Nähe des Geliebten," op. 5, No. 2, (Do.); "Sei mir gegrüsst" (Do.) SPONTINI. * Overture to "La Vestale." of temperance to the length of refraining from the After speaking of "Joseph," the writer goes on to observe that when he reflects on the condition of a work like this, and hears the noise made about the theories of Richard Wagner, he fancies he must be dreaming: What is there new, I should like to know in them? What organic law of modern opera do all these pretended prophets of the Future advance which has not been carried out by this musician of the Past? Listen to that orchestra always purposely moderate, where modulation is introduced only at the call of dramatic truth; listen to that accompaniment always in keeping with the nature of the subject, and then ask yourself whether it is true, as we are informed, that such simultaneity of expression is a discovery of our own time. From the instrumentation let us proceed to the portrayal of the characters; another invention for which some individuals are pleased to claim the credit. Do we find that Joseph, Simeon, Benjamin, and Jacob are figures wanting plasticity, impersonal and abstract figures, heroes of classical tragedy such as were imagined at the same epoch by Marie Joseph Chénier? Let these figures sing, and, like the philosopher who, to prove the existence of movement, walked, they will forthwith convince you of their musical individuality. The reminiscences and the melancholy of Joseph, the remorse and repentance of Simeon, the candor of Benjamin, the sorrow of the old man, Jacob; his rage and his joy, are so many admirable motives treated with the inspiration and the talent of a master never found deficient in any of the principles really appertaining to his art. Dwight's Journal of Music. BOSTON, MAY 15, 1875. (Miss Whinery), Chorus (Cecilia) and orch. ROSSINI. Overture to "Tell," 2; Romance: "Selva MENDELSSOHIN. Symphonies: No. 3, A minor, 3; No. 4, A major, Overtures: Midsummer Night's Dream, 2; Hebri- Chorus, with Orch.-"Midsummer Night's Dream" " SCHUMANN. Symphonies: No. 1, B flat, 4; No. 2, C, 5; * No. Piano Solo: Etudes Symphoniques," op 13, 2, (Per- "Two Songs: Schöne Fremde," 2, (Osgood); CHOPIN. Piano with Orch.-Concerto, E minor, 5, (Leonhard Piano Solo: Rondo, E flat, op. 16 (Dresel); Fan- LACHNER, FRANZ.-* First Orchestral Suite, D mi- Piano Concerto, F minor (Petersilea). mento e Trionfo." Piano Solo: Rhapsodie Hongroise (Miss Topp); Symphonies: No. 1, C minor, 4; *No. 2, E, 2; Overtures: 'Naiades." 3; *"Wood Nymph," 3; *"Paradise and the Peri." Piano with Orch.-* Concerto, No. 4, in F minor, (Perabo); * Capriccio in E (Lang). TAUBERT.-* Overture: "Tausend und Eine Nacht;" JUL. RIETZ.-Concert Overture, 4; * Oboe Concerto, LIPINSKI: Military Concerto, Violin, in D, first ERNST: Violin Solo: "Elegie" (Camilla Urso). DESSAUER: * Song: "Allurement " (Mrs. Kempton). RICHARD WAGNER: Overture to "Tannhäuser; ROBERT FRANZ. Songs: "Weil auf mir, du dunkles Auge" (Mrs. Barry); "Wandl' ich in dem Wald' des Abends" (Do.); *Romance: "A rider thro' the valley rode' (M. W. Whitney); "In the Spring," op. 22, (Mrs. Barry); Goethe's Mailied," 2, [Do]; "April-Launen," op. 44, [Do.], Ave Maria [with Quartet accomp.], [Do.]; Serenade: "Der Mond ist schlafen gangen," op. 17 [Miss Doria]; "Stille Sicherheit" [G. L. Osgood]; Schatten dunkeln" [Do.]; "Evening," op. 16, Nun die [Do.]; Tieck's "Schlummerlied" [Miss Abbie Whinery]; "Er ist gekommen" [Do]. J. RAFF: Symphony, No. 2, in C; Suite, in C, op. ANT. RUBINSTEIN: "Ocean Symphony; *Piano GOLDMARK: Overture to "Sakuntala," 3. GERNSHEIM, FR.-* Piano Concerto, C minor [Perabo]. DUDLEY BUCK: Overture to "Don Munio." SVENDSEN, J. S.-* Violin Concerto in A, op. 6, [Aug. Fries]. Concerts of the last Fortnight. HANDEL AND HAYDN SOCIETY. The enthusiasm with which the revival of Haydn's melodious and wonderfully descriptive Cantata, "The Seasons," was received by the eager audience who nearly filled the Music Hall on Wednesday evening, April 28, muct be taken as a symptom of a wholesome reaction in favor of a sound, classical, pure style of music,-music which is a law unto itself, [because the vital principles of form are really intrinsic, lie in the very soul of Music], and which without try ing to shake off old forms, moves with far more of the freedom of genius and inspiration, than any of the “new” music with which we have been. dosed and drugged of late. Tired of excitement and astonishment, we go back for something