« VorigeDoorgaan »
similar circumstances in the fifth act of Meyerbeeris tions, and woe to the unbeliever! The overpower. (ADAM.) Ton visage est brillant comme la fraiche aurore; Huguenots," where, too, the distant voices break ing conceit of the egoism of Wagner threatens to
Tes yeux bleux sont pareils à l'azur de la mer.
(EVE.) C'est d'nin reflet du ciel que ton front se colore. out suddenly into the Lutheran choral? Another absorb in itself the independent opinion of every
Je vois dans tes regards suire un vivant éclair. mannerism, not original with Wagner, is the use of musician. Wagner's disciples would force us to say the chord of the ninth. It is a feature, which, oc yes when we think and mean no. Let no one sup
Here the composer has written a duo which, curring quite prominently in the Weber music, has pose us unmindful of the great talents of Wagner. with one exception, is the loveliest thing in the become a tiresome habit with Wagner. As our Concerning the genuineness of them there is but Mystery. article is already longer than we anticipated at the one opinion. It is of their tendency that we now
The exception is the number that succeeds it, outset, we refer only to the first act of “ Tannhaüs- speak.
after a short recitative by the Narrator. A coner" as affording examples enough of this feature. It was our lot to be reared in a household where fused, low, blurred prelude by the strings
Startling, indeed, is the indisputable fact that Bach, Handel, Haydn, Mozart and Beethoven were (which include two harps), leads up to a purely Wagner, who declares himself the open opponent of looked upon as gods. From earliest childhood the exquisite chorus, sung by the voices of nature, all musical trivialities, should be found moulding a "Well-Tempered Clavichord” of Bach, and the It is so fresh, so joyous and graceful, that I style based upon a most artful use of them. Among sonatas of Haydn, Mozart and Beethoven instilled make no apology for again quoting from the these, is further, that hacknied manner of Rossini
, into our young mind a love for the untold beauties libretto (to which we are indebted for it): Bellini, Donizetti, Verdi, and sentimental song wri- of that musical fairy-land where the imagination ters, known as the suspension of the sixth before the chases unrestrainedly the exquisite fancies which
Au premier sourire de Eve following fifth, over the chord of the dominant this language of the emotions suggests, which never
Comme un long fremissement. seventh. Compare with the close of the introduc come to the reality of thought, but tell the heart of
Par les monts et par les plaines tion to “ Lohengrin;" with the role of King Henry, a noble expansion into some great beyond. In the
Se parlent joyeusement. act 1, scene 1 ; his prayer in scene 3; Elsa, act 1, present period of musical whirl the writer gratescene 2; chorus in scene 3; Elsa again,—ditto; fully returns to the principles taught in days long Elsa, act 2, scene 2; Elsa and Lohengrin, act 3, gone by, as the only safe ground upon which to
Et des lèvres de la Femme scene 2; and very numerous others, in any of the stand. operas, as the musical reader may easily discover. Years of study do but strengthen a thousand fold
Sur tous les êtres descend, We see, then, in all this, a want of sincerity on the the conviction that musical purity can be preserved
La création divine part of Wagner. Hear again, what he says of that to us only by following the maxims of these masters.
De son regard caressant. dlererbeer who has furnished hiin so often with the In taking leave of them with whom in our historimeans by which he produces many of his realistic cal concerts we have in the past few months spent
With this the first part of "Eve" closes. effects : "Our theatres are filled mostly with that many delightful hours, the approach to the atmos
Part II, is devoted to the temptation of woportion of our society whose sole reason for going phere of modern effect-music was chilling. The man by Satan. In the voluptuous stillness of is ennui."
passing tribute which we paid to these heroes of a summer night Eve is pensively wandering The disease of ennui, however, cannot be cured music was but the natural and uppermost feeling in alone in the forest, while ber husband sleeps. by any artistic enjoyment, for it cannot be design. our own nature, and a logical result of the lessons She is happy, and yet vaguely conscious of edly dissipated, but only deceived, by another kind we had always learned from their delightfully genial there being something, she knows not what, of ennui. It is the preparing of such a deception teachings.
