Folio, A Journal of Music, Drama, Art and Literature (November, 1883)

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MOLT TS sata Dh Nia balla dal - * Ae 31 Ps ihe fi] Py ‘ ’ + mtr! eee e vant i! Zz “bade PORTRAITS OF HENRY IRVING AND L Ee. ae S54, Putt . Becutt > di ay RAS . pa et Pe a‘ DESNA wh Wie. oe G ant mi . : il e : Sh ae * eek ee Rin ohh ay 4 ett : S ~ Di) A. PY gai, Fh NWS Bi) Tist sly tah aaa if It \ IW be SS WN Drama, 5 nleralure. WHITE, SMITH & COMPANY. 516 WASHINGTON STREET, BOSTON. New York: SPEAR & DEHNIOFF, 717 Broadway. 5 anp 6 WASHINGTON STREET. CHICAGO. New-EneLtanp News Company, 14-20 Franxuin Street. Boston New York: AMERICAN NEWs Co. Philadelphia: CENTKAL NEWS CO St. Louis: ST- LOUIS BOOK & NEWS CO. Chicago: WESTERN NEWS CO. Bangor, Me.: L. J. WHEELDEN. London: TRUBNER & CoO., 60 Paternoster Row. 6A toy & >, i ye aT Sieiwisoe Sonic eS MY RO Hath y Vis nit Copyrighted 1853, by WHITE, SMITH & COMPANY. a Entered at Roaton Post Office as second-class mail matter. NV x AA yeas CRY r rT] x\\) Mh r te, Cathie ZI: ropa U 4 \ ND ". 7 ~ . AY Ati wah vA SUDS BRS sas UIS MAAS, — WO Ae a 3.) oe tray 7 SW GAGs 2, i] by Let z leg EY ELE tern let.

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i RTI a EMEA TAR. EN AEE AI te TINA LORE LLL ALDEN Y SPER SE RT AE TBE LEEO. EP PERE ACRES ITE ERE STIR! ATI ASAE PN LEE AI: 5 2 SEES IMRT NTE DE SPIEL CA. WHITE —G.D. Blake's Latest Songs Still at the Head! His Latest and Most dost Popular | ost Popular Selling Songs. BIRDS IN DREAMLAND SLEEP sigalg BRILLIANT CONCERT WALTZ SONG. GOING LIKE WILDFIRE! Sure to Outsell any of his other Waltz Songs. PRICE 7§ CENTS. enter Hide and Seek. mick 75 cars WORDS BY EARL MARBLE. i oe OLD a LU RARE Y: For Bass or Baritone. From the Opera of ‘‘ Nora.’’ PRICE 60 CENTS. Waltz Song. Dedicated to Julia Wilson. Sung by her with great success RICK 50 CENTS. PRICE 40 CENTS. Come Buy My Flowers. Sung with great success by Annie Pixiey. W AITING MID THE PAN SLES. PRICK 75 CENTS. - SONG AND CHGRUS. When the Snow pecs to Fall. ano io G@QOD-BY, ‘RANCT JANE. MY COVE. es" A ROVER. PLANTATION SONG AND CHORUS. A brilliant waltz song, one of the most popular. PRICE 40 CEXTS. RICK 75 CENTS. The Huntsman’s Horn. LOVE WILL ROLL THE CLOUDS AWAY. A stirring and brilliant waltz song. PRICE 65 CENTS. WORDS BY EARL MARBLE. The Moon is Brightly Beaming, A Quartette. Mixed voices Ab. Male voices Bb, We Never Speak as We Pass By PRICE 40 CENTS, PRICE 40 CENTS. _ Song and chorus. Very taking air. Medley Quartette No. 3. Te a For Mixed and Male Voices. PRICE 7§ CENTS. THE OLD FERRYMAN. es We Speak as We Pass By. Song for Alto or Bass. A grand melody. Companion to ‘‘ We Never Speak as We Pass By.”’ RICK 40 CENTS. When the Ses begin to Pall. One of the most beautiful songs of the day. Immensely popular. PRICE 35 CENTS. Flowers of the Springtime. DUETT FOR SOPRANO AND ALTO. WORDS BY............ EARL MARBLE. CE 75 CENTS, A Bird aa o’er the Sea. Full of beautiful pathos. Sung everywhere. PRICE 75 CENTS, | foie RECONCILIATION: A Duett for Tenor and Bass or Soprano and Alto. Tih PRETTY ROLLER SKATER. Song and refrain. Worps py Russ GEoRGE.

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aoe we SICAL JOURNAL OF AMERICA. THE GREAT ILLUSTRATED MU WHITE, SMITH &CO.MUSIC PUBLISHERS. & LITHOGRAPHERS, BOSTON & CHICAGO.