we can love in music. But not so fast! we do injustice to our true musical public, by confounding them with the half musical and the unmusical who are carried away so easily; the true musical public never has been much delighted with the new school, and stood in no need of reaction. But the time was with us when Haydn, as compared with Beethoven, Mendelssohn. Schumann, &c., had come to seem tame and too amiably all alike; now Wagner and Berli oz and Raff, Brahms, Volkmann, &c., have made him fresh again, in vocal forms, as he has long been in Symphony. The "Seasons" had of course more novelty for us than "The Creation," and though it is less great than that, yet what wonderful variety and beauty it contains! How faithful the whole expression and atmosphere of the music, and all the imitative hints, to the texts of every season! The orchestral preludes and accompaniment are exquisite; it must be owned they suffered somwhat in performance, the orchestra sounding at once thin and coarse and showing need of more rehearsal; yet portions enough were so fairly rendered that it did not spoil the general impression of the work. The choruses were for the most part finely sung and most of the audience must have been most agreeably surprised by their great variety of power and beauty, their poetic suggestion, and vivid, imaginative characterization. Not to speak of the familiar "Come, gentle Spring," with its fine contrast of female and male voices, which went very perfectly, what could be more impressive than the deep, tremendous voice" of the thunder storm chorus, prepared as it has been by music so expressive of the heat and languor of the Summer, especially the recitative immediately preceding, through which " a boding silence reigns," with the more bodeful rumble of the deep sub-bass of the Organ, until the voices burst forth, and "to its foundations the solid globe is shook." If with some this chorus fell short of the expectation raised in the beginning, it was no doubt partly owing to the cutting out of so much of the middle portion; the storm was incomplete. In the Autumn we have the strong chorus in praise of Industry; the ringing, echoing Hunting Chorus, full of vigor, likewise most suggestively introduced by fragments of recitative, and little bits of figurative instrumentation, which make you see the pack of hounds on scent. Then, best of all, the very remarkable "Wine Chorus, with its episodical bagpipe and dance movement (exquisite dance melody for an old man of seventy!) But this too was weakened by the omission of some of the finest music in the middle, whereby the piece lost its symmetry, and the great climax at the end, its justification. In the Winter we have the fascinating minor chorus of the Spinning Wheel, alternating with Soprano Solo, full of serious suggestion. The final chorus: "The everlasting gates of life," has grandeur, but it was made to jump to its conclusion, by leaving out the middle portion, which is a fague, not perhaps a great one but a good one. Putting head and tail together does not make a body. Brevity of course was the motive of these cuts, for the work is very long; but if we remember rightly, these choruses were given in their integrity when Mr. Lang brought out the "Seasons" some ten years ago, and we do not remember any sense of weariness. For Dwight's Journal of Music. In Memoriam. of our most skilled performers, and many other orchestral instruments I have heard him use in a manner that would put to shame most of our public soloists. His vocal training must also have been far superior to that of most of our teachers of highest repute. For, as at the organ he seemed to be inspired by direct teaching and communication from Bach himself, in the instructions received in later years from the illustrious and venerable "Father Mieksch," and his pupil Kisse, I noticed with surprise that the rules for Vocal Culture derived from Mr. Keller, were all corroborated and confirmed, making it appear that his vocal education must have come in a direct line from that celebrated school of Bologna, from which were diffused those established principles that still govern the genuine world of song. As a conductor of orchestra, he had few if any equals, possessing in a high degree, that magnetic charm which drew every performer with him by its subtle influence, and an electric fervor of soul that was an inspiration to all who formed the musical circle around him. Reference need only be made to the records