GEORGE L. Osgood.
lacking in her happiness. Then comes to her as this that the noted opera composer has made his April 5.
the Serpent, not in the vulgar, literal shape, lise mission in art. It is needless to point out more definitely the means he made use of to reach this
but in the far more dangerous and insidious,
M. Jules Massenet's “Eve." desired object of his life. Enough, that he under
because formless, form of the voices of the stood completely how to deceive, as we see from the
(Correspondence of the London Musical Standard.] night, and offers to reveal to her the secret of result he accomplished by imposing upon his wea
PARIS, March 23rd.
her being. Eve listens, and the Tempter bids ried audience the jargon we have already character.
"Eve: a Mystery,” M. Jules Massenet's latest that is to say, according to M. Gallet, passion.
her eat of the fruit of the tree of knowledge, ized as modern, piquant expression of all that is trivial, and which already has been heard in all its
production, is a musical translation of a remarknatural absurdity. This “ deceitful composer goes able poem from the pen of M. Louis Gallet,
Veux-tu posseder la puissance humaine?
Femme, l'amour seul te la donnerą. so far as to deceive himself; and this, perhaps, just
who may fairly claim a large share of the as designedly as he deceives his wearied audience."
This quotation gives the key-note to the whole applause which greeted the cantata on Thurs- of the second part, which falls far below the that the sentimental mannerisms which Wagner has to give you an outline of the story, from which ful whether M. Massenet would care to disWagner says this of another; but who will deny day last at the Cirque d'Eté. Let me endeavor
standard of the first in every way,
It is doubtappropriated from others, whom he would have us M. Massenet has drawn inspiration. In the claim the impeachment of its being too dramatbelieve to be worse than mere ciphers; what musi poem M. Gallet has borrowed but sparingly ic, but such is the case. cian can deny them to be purely realistic, and a from the book of Genesis. His imagination
The conception of it conventional concession to the excitable senses of
is that of an operatic writer, and every note clothes the simple, wonderful history of our those who form the majority of a theatre public? In the quotation from our " Historical Notes."
first parents in a dress at once French, free and might have been written rather for a stage
effective, but certainly fanciful. The dramatis Marguerite than for Eve. This is not surprisgiven at the beginning of this article, reference was made to the noisy din of modern effect-music. In personæ of the Mystery are Adam, Eve, and the ing; indeed, the matter for wonder is rather Narrator, and the conflicting spirits of good the theatrical shackles so utterly in the first
that the composer has been able to shake off addition to what we have already given in evidence of the purely realistic tendencies of Wagner, we call
and evil, who, for the better carrying out of the attention of the musical reader to certain points the author's idea, are happily divided into Les part, than that he should have failed to do so in the instrumentation of Wagner, where he pro- Voix du Ciel, Les Voix de la Nature (forming in the second (and third)—acts (?) duces eftect by sheer physical excitement of the
The last part of the cantata treats of the the Angelic element); Les Voix de la Nuit and Fall, and of the quickly following curse and nerves. Take the well-known music of “ Tannhaus-les Esprits d l'Abime (the infernal element or
banishment from Eden. er." Is not the never-ending movement of that Satan). These voices of heaven, nature, night,
The same qualities rapid violin figure with its ceaseless mechanical rep- and spirits of the deep, are of course rendered which mar the preceding portion of the work etition enough to affect the nerves through pure by the chorus.
here re-appear yet more strongly. Despite the exbanstion ? Again, in the introduction of “Lohengrin” we are fairly wrought upon physically, by tion by the orchestra descriptive of the serenity voice of Satan, and in her turn communicates
The cantata opens with a subdued introduc- warning of the Narrator (who is a sort of
guardian angel) Eve succumbs to the seductive that endless series of simple triads in the highest of nature during the sleep of Adam. The mu
her newly acquired knowledge to Adam. He of the highest wind instruments. These are but sic of the organ, and, strings rises and falls; is not proof against its fascination, and under
swells for an instant and sinks again in a series the sinister auspices of the powers of darkness single examples of Wagner's habit. Another and most fatal-fatal to the art of pure of beautiful modulations, and the chorus sings
man and woman learn to love (for the which music-feature in Wagner's orchestration, is the (piano)
sad blunder posterity has since suffered). Here want of musical form. The form, such as it is in the L'Homme sommeille rous les palmes;
another duo by Adam and Eve is characterized Wagner instrumentation, is radically opposed to Des parfums montent dans les airs: those indefinable axioms upon which is based pure
Sous les splenrleurs des grands cieax calmes
by much force and passion, and the introducTressaillent la terre et les mers.
