subscribe to my advice.” Take the works of Beethoven, many of his beard myself or my disciples play some of my have said to himself: “He who, after having lishments tally with Mendelssohn's ?
It is true that tradition formerly stood a bet. later and most original productions were not music, is still puzzled with its peculiar spirit, ter chance of remaining untarnished than it performed at all under his supervision, others had better leave it alone altogether."
Up to about the middle of the again he presented to the public with one Then again it must be borne in mind that eighteenth century, when Mozart began his rehearsal ! And these works were at the time before Beethoven musical productions, no mat- European pilgrimage, tradition was confined absolutely new in thought and expression, and ter of what dimension or how elaborate, were within narrow limits. The physical boundaries, of almost insuperable technical dificulty. Di- usually written for some particular occasion, wherein any particular style of execution was rectly after his decease, the pianoforte players when the master was personally present, and by cultivated, were not national; they were rather who had come into immediate contact with the voice and look could animate everything. The limited to particular counties, and even towns, master, quarrelled about the tempi and the monumental character, duly and truly ascribed And certainly as long as a craftsman worked proper expression of his sonatas; and one of to many older works by nineteenth century under the pressure of the laws and beliefs of a the most eminent among them. Moscheles, goes criticism, would probably have astonished their particular guild only, and was nowise touched to the length of differing with himself; for in originators.
by those of other guilds, tradition flourished; his second edition of the Sonatas, published in And we must also not lose sight of the fact but even here it must be admitted that from Stuttgart, his indications are, in many respects, that the range of craftsmanship in Bach's time generation to generation one continually meets diametrically opposed to his first-many years was clearls defined, and always kept within with the old complaints about the degeneration earlier-London edition.
manageable limits. For instance he could af- of craft, and the decay of art. It has, therefore, become the duty of all mu ford to trust to his executants being fully mas But with us, when the idea of artistic guilds, sicians, who are not content with blindly fol- ter of the art of accompanying froin a figured of associated craftsmanship, is almost entirely lowing the blind, to construct for themselves bass. But in Haydn and Mozart's time, when lost sight of; when free trade in the arts has a correct and consistent style for the rendering music advanced with such large strides in the given us a professional proletariat, only slightly of Beethoven, Weber, Schubert, Chopin, &c., direction of personal sentiment, when the influ- above the level of helpless and foundering much as Mendelssohn reconceived Bach's ence of the stage was felt on all sides, when the dilettantism; when young musicians, instead “Passion Music," and Liszt. Von Bülow, und technique for the expression of sentiment was of being reared in a master's atelier, are made Joachim, Bach's instrumental solos. It has enlarged day by day, the craftsman's art of to practise the cornet-à-pistons in the back moreover become their duty to construct such thorough bass was gradually superseded. Mu- kitchen, the plea of “classical tradition " has a style not only for some immediate practical. sical shorthand proved less reliable, tradition not a leg left to stand upon. If the expression purpose, but also to record it with all detailed lost whatever of precision it may have had, and have any meaning at all, it must signify that accuracy for future use. For music ought to composers were compelled to take a little more the present Philistine thinks it likely that his appeal, and in truth does appeal, quite as much care to note the evanescent details of expres-grandfather was a Philistine also, and in that to our immediate sensuous perception as to our sion, and to write out their scores more completely. generation behaved after his kind. imagination; and in accordance with this, the If in many cases Haydn and Mozart were con Meo voto, the point for us poor latter-day best living executants and editors, chiefly tent to abide by the customary absence of singers is this: Seeing that no " acting copies," pianists—Liszt, Henselt, Von Bülow, Klind dynamical inflections—if they continued to no “stage directions” are given us, we must worth — are striving with all their might to trust with more than naïve confidence in the attempt what actors are said to do— create” leave nothing unsaid or undone, which may sagacity of executants — if they neglected to a part. Correct reading of the text, as far as help to transplant the works they are interpret- take account of the humiliating fact that an the notes go, is ever insufficient. The execuing from a more or less vague region of abstrac- individual of a later generation, no matter how tant must employ the scientific method; he tiou and incomplete suggestion, to the clear gifted, is necessarily reared in a different emo must dissect the text, construct his notions of light of the bearers' sensuous perception. tional atmosphere, and therefore cannot be the entire piece from a minute examination of
I am aware that by doubting tradition and expected to comprehend at once and intuitively the parts, and then, from the Platonic idea of commending attempts at constructing a model that which is probably uncongenial both to his the whole, find the proper expression for all style, solely upon the basis of theoretical infer- | individuality and to his training, these works details. Thus a great player, like a great ac