of the old" Boston Academy of Music," for evidence of his noble efforts to give the fine and classical works et his father land a hearing in Boston. To such influence how much do we owe, at the present day, of the educated taste that enables us to enjoy music of such an elevated character, and to appreciate any above the most common musical works! Of Joseph A. Keller it may truly be said, no good man ever knew him but to honor and admire, and MR. EDITOR,-Although I hailed with delight the termined and unshrinking opposition to treachery whatever enemies he had he honestly earned by defew lines appearing in your Journal some months and humbug in every form. To such men, who have ago, from the pen of Gen. H. K. Oliver, concerning labored and struggled with trial and sorrow in their JOSEPH A. KELLER, I have since felt greatly disap- and upright life, it is due that their memory be most aggravating aspects, and maintained a pure pointed that they have been followed by no corre-honored, and not allowed to die without suitable sponding and similarly appreciative words, from recognition of their claims to the gratitude and resome of his many pupils and friends, who must have spect of all who reverence the good, true and beautiful in the noble Art of Music. E.B.O. felt his noble influence in the days of his success. It may not however, be unwelcome to them to hear from a pupil who admired and loved his master, some of his impressions concerning him. In the spring of 1837, my father, wishing to secure for me the best musical instruction that this country could afford, placed me under the tuition of Mr. J. A. Keller, and that I might enjoy his more especial and immediate care, I became a member of his family. In the two succeeding years, all my expectations in him were realized, in every respect, as I found in him not only a most superior teacher but a model in gentlemanly deportment, and a shining example In subsequent for me in purity of life and manners. years, the impressions made upon me by him at the early age of fifteen, have been indelible, and although I afterwards enjoyed the best instructions in Germany, I found cause for ever increasing gratitude, and to regret nothing received from him. Recalling the admiration excited in me at that time by his knowledge and skill, I wonder now at the extraordinary versatility of his brilliant genius. When seated at the Organ, one could say, he belongs there, let him never come down from the organ bench, where he so wonderfully calls forth devotional aspirations, and elicits the praise of God from the most insensible hearts. So at the Piano, he possessed an unrivalled deli The solos, duets, trios, so many and so beautiful, were admirably sung. Miss BEEBE had 'precisely the voice, the execution and the culture for the So-cacy of touch, a smoothness and beauty of execution prano melody, which is full of delicate embellishment, and in parts brilliant. We may name, among other numbers, the long descriptive Recitative: “O, welcome now, ye groves," and the Air following: "O, how pleasing to the senses." Mr. WM. J. WINCH was in fine voice, and sang the tenor solos with fine taste and expression; particularly the Recitative and Cavatina describing the sultry midsummer heat: ""Tis noon, and how intense the sun," and Distressful nature fainting sinks,"; and after wards in opposite contrast, the Winter picture of the traveller lost in the snow storm, where the staccato figures of the violins seem to fill the air with flut rarely heard, and in free fantasie, showed himself a perfect master of the laws of harmony, and always obedient to the strict rules of musical composition. It is scarcely credible, however, that in addition to this, he possessed wonderful skill upon the violin and violoncello, which more than all others were his favorite instruments, as is proved by those many sweet toned treasures that he collected during his life, and left silent at his death. The trumpet, clarinet and flute also spoke with as sweet and pure tones from his lips, as from those BAYREUTH.