tion of the harps has a pleasing effect. Of the music as an art. The attempt to paint in orchestral
Dans la solitude première coloring every new turn of the words of the de. Où s'est endormi l'Homme-roi
epilogue, “La Malédiction,” the less said the claiming singer, stifles in the bud the very germ of
S'ébauche un être fait de grace et de lumière
better. It is artistically worthless, and could musical life, viz: organic development of a theme;
Ilomme, tu n'est plus scul. Lève-toi, lève-toi.
be shortly described as pantomime music. The and we see here Warner precipitating himself into
Where the italics appear, the voices change theme of the “Dies iræ " appears in it by fits the depths of sharply defined realism. We refer the from piano to forte, and at the concluding and starts, accompanied by a din of drums, reader to the score of the “ Meistersinger," and “Lève-toi" Adam awakes and finds that he has cymbals, and trumpets calculated to make the again, to the first act of “ Lohengrin.” Would there a companion. I have only one reproach to very meekest worm turn in disapproval. What were space here to comment at length upon the make M. Massenet concerning the whole of this I remember most clearly in the malediction” libretti of Wagner, and their æsthetical purport. A very fine prologue, and that is, an occasional is a terrific crash, as of a hundred cannons bestrong conviction of a tremendous, sensuous under. want of originality, as in the line
ing discharged, with which the final phrase of current will take possession of him who reads them,
Dans la solitude première
a chorus of the “ Voix de la Nature" not for the words merely, but their suggestions. To the physical sense, both in word and in tone.
which recalls memories of Gounod. Then fol. emphasized by the orchestra. As an honest Wagner speaks. This is the very ground-work of lows a long scene between Adam and Eve, who chronicler I must record that this noise seemed, his creatious. Nor do we like the nianner of their lose no time in forming themselves into a lim- however, quite to the taste of the audience, presentation. We are told in the scores as well as
ited mutual admiration society (if I may say so which called loudly for M. Massenet, who, in programme notes-invalnable in their place sure without failing in respect to the charming stan- with a modesty very creditable to him, bowed ly-to believe thus and so of the Wagner composi- zas of M. Gallet.) Example:
his acknowledgments and retired.
Example is contagious in music as in most
“Spring, her lovely charms unfolding,” the chorus Glee by Hassler (1601): “ A pretty face has turned
of girls and youths, in short all of this Spring music my head”; for the reason that the tune of the Cho-
rus of thanksgiving is impressive in spite of what so often, harmonized so variously, in Bach's Passion
Music, is evidently borrowed from it; when the
In the “Summer,” the salient point is the Thun-choir sang the Chorale, there was no mistaking iti
M. Franck's oratorio “ Redemption,” given tion to the softer chorus after the passing of the was limited to three short specimens: a five-part
and lacks the true sense of Beethoven. But the (1636); a Miserere by Caldara (1720), and a Regina
Summer” has many very fine traits. The bass Angelorum by Durante (1740),--all good, effective
the intense heat: “ Distressful nature fainting sinks,” | old things interesting,-even the more dry and for-
perhaps more light and shade than they have any
In the “Autumn" we have the most stirring of pretention to in themselves, chose, for his first exam-
er here for an old man of seventy! But perhaps by Kirnberger, one of the most genial as well as
the “Spinning Wheel” in the “Winter ;” the sors; then a Chaconne, an Air, and a Hornpipe out
fancy than Mendelssohn's treatment of the same sub century, melodies which sprang up like wildflowers, tion really served no purpose, unless it were to show
out much thought of contents (Inhalt). The selec-
The Choral pieces were: one in five parts by Anglais obligato; Air from Mignon, (Miss Cary); ent season; and for the simple reason that the mu-
so much musical excitement, seemed quite indiffer-
be drawn by the tom-foolery of “spelling matches"
the other, “German Consecration Song” by Meth- Haydn, and “Springtime" by Fesca; Miss Whinery, the entertainment was really delightful.
“Infelice" (Concert Aria), by Mendelssohn; Miss was lost in some degree in the great spaces of the
, Schubert's “ Die Allmacht," and Aria from full value. The remarkably fine voices which com-
“ Huldi. | their sound was neither covered up by an overpow-
too, had given it further practice, and felt more at
The fourth and last Historical Concert will be Bach's Magnificat in D, (first time in America), for than before. The chorus with Soprano solo at the
Encouraged by the success of their first experi.