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FOLIO. VoLtume XXIV. BOSTON, NOVEMBER, 1883. NuMBER 5). ALL ARTICLES {IN THE FOLIO ARE ORIGINAL, AND WERE WRITTEN EXPRESSLY FOR ITS PAGES EXCEPT WHERE THE CONTRARY IS STATED IN ESPECIAL CASES. OCTOBER. : October, welcome! fairest month of all, — In color, cousin to the rosy June ; More virile-tinted, though a sad-voiced rune Of melody scarce hinted at will fall Anon upon the ear, as though to call The Winter, piping his north airs in tune To sing sad dirges for the dead leaves strewn Upon the earth already like a pall, — Thy airs are brisk: the vigor that they lend To blood and nerves exhilarates the soul, And gives it larger views of life and love; In turn exhaled, with other souls to blend, Enlarging life as we approach its goal, And enter that in fairer worlds above. — Earl Marble, in Youth's Companion. Se CY Se eee HENRY IRVING. Our lithograph picture this month is of Henry Irving, who has just land - ed on American soil, and who is today the greatest as well as the most- talked-about actor on the English stage. It is seldom that the greatest is the most talked about. When it is the case, there have been exceptional influences at ~york. Lord Coleridge, who has been brought into prominence lately as an English tourist in America, and who presided at the famous London Fourth-of-July dinner tendered to Mr. Irving, honored by the at- tendance of such representative men as James Russell Lowell, Lord Henry Lenox, Alma Tadema, Prof. Tyndall, Sims Reeves, F. C. Burnand, William Black, Rev. H. White, James Albery, F. H. Cowen, and others, paid Mr. Irving great compliments on the occasion, concluding his address as follows: ‘¢A master of music — Mozart or Beethoven — is dead and dumb without artists to interpret him, and so a dramatist, be he ever so great, is half dead and altogether dumb, if we cannot supply an actor to breathe life into the creations of his brain, and to make him live and walk across thestage. Mr. Irving is the friend of this great company. To us he is the last, because we are the last. Weshall have successors, and so will he; but now he is the last of a list of great names— Quin, Betterton, Garrick, Kean, the Kem- bles, Young, Macready. And what is true of actors is, of course, true of actresses, too. England has a roll of great actresses of which any nation may be proud, and if on this occasion I select from this dream of fair women one image and name, —and that the name of Ellen Terry, — it is not that I forget Mrs. Siddons, or Miss O’Neill, or Mrs. Glover, or Mrs. Stirling, or many other great women living and passed away, but because Ellen Terry has been associated so closely with many of Mr. Irving’s suc- cesses, and because to her genius — I am sure he would be the first to say — he owes not a little of some of his brightest triumphs. With regard to Mr. Irving himself, as far as the example and influence of one man can do it, he has done much to purify and exalt the dramatic art. Ido not mean to say that in this particular matter Mr. Irving has stood alone, —it would be un- just and ungenerous to say so, — but the whole tone and atmosphere of the theatre where Mr. Irving’s influence has predominated, has been uniformly high and pure. In conclusion I would say that as America sent Booth to us so we send Irving to America; and as-Irving and England received Booth with open arms, so I am convinced will that great and generous country receive our first-rate and admirable actor. At all events, we tell America that we send her of our best, on this her birthday, as a birthday present.’’ Mr. Irving, in his response, said, — ‘The time has long gone by when there was any need to apologize for the actor’s calling. The world can no more exist without the stage than it can without its sister art— music. The stage gives the readiest response to the demand of human nature, to be transported out of itself into the realms of the ideal, not that all our ideals on the stage are realized—-none but the artist knows how immeasurably he may fall short of his aim or his concep- tion, but to have an ideal in art and to strive through one’s life to embody it, may be a passion to the actor as it may be to the poet. Your lordship has spoken most eloquently of my career. Possessed of a generous mind, and a high judicial faculty, your lordship has tonight, I fear, been more generous than judicial. But if I have in any way deserved that commend- ation, I am proud that it was as an aetor I wonit. As the director of a theatre my experience has been short, but as an actor, I have been before the London public for seventeen years; and on one thing I think you will all agree, that no wanager or actor has ever received from that public more generous and ungrudging encouragement and support. Need I say that I am anticipating my visit to America with no ordinary plvasure. It has long been the ambition with English actors to gain the good will of the English- speaking race, a good will which, I am bound to say, is right heartily recip- rocated toward our American fellow-workers, when they gratify us by sujourning here. Your God-speed would alone assure me a hearty welcome in any land, — but I am not going amongst strangers, I am going amongst friends, — 4nd when I, for the first moment, touch American ground, I shall receive many a grip of the hand from men whose friendship I am proud to possess. Concerning our expedition the American people will no doubt exercise an independent judgment, — an old prejudice of theirs, and a habit of long standing, as your lordship has reminded us by the fact that today is the 4th of July, an anniversary rapidly becoming an English institution.”’ Mr. Irving’s Boston appearance will be at the Boston Theatre, on Decem- ber 10, where he will play a fortnight’s engagement. TOOSER’S TROUBLE. Oh! Oh! Oh! Oh! Oh! Oh! Please, Mr. Druggist, I ate some green apples! I’m in such pain! They give me the grapples! I know very well that I had n’t oughter! So please take down your old red mortar, And pound away with your pestle, So with my gripes you can wrestle. If you think it is only a frolic To be doubled up with colic, Why, then, I don’t! Ill never Eat such trash again forever! Put in something warm! Be quick! And pound it as if the Old Nick Was after you as he ’s now after me! There! that is something like it, you see! The gripes are off with a rush! And so I will skip! So am [! Well, I should fly!