-The following intelligence from a responsible source, has been transmitted to us for publication. It will interest our young friends who contemplate a pilgrimage to this Saxon Mecca of "The Future," where they may worship all their moral gods. Thor, Wotan, Freia, and the rest, who have great Richard for their prophet. BERLIN, APRIL 12. DEAR SIR:-I wrote to Wagner the other day, suggest ing that, by giving his great entertainment, at Bayreuth in July, 1876, he would fail almost entirely of the attendance of Americans, since all citizens of the United States would aim to be at home, at that time, for the Centennial. I added, that in ordinary seasons, he might rely upon several thousand dollars from American travelers in support of his undertaking, and urged that he should defer the main performances until September. In acknowledging the value of the suggestion, Wagner wrote that it would be impossible to have performances so late as September, because his artists will be available only in July and August, the vacation months of their several theatres: but with a view to accommodate American travelers, he will have a repetition of all the main performances in the last week of August, 1876. At his request, and for the information of my countrymen, I beg you to give this fact publicity through the Musical Journat, and to ask other papers to extend the notice as widely as possible. The musical world of Berlin is in high expectation of the Concert to be given next week, at which Wagrer will in person lead the orchestra in the interpretation of portions of his latest work. J. P. T. Yours, truly, (Concluded from Page 16.) NEW YORK, APRIL 26. Mr. Hoffman's performance of the Beethoven Concerto was marked by great clearness and delicacy of handling, and by a poetic fire such as I have seldom known infused into the composition. In the second part of the programme his treatment of the Barcarole (from Bennett's Fourth Concerto, in F minor Op. 19) was so refined and artistic that an encore was a matter of course. I give the Repertoire of the Philharmonic Socicty of Brooklyn-Seventeenth Season. OVERTURES. WAGNER-Eine Faust Overture. RUBINSTEIN-Triomphale, Op. 43 [new]. VOCAL SELECTIONS. HEROLD-Aria from " Le Pré aux Clercs." REINECKE-Miriam's Song of Victory, Op. 74. MEYERBEER “Pietà, pietà," from "Le Prophéte." LESLIE, H.-" How Sweet the Moonlight!" LESLIE, H.-Lullaby of Life. For want of space I cannot give a detailed account of a number of concerts in New York which deserve notice. They must wait over until my next letter. And for the same reason I can give only a brief notice of the last concert of the N. Y. Philharmonic Society, which was given last Saturday evening. I give the programme. Overture," Manfred PART I. Scena and Aria, “Ah perfido!”. Miss Annie J. Borie. Piano-forte concerto in E flat. No. 1. Schumann Liszt Miss Julia Rive. Introduction: moderato (choral). Overture," Les Frances Juges," in F..... Miss Julia Rive. Symphony in C minor, No. 5... Berlioz Beethoven The orchestra, it seemed to me, did not play as well as usual, for there was a terrible blemish in the performance of the first movement of the Symphony, caused by one of the violins coming in some measures ahead of time. The best feature of the evening was the pianoforte playing of Miss Julia Rive, a young lady who I believe has but recently returned from abroad, where she has finished her studies under Liszt. She has played at concerts in some of the Western cities, and I have heard enthusiastic accounts of her from there, but I hardly anticipated the very favorable reception which awaited her here. It is not too much to say that this young lady, who came to us so quietly and modestly, achieved a great artistic success upon her first appearance. She played the magnificent concerto of Liszt's from the first note to the last without a slip or a blemish. She not only gave a correct rendering of the piece but a poetic rendering. Her playing was not that of a prize pupil but of a mature artist. She made light of the immense difficulties which invest this piece like a hedge of thorns, and she did this without the slightest sign of self-consciousness or of being con scious of anything save the music. The Schumann Fantasiebilder," her second piece, was a little too good even for a Philharmonic audience; but her playing was appreciated to the extent of an encore, to which she responded with Liszts' second Hungarian Rhapsody, which she played with such effect that there was a furor in the audience and even orchestra and conductor joined in the applause when, at the close of her performance, she was recalled time after time to the stage. You will certainly hear much of her in the future. A. A. C. " Special Notices. DESCRIPTIVE LIST OF THE TORONTO, C. w. Randegger's Cantata “Fridolin Mrs. Dow's fine soprano voice showed to better advan- During the recess the Beethoven Quintette Club again