Third Matinée. Beethoven's Overture, op. 124, (who sang the part of the Peri throughout with
(“Consecration of the House”); Beethoven's Arietta : great sweetness of voice, purity of style, and true
“ In questa tomba,” (Whitney): Mozart's “Dove artistic feeling); and how rich the undercurrent of
Sono" (Miss Whinery); “Be thou faithful,” from Sl. the bass voices as they came in with their suggest-
-Second part: Overture to Oberon, followed by spirit; and the light romantic choruses of the Genii
(Miss Whinery, Miss Cranch, Messrs. Winch and The solos, with the exception of Miss Beebe, were
“Ob ruddier than the cherry,” Handel, (Whitney); | Ira Welsu still growing into favor. The principal
Liszt's Rhapsodie Hongroise, No. 2, for orchestra ; solo for the baritone : “And now o'er Syria's rosy
fancying we loved it before he was born).
The fourth evening Concert begins with Schu-
cause the music is of a quality which (like many of
heav- the finest passages of the work), requires a closer
with one of the prophets of the New School, name ia is one of our musical forces by all means worth
with solo voices, chorus and orchestra, will be for still better things from it another year.
public schools. The orchestra, carefully enlarged,
Surely variety enough, and much that will be have said, the want of an orchestra. Mr. Lana's
most interesting! The “classics” of the Future (if attention had to be divided between conducting and
“ elevate the standard” in music, whether in excit- | ARTHUR FOOTE, a graduate of the last class at Har-
New York, APRIL 12. At the fifth concert of the
In Mczart's graceful work passages of airy playfulness
alternate with themes of grave tenderness, almost sadness
cite attention far and wide, and will repay a pilgrim- Although in all of Mozart's music there is a smile behind
age to our sister city of—not now the West—but what the composer called his misty Scotch mood;" and
a wonderfully suggestive mood it is. There is nó finer.
piece of tone-painting.
Both these works, as well as the “Leonora” overture,
disgrace not to be able to play Wagner's music, which
piano and orchestra, No. 5, in E flat, Op. 94, played by expected of her. She cannot help being the child | Down in the dewy Dell. Trio. 4. Ab to f.
amount of practice, but it is unfair to give performances interests at stake. We commend the reticence of which are merely a burlesque of the composer's style. Mr. Gye's announcement, therefore, and hope it may [Is it not sometimes a burlesque on itself? Ed.]
be accepted as a model for all future time. Dr. Daxarosch is an excellent violinist, and a musician The manager, it will be observed, has not added
DESCRIPTIVE LIST OF THE who has rendered valuable service in the advancement of many fresh names to his list of artists. Nor, on the other hand, has he taken any away from last sea
L A T E S T music in our city; but the most indulgent of his hearers
M U S I C , must have found his violin concerto disappointing and son's roll. In point of fact it may be said that, sub Published by Oliver Ditson & Co. wearisome. A good deal of skill and ingenuity as well as stantially, the troupe of 1875 is that of 1874. How hard study were shown in its construction; but the work much this statement involves need scarcely be
Vocal, with Piano Accompaniment. is not artistic nor well balanced.
pointed out. It means Patti, Albani, Vilda, Mari.
Mr. Varley's Songs.
No. 10. No more.
3. C to g.
Boott. and last Symphony Concert of the season, which took place at Steinway Hall on Saturday evening, April 10th; lo, Capponi, Ciampi—not a bad company, we believe, “Earth looked like Heaven, a little while, two symphonies were performed in each of which the com and one that many a subventioned manager would
And then,-no more!"