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172 rFOL:o. I AM A DUDE. Tam a dude, Only imbued © With a mere sinatter of sense. Though I’m inane, Having no brain, I have a purse that ’s immense. One of those chaps — Editor, p’r’aps — | Who ’s always laughing at dudes, Lost his best girl At Friday’s whirl, When I took my attitudes. It was no go: I mashed her so, That he went home very sick. Who could refuse? Brains may amuse, But a full purse takes the trick. Though I’m a dude, Only imbued With a mere smatter of sense, I rather think I’ve enough chink Just to leave brains in the whence. 2 : AT A BOSTON CLASSICAL CONCERT. We clip the following bit of racy reading, that has also more than 2 hint of solid sense in it, from the new work ‘‘ Up from the Cape,” recently is- sued by Estes & Lauriat:— We went to the Clio-Club concert — husband and I. We were told that this was a very choice club, and that only very choice people were in- vited. That made me feel very choice. It isa very agreeable feeling. Husband was not pleased with this word ‘‘choice’’ that was so freely used about the concert. ‘¢ Tt neither sounds manly, democratic or Amer- ican,” said he. You know what husband is — always talking about things being American. The programme was very choice, so every one said. There was nothing American about th. t as anybody could see. How lovely it was—that programme, all on coffee-colored paper with rough edges! There was one piece called ‘‘ Just like Love,’’ marked ‘‘ Davy Novello,’ that, I thought, would be an old love song; a piano piece was printed under the name of Preeto and Canzona Napolitana, — that, I thought, would be a tune; there was a ballade by Rheinberger, a cantabile by Tschaikowsky, a Venetian barcarolle, a toccata, and a piece called ‘‘ Weinachtspastorale,’’ and a g-and polonaise. There was a March et Cortege from La Reine de Saba, that, I thought, would be a march; a cavatina by Centemesi—I may not pronounce these words all quite right, but every- thing was foreign aid far away. Yousee how much pains had been taken to make it choice. There were several ladies who assisted at the concert. These had double names, though wheth- er they had been married several times, or whether their husbands’ names were only appendages, I did not know. Among them were Mrs. Smith- Scholali and Mrs. Jones-Florence. Their names looked encouraging on the programme. There was a large man with a wide forehead and black hair, that sat next to husband, anda chipper little miss had a seat beside me; both were very entertainin’. The little miss informed me that the programme was very choic>, and said that we were about to enjoy ‘‘a feast of soul.”? I said that as far as I could judge the programme was very promising, and that I thought that piece would be very grand. I pointed to the Weinachts- pastorale piece, and then I whispered to husband not to let on that we had just come up from the Cape. | I was not so very much carried away with the pieces at all. I have enjoyed hearing ‘‘ Be Kind to the Loved Ones at Home,” ‘‘ Ben Bolt,’’ *‘ Old Oaken Bucket,’’ ‘‘ Old Arm-Chair,’’ ‘‘ The Lake of the Dismal Swamp,”’ or the ‘‘ Canadian Boat Song,”’ quite as much as these far-away airs. The organ and piano pieces were ‘‘ wonderful,”’ so the little miss at my side said, but I had a great feeling of relief when they were over; and when I looked around to the clock and see hew fast the time was goin’, they did n’t express anything to me but sound. ‘* Wonderful technique,’’ said the little miss at my side. ‘The arithmetic of music,”’ said I. ‘** How aptly you express it,’’ said she. ** When people want inspiration, help and con- solation, do they go to the arithmetic?”’ said hus- band. . ‘* Tf they are so educated,’’ said the little miss, *¢ they will find pleasure in intellectual music.’’ That was a very unwise remark that husband made — to that pretty girl, too. But you know what Eben is. ; About nine o’clock, when they had been playin’ tw. pianos, and all had entered with a grand flourish and a great bobbin’ and bowin’ and cheer- in’, husband said that he was n’t ‘‘ educated up to it,’ and that we had better go. He said that he was n’t much on figures. I whispered to him to sit still and not show his ignorance; that T could stand it just as lung as the rest could. He seemed very restless for the last hour, husband did, and kept lookin’ round at the clock. I was somewhat disappointed, after expectin’ somuch. If I hada known all about the composers of these pieces, and why they wrote them, and what they were in- tended to signify, and from what works they were |. taken, and all about the arts of construction and composition of music, I