Mr. Torrington wielded the baton with his usual skill BALFE'S "TALISMAN" (also given in this city when the Kellogg troupe were here) is thus neatly, and fairly, hit off by the Baltimore Bulletin, May 1. The Talisman is Balfe's posthumous opera. It is easy to see the reason why posthumous; for as long as life 'flickered in that senile breast, he had sense enough not to bring it out. But it may be that he died in giving birth to it. It is difficult to conceive anything more limp and washy than the music: so tepid in its passion, so tame in its furies. It may roughly be described as Bohemian Girl and water, slightly colored with Lydia Thompson languors and flavored with the negro serenaders. It was indeed a cruel thing for Balfe's literary executors to permit its production; but man is frail, and a new opera well puffed has "money in it." MUSIC, Published by Oliver Ditson & Co. Old Folks at Home. Quartet. 2. D to d. The Flower Girl. (La Fioraja]. 6. Eb to b. Molloy. 40 "Oh! the dance and the merry tune." Those who have heard the clatter of the wooden sabots of the "old countries," will be pleased with this, which is, in a curious way, a vocal clog dance. Staccato Polka. Bravoura piece. 6. F to b. Mulder. 75 A true bravoura, which will make a sensation when brightly sung. Otto Lob's Sacred Trios. No. 1. Lord thy Glory. (Sop. Alto, Tenor). 4. G to g. ea. 35 Weber, Mehul. No. 2. Praise thou the Lord. (Mezzo- No. 4. Bow down thine ear. (Alto, Tenor, Bass). 4. C to g. These are trios of a high classical character, and of some difficulty. And these reasons commend them to quartet choirs. I fear those beaming Eyes. 3. F to f. Glover. 30 The music, tame as it was, was tamely rendered. Mr. Flight of the Nightingales. Maas was "Sir Kenneth, the Knight of the Leopard" He was a dear little love of a leopard with his mane oiled and parted in the middle, and his tail freshly released from the curl-papers. He roared you gently as any sucking dove. The human mind cannot possibly accept dear little Mr. Maas as a stalwart crusader, any more than it can accept the two excrescences on the shins of "Nectobanus " as typical of any known physical deformity. "Nectobanus should have been a malicious cripple, but Fandango. Morceau Caracteristique. 5. Dh. he was not. He was gentle, and showed an undue fondness for the prompter's box, where he seemed to have one of his feet nailed down to the stage. Mr. Carleton's "Richard Coeur de Lion," and Miss Kellogg's "Edith sion and jeers of the populace. Yet Miss Kellogg's only Plantagenet," alone saved the opera from the open derisuccess was when she abandoned the score and inserted a ballad by Clay: "She Wandered Down the Mountain Side." Nothing could give a juster idea of the value of the music of the opera than that this little song. by another composer, seemed like a bright patch on the dreary background. It met with some little success, but it was the only moment during the evening when the baskets of flowers which had been prepared for the occasinn could with any possibil ty have been presented. The opera, in addition to its short-comings as music, is wholly of dramatic situations and of plot. The leading characters come in one after another, as at a variety show, and sing their solos, and then meander off again; nothing leads to anything else. There is no musical decnothing but the spectacle. Now a spectacular opera ought lamation, dialogue or concerted music worth mentionto be spectacular. Pompous processionings, haughty kings and princes, sumptuous costumes and calcium lights will make very poor stuff go off moderately well; but when a spectacular opera is conducted rather with a view to economy than to show, the effect is not apt to be imposing. Thus it fared with the Talisman as presented by pretty clothes, and "Kenneth," the raging leopard, also Miss Kellogg's company. "Edith Plantagenet " had some had a shiny helmet and spangled shoes; but the rest of the kings and dukes and earls of high degree appeared to have been born of poor but onest parents-humble indeed, but knowing their place. The only thing like action in the whole opera is where six supes on one side and five on the other, representing the armies of England and Austria, closed in deadly conibat, and clashed feebly their pasteboard battle-axes taking great care not to injure the tin foil, until the "King of France," looking like an obese Jack of Club in reduced circumstances, appeared suddenly and put an end to the carnage-seeming like a right bower played by some invisible hand which had taken the trick. Such was the Talisman, as presented at the Academy of Music last Friday night, to one of the largest audiences that ever assembled there. In justice to that audience we must say that we never saw a full house so cold, so utterly unrippled by applause. They were, on the whole, patient and well behaved, so that we hardly ever saw a better audience or a worse performance. 