All Mr. Varley's selections are characterized by a poser was represented at his best. Mozart by his Sym- give his eyes to possess. The season might run its
very perfect taste, and this is no exception to the phony in C, called “ Jupiter," and Beethoven by the sub course very well with such a band of artists, but, as
rule. the public look for some new faces, Mr. Gye prom. lime seventh symphony, which is the very crystalization of
ises five débutants
, respecting whom nothing is said Sleep On. (Cradle Song). 4. G to a. Warren. 30 the fulness of his powers. Both of these great works and nothing known. The chief of them, indeed,
Sleep on, sweet babe, were splendidly interpreted, and the concert was such as Malle. Thalberg, has never yet appeared on any
The storm dies slowly away.” befits the close of a season of more than ordinary success
Melorly and accompaniment fit together to a stage, but comes to us, so to speak out of the dark. and artistic significance. The only remaining number
charm, and the song is worth siuging to the best It is not the fault of this young lady that much is baby in the land. upon the programme was Rubinstein's new Coucerto for
of her parents, but, nevertheless, their reputation Mme. Madeline Schiller. It is a work to be read between
Smart. 50 will be present to the minds of the audience when the lines and not hastily judged; the themes as a rule are
"And the tender blue harebell, she appears; and in proportion will they raise their
Bends 'neath the Zephyr's wing.” given out boldly by the orchestra, repeated by the piano,
hopes. Report goes that Malle. Thalberg possesses An elegant trio for ladies' voices. and elaborated in a manner which would fairly test the
the requisites of eminence in her profession. This, powers of such a Titan among pianists as Rubinstein,
White. 60 we trust, will prove to be the case, for the sake of Tell, Sister, tell. Duet. 4. F to f. Mme. Schiller played the Concerto intelligently and well,
" Round about the earth we rove, the name she bears, as much as for that of the thereceiving two rounds of applause after her performance.
Weaving spells of joy and love." atre which will run the risk of her debut. The reWe have had a week of English opera, at the Academy,
One of the prettiest of fairy duets. Would be maining new comers— Malle. Proch, Signor De
very taking in a school concert or exhibition. by the Kellogg troupe, beginnivg March 29th and termi
Sanctis, Herr Seideman, and Signor Tamagnonating April 3d. Balfe's posthumous Opera, “The Tal
arouse no feeling of any sort. They will be patient- Amalia, or Roman Charioteer. 4. C to e. isman," was among the works represented. The attendly waited for, and, no doubt, received with the cold.
“Sul ali del pensier.". ance was small and the performances do not call for
ness shown by a Covent Garden audience towards Italian and English words. Already noticed in extended notice. These representations are patronized all absolutely unknown people.
its Soprano arrangement, but is become so famous chiefly by a class of people who, while regarding the legit
In other respects, the personnel of the establish as to need the CONTRALTO arrangement with simimate Italian Opera as but little better than a device of ment remains unchanged. Signor Vianesi and
plified accompaniment. the evil one, take to it kindly, on local or patriotic
Signor Bevignani continue at their post as joint To the Meadow. (Il Prato). 4. Ab to g. grounds, when it is clothed in ill fitting English and interconductors ; Malle. Girod will be again the princi
Marini. 30 preted by American singers. I can imagine a kind of pal dancer, in association with two strangers, Malle.
“Gia nel ciclo amica stella, English Opera which would be a very pieasing addition to
Lo! the friendly star of evening.”
The words have the advantage of Mr. T. T. Barour fund of entertainments and doubtless we may some orchestra, Mr. Betjemaun the ballet ; Mr. Pittman is
ker's fine talent for translation, and this and similar time bave a theatre, like the Opera Comique in Paris, again organist; Signor Corsi superintends the cho songs are heartily commended as having the grace where the performances are artistic and refined without rus, and M. Desplaces acts as stage-manager. With
and easy flow of Italian music without its usual dif
ficulty. being stilted, and where the singers attempt no more than regard to the chorus and orchestra, Mr. Gye bids
Instrumental. they can fairly perform. Miss Kellogg is admirably fitted us look for considerable augmentation on particular to take part in such an enterprise, as all know who have occasions, which means, it is to be presumed, when
Charming Compositions of Teresa Carreno. heard her sing in “ Crispino" or “Fra Diavolo," and kin Herr Richard Wagner dominates the scene. Other
No. 8. Dance de Gnome. (Octave Study). wise, these important bodies will be in numbers as
4. C minor. dred works. Max Maretzek began a brief season of Italian Opera on in excellence, what they have been in seasons past.
Somewhere about the 5th page of this, to rest his Friday last with Flotow's. L'Ombra.” This opera which It must be granted that Mr. Gye has done well to
aching wrists, the player will naturally stop, and
turn to the title to see if it really says "charming.' is written for four voices only, without chorus, is said to keep his “old guard” about him. They have done But it is splendid “ wrist” practice, and good bear a striking resemblance to “Martha." The affair their devoir in by-gone campaigns, and nobody who
music after it is learned. seems to be arranged for the purpose of enabling two owns a sword of proof lightly throws it away for & La Favorite Galop. 2. G.
Aronsen. 40 young debutants to sing in public on the stage, and it is new weapon, however the virgin steel may glitter.