2. F. 3. Db. A Night in June. Idyl. 4. Ab. Very neat picture title, and will probably be pro- 6. Bb 2. C. Speck. 40 Played with great success by La Favorita Orchestra. 3. G. American School Music Reader, By L. O. Emerson and W. S. Tilden. THE NEWEST. A Systematic Graded Course in Three Books. CHEERFUL VOICES. This book is intended for children in the classes next beyond the Primary Schools, and will be used generally, in the lower classes of Grammar Schools. TwoPart Songs are introduced at the appropriate place. Book Third. Price 60 Cls. This book finishes the elementary course, and is an appropriate work for the upper classes of Grammar Schools. Some knowledge of chords is acquired, followed by prac tice in Two and Three parts, and in Minor as well as Major Keys. Forty pages at the end are filled with Four-Part Music. Mr. Tilden has thoroughly and successfully tested his theories in schools in the vicinity of Boston. BY L. O. EMERSON. Price BOC. Hour of Singing. FOR HIGH SCHOOLS. By L. O. EMERSON and W. S. TILDEN. PRICE $1.00. Until recently, it could not be said that there was really any music book especially adapted for High Schools. There were, to be sure, excellent collections of music which could be used, after a fashion, in teaching. Still the Instructor in HOUR OF SINGING. Its adaptedness to its placo and work was so apparent, that it was at once, without ques. tion, adopted in a large number of High Schools and Seminaries, and has also, to a certain extent, been used by the higher classes of Grammar Schools. Of Mr. Emerson's previous school song books about Music had no proper text book until the appearance of the MERRY CHIMES. By L. O. Emerson. Price 50 Cents. DEEMS'S SOLFEGGIOS. Price 75 Cents. Designed to be a book for teaching the Elements of Music, and in its theory has a general resemblance to other Methods with a similar object. There is, however, a marked character in the exercises and solfeggi, which have a Has an excellent reputation among School Song Books. graceful Italian style, are safe and good for the voice, Dr. Mason's Song Gardens Put together at a later period than that of the appearance and render the book an excellent one for all schools of a These must not be supposed to be Elements for use in Primary Schools. The book is for all ages, and contains a well arranged presentation of the Elements of Music, somewhat like those ordinarily found in Church Music books, but with the Dr's ideas impressed upon them, and also numerous examples and exercises, in all keys and of easy compass. Dr. Streeter has a high reputation as a teacher of "Voice Building," and his ideas are well worth noting. Panseron's A, B, C, of Music. Abridged, $1.00. Quite valuable, as giving the theory of Primary Instruction, from a French Professor's point of view. All teachers should become acquainted with these various "Schools," whether they use them or not. Wilhem's Method of Teaching Vocal Classes. BY JOHN HULLAH, 60 Cents. A book called out by the great awakening in England on the subject of teaching music to the masses. Every good teacher will study all methods, and adopt the best. Every good teacher will then, of course, examine "Wilhem." of THE GOLDEN WREATH by the same author, the THE GOLDEN WREATH. The success of this fine book has been a surprise, more than a quarter of a million copes having been sold. To that number of persons, therefore, its face is as that of a familiar friend. Since its issue however, an entirely new set of children fill the schola nd to those who are unacquainted with Its melodies 'he GOLDEN WREATH may still be the best School Song Book. high grade. It may either be used alone, or in connection with another book, in which case it will serve as a collection of useful Solfeggios, or 'Songs without Words.' THE ORPHEAN. FOR BOYS. By W. 0. Perkins and A. R. Hallett. AND COLLEGES. Intended, according to the title page, FOR BOY'S SCHOOLS As Boys voices and Girls voices are, previous to change, at the same pitch, there is no reason why THE ORPHEAN may not be