Commences in C, and ends in G. Very ncat and probably highly gratifying to all concerned.
Turning to the repertoire of the season we find a bright Galop. The Mendelssohn Glee Club gave their third concert list of four operas, concerning which it is said that (ninth season) on Tuesday evening last. These concerts, at least three will be produced. Two of the four are
Meadow Pink. Brilliant pieces easily arr. by revivals: Gounod's Romeo et Juliette being promised
Chas. V. Cloy, ea. 30 being private affairs, do not come within the line of newsafter a retirement of seven years; and Semiramide
No. 1. Mazurka. paper notice; but I may say that the programme was very
66 2. Waltz
Rossini's opera is
after a much longer withdrawal. interesting, embracing songs by Schumann, Mendelssohn,
2. G. often played at the other houses, and, therefore,
" 3. Polka. Schubert, Wagner and others. At this concert I heard
2. G. will hardly excite curiosity, even with Mdme. Vilda
14. Quickstep. 2. C. several pieces of Chopin-music charmingly played by Mr. Richard Hoffman, who also played two of his own compoas the Queen, and M. Faure as Assur. The case is
Truly the “ Pinkings of Perfection” for easy difterent with regard to Romeo et Juliette. We have,
pieces. Intended, perhaps, for beginners, but are sitions.
good enough for anybody. its true, no longer a Mario to look and act the Mr. Thomas announces two extra concerts, the last of lover in perfection; but Nicolini is a good substi
Oh! Soft Sunshine. Idylle. 3. F. Lichner. 40 the season, for Friday evening April 16th and Saturday tute as times go, and Patti remains, a better Juli
An exceedingly graceful and neat piece, such as afternoon April 17th. At the evening concert Beethoven's
one might suppose to have been writien under the ette, if possible, than ever. For others reasons it is influence of the soft, hazy sunshine of Mayor symphony No. 2 in D will be performed, and at the mat
well that Mr. Gye has succeeded in removing the October. inée Mendelssohn's “Reformation symphony. Miss
obstacles to our further acquaintance with an im Waltz and Polka. 2. G. Rose Coggeshall. 30 Annie Louise Cary will sing at both concerts.
A. A. C.
portant, and, in some respects, very interesting Two short pieces; the "Hope Waltz," and the work. Herold's Le Prés aux Clercs is the third “Spring Flower Polka.” Both very musical and
Beauties of Ruy Blas. Marchetti.
No. 3. Waltz.
3. G. Knight. 30 Mr. Gye has issued his prospectus of the coming adapting the opera for an Italian stage has been A bright waltz with a favorite air for basis. season, which will begin on Easter Tuesday, with a entrusted. This disappointment, however, can be
Books. performance of Guillaume Tell—a good beginning, borne, provided the promise of Wagner's Lohengrin as far as choice of opera goes, and a vast improve
LOUIS KÖHLER'S PIANO STUDIES. be faithtully carried out. Hardly, we imagine, ment upon the Trovatore and Traviata of a few
would an manager venture now to trifle with the Op. 166. Technics for Middle Classes. years back. The document will strike every one as public curiosity about Wagner's operas.
$2.00. almost stern in its business simplicity. when only a few cared for them, the rest being con
2. Studies in Chord Form, 2.00. mercial “report” could be less marked by gush. tent to remain in ignorance. But now amateurs are One must consider Köhler a teacher of great exNothing, save the orchestra, has a word of praise ; in earnest, and indisposed to put up with further perience ind great success. None provide better and even the prime donne are passed with a simple disappointment.
than he for the technical needs of scholare. In mention of their names. This is as it should be, for Mr. Gye, we feel sure, will do what he has said
Book 1st are Scale passages, arranged so as to give
an immense deal of practice in a short time. In two reasons; first, becanse only thus can the oper.
and the event of the season, the talk of the Book 20 are Chords, Arpeggios, etc., skilfully atic prospectus redeem its character; and next,
season, we may, perhaps, add the success of the sea adapted to the same end. because the public do not want to be told through
The books are warmly commended to the notice son, cannot fail to be Lohengrin. In the cast we
of practical teachers. its means who and what they are to admire. Fa find the names of Albani, D'Angeri, Proch, Maurel, miliar operas and well-known artists have had their
Bagagiolo, and Nicolini; and as scenery and deco. ABBREVIATIONS. Degrees of difficulty are marked merits appraised already; while with regard to new
rations will, doubtless, prove worthy of the Royal 1 to 7. The key is marked with a capital letter: as C, B works and débutants, the proof of the pudding is in
flat, &c. Asiall Roman letter marks the highest note, Italian Opera, we may expect a performance of
if on the staff, an italic letter the highest note, if a bové the eating, and not in the words of those who have
merit sucli as the composer himself would applaud. the staff.