used in the advanced classes of any common school. The music is exceedingly well selected, and conveniently arranged into Two, Three and Four Parts. THE NIGHTINGALE, Dr. Lowell Mason's Music Charts. PRICE 50 CENTS. By W. O. & H. S., PERKINS. A very appropriate name for a favorite collection of School Songs. The sweet bird has sung its way into many communities, with melodies that have made many a child's heart glad. THE GOLDEN ROBIN. BY W. O. PERKINS. PRICE 50 CENTS One of the best known of School Song Books, and will yet make many more friends. Well chosen and good songs, more than two hundred of them, and the usual elementary course with attractive exercises. MASON'S VOCAL EXERCISES Part Songs for Three And Solfeggios, Price $1.50. There is a close resemblance in all collections of Vocal Exercises. They are, and must be composed of the sounds of the scale, arranged with or without skips, in runs, or in slow time. Dr. Mason's book contains the most essential ones. As to the Solfeggios they have been exceedingly useful and plen affairs, when applied to class practice, and may also b. used by those who study alone. AND FOUR FEMALE VOICES. Price 60 Cents. Classical and pleasing songs which are in use in High and Normal Schools. A Catalogue describing the ove and about 1,000 other books published by Ditson and Co., sent free on application. Also all books mailed, post-paid, for retail price. ATM ALL MENTIONED BELOW HAVE ACHIEVED, OR ARE EARNING, DISTINGUISHED SUCCESS. THE AMERICAN TUNE BOOK. THE JUBILATE. The name of this great eclectic collection may with propriety be placed either the first or the last on our list of modern Church Music Books. First, because it contains nearly all of the most popular church tunes published in, or before the first half of the present century, and is therefore a rich reservoir of old tunes. Last, because as new books become known, and their contents tried and proved, their best tunes are from time to time removed to the American Tune Book, which is intended to be a sort of Paradise of good tunes and hymns. Made up in this manner, it is easy to see that there can be no better book for a Congregation, and that a Choir will not try to do without it, while the vast number of old favorite tunes will always render it a vable book to keep at home. About 500 prominent Music Ter chers and Choir Leaders were consuited at the last re-arrangement of the book, which now contains about 1000 tunes and anthems. As The Elements of Music, according to Dr. Lowell Mason, occupy its first pages, it is a work of value for sing; ing classes, and may under some circumstances be preferred to other books for that use. RETAIL PRICE $1.50. L. O. EMERSON'S SINGING BOOKS. For keen appreciation of public taste, and for special genius to meet it, Mr. Emerson stands almost unrivalled. In three books, the LEADER, the SONG MONARCH, and the STANDARD, he has joined hands with H. R. PALMER, of Chicago. The last named gentleman is well-known in the region of which Chicago is the centre, and his popularity as com poser and conductor at the West, is perhaps quite equal to that of Prof. Emerson in the Eastern States. Books by such a "double team" of authors must of course be successes; and such they are proving. THE LEADER ! By H. R. Palmer, assisted by L. O. Emerson, can hardly fail to be the leading book in 1874 and 1875. Price, $1.38, or $12 per Doz. Singing School Course; Sacred and Secular Music for practice; Metrical Tunes and Anthems, all the products of the highest skill, and intended to be the best of material for Singing School Teachers, and for use in Choirs and Conventions. The Song Monarch II is the work of the above gentlemen, is intended especially for SINGING CLASSES, and contains the same Singing School Course as the LEADER, with the addition of about 120 pages of Songs, Glees, Quartets, &c., &c., for Singing Class practice. Price, 75 Cts. ; $7.50 per Doz. The Standard !! is an acknowledged success, having been very largely in use in all parts of the country during the past musical seaThe compilers are L. O. EMERSON and H. R. PALMER. son. Price, $1.50, or $13.50 per doz. THE HARP OF JUDAH PRICE, $1.50. Of the HARP OF JUDAH, it is perhaps sufficient to say that it made the reputation of Prof. Emerson as a composer of Church Music. People every where were impressed with the clear, ringing harmony, the beautiful melody, and with what might be called the "devotional spirit" of the music. Certainly music, in itself, can