OF VOCAL AND INSTRUMENTAL
LYON & HEALY, CHICAGO. °C. H. DITSON & CO., NEW YORK.
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"GOLDEN LOCKS ARE SILVER NOW."
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“ You were dear when life was summer,
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Or, THE ROMAN CHARIOTEER." Answer to the immensely popular song, “ Bye and bye has come and vanished,
Words by GEO. COOPER.
“SILVER THREADS AMONG THE GOLD."
Price 30 Cents.
In Mr. Wilson's best style is his
ВО А Т
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Price 60 Cents. Title. Price 50 cents. it Mr. M. with a sort of “Beethoven” inspira
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Brilliant Military Music, is
Key of C, for Baritone. Price 60 cents.
Esquisse Militaire, by F. BoscovITZ. Op. 60. A really fine Song, made out of # My joy each day, my dream by night,
This lively music is introduced by a few measures imi. My rose in winter drear.”
tating“ a flourish of trumpets,” which is speedily followed Words by George Cooper, and the words, music
by a quick, rattling fire of notes, which is continued to and general appearance of the piece are alike taking and
the end. One can almost see the gay ranks of cavalry as elegant. Highest note on E, (fourth space).
By H. MILLARD.
they prance past to the inspiring strains.
Price for 2 Hands, 50 cents; 4 Hands, $1.00.
Millard and Thomas combine to give us
A song of very marked character, both words “I Could Live in a Desert, if Only and music being first class.
with Thee." "WHAT E'ER BETIDE.” highest note ikad, (fourth line). "Frice 30 cts,
A BALLAD. Music by J. R. THOMAS.
Words by H. MILLARD, Words by HELEN ASHLAND KEAN.
A beautiful response to "Sweet By and By," is
“I would watch o'er thee, guard thee, and love faithfully, Music by HARRISON MILLARD. “Hold me in thy tender arms,
ON THE BRIGHT SHORES OF GOLD." For the wealth of thy heart love, one moment to know." O Great Ileart, strong and true;
Full to overflowing with rich, sweet melody. Kiss down my eye-lids, wet with tears,
Song and Chorus. by Chas. D. BLAKE. Highest note on F, (fourth line). Price 40 cts. Thine own are dewy, too."
Words by Geo. COOPER. Mr. Millard had excellent words to set to
"On the bright golden shore erer gleaming, music, and has done full justice to the theme
Very Sweet Chimes are the
There our world-weary feet soon shall be. and the fine poetry.
'T is the sweet angel thought of our dreaming, Highest note, G, above the staff. Price 50 cts. And by faith all its joys we may see."
This class of sung, embodying bright thoughts of the
world that is alway so near us, must always be a favorite. A new musical thought by the author of “The since every one has one or more cherished friends who Morceau for Piano, by G. D. WILSON.
have“ Northern Pearl," is
The song is a pleasing one, every way quite easy. The Mr. Wilson will add to his reputation by his attrartive highest note is on E, (fuurth spacej. Price 40 cents. piece, which, like his previous favorite compositions, has
a beautiful, simple melody, with tasteful combinations and A very brilliant Piano Picce is GRAND I'ARAPIIRASE
variations, all fitting easily to the hand of the player, and DE CONCERT, on
is easily learned. Price 50 cents. “OLD FOLKS AT HOME."
Graceful, rather than brilliant, is
By ROBERT CIIALONEP.
Dream at Twilight Waltz." know it cannot be noisy, and must be sweet, very cheerfully to its new suit of triplets, quick
By Chas. V. CLOY. neat, graceful, and its beauty must be of a quiet arpeggios and runs, chords with intermediate type. All these characterize the piece now de- flourishes, and other fashionable ornaments. It is in the key of D, is not difficult, has the scribed, which is not difficult, and is pretty and Well fitted for concert playing. Moderately "art of pleasing," in a high degree. Price 30 elevating throughout. Price 40 cents. difficult. Price 75 cents.
wert as summer.