have no special devotional character. Still, when united to sacred words, if it carefully avoids all constructions that remind one of the Opera or The Ball Room; if it clings closely to the words in sentiment; if it adds decidedly to these words in their influence, then music may be said to have a devotional spirit, and such was the feeling with respect to the music of the Harp of Judah. The book has had an immense sale. It is, however, now as good as ever, and, for those who have never used it, is perfectly new. PRICE $1.50. Encouraged by the very marked success of the HARP OF JUDAH Mr. Emerson, after a proper interval, brought out his JUBILATE, which as a matter of course followed in Harp were quite willing to try another book by the same the footsteps of its predecessor. Those who had used the author, and those who only knew it by reputation, thought that reputation a good one. THE CHORAL TRIBUTE PRICE $1.50. distinguished among Church Music Books for its steady The book is characterized by the peculiar excellencies of The HARP OF JUDAH, The JUBILATE, The CHORAL TRIBUTE, and This book contains an exceedingly well chosen selection of the best Congregational tunes, 200 in number. There are 340 Hymns, enough for all practical purposes. These being designed for the following uses: hymns have a general and undenominational character, 1. For Congregational Singing. 2. For Vestry and Social Singing. 3. For opening and closing exercises in Schools, Seminaries, etc. 4. For opening and closing exercises in any societies where singing is in order. Light, handy, convenient and comprehensive, the NATIONAL HYMN and TUNE BOOK is fitted for very general use. THOMAS'S Sacred Quartets Anthems BY J. R. THOMAS. Price in Boards, $2.50. Cloth, $3.00. These quartets are admirable ones for choirs. Not very difficult, and in perfect taste, the collection cannot well form a quartett of very popular singing books of which no be excelled. Abundant provision for solo voices. author need be ashamed. THE TEMPLE CHOIR GREATOREX COLLECTION. By THEO. H. SEWARD. assisted by Dr. PRICE $1.50. The amount of musical matter contained in this large collection is almost unprecedented, yet the type is plain and clear. Of the three compilers it may be said: Mr. T. H. SEWARD has won a distinguished place as writer and composer, and, with his native ability and good judgment could have produced a superior book without "assistance." Dr. LOWELL MASON, who recently finished the wellronnded and perfect work of a long and active life, was better qualified than any other to give suggestions founded on experience. While Of Psalm and Hymn Tunes, Chants, Anthems, and Sentences. By H. W. GREAT. OREX. Price, Cloth $1.75; Boards $1.50. Mr. Greatorex, while compiling this work, was bold enough to put together music altogether too difficult for the great body of singers in those days. These days however are better days, and many thousands are now competent to grapple with this truly first class music. The GREATOREX COLLECTION has always been a favorite with the best singers, and in common use for Quartet Choirs. Baumbach's Sacred Quartettes. With Piano or Organ Accompaniment. Price, Cloth $2.75. Boards $2.50. caused his "sun to set at mid-day." during a busy life Baumbach's New Collection of WM. B. BRADBURY, whose excessive labors doubtless showed a talent not to be surpassed in preparing church and sunday school music fit for the times. SACRED MUSIC. Price, Cloth $2.75; Boards $2.50. Buck's Motett Collection. Price, Cloth $2.75; Boards $2.50. The Jubilee, Buck's Second Motett Collection. By WM. B. BRADBURY. THE KEY-NOTE, By Wm. B. Bradbury. Price, Cloth $2.75; Boards $2.50. Messrs. Buck and Baumbach have in these four books amassed a rich store of the best of music FOR QUARTET CHOIRS. The books have large pages, have multitudes of Solos, Duets, Trios, and Quartets, with well arranged accompani ments for Piano, Reed or Pipe Organ. It is quite superfluous to ask which book is the best, since no quartet choir can get along without all of them. already a large advertisement. It is still in demand. The CHURCH and HOME. As more than 200,000 "Jubilee's" have been sold, and The Diapason. By Geo. F. Root. To the collection of Tunes in this book are prefixed" a As Mr. Root is not only a successful composer, but A Catalogue describing the above and about 1,000 other books published by Ditson and Co., sent free on application. Also all books mailed, post-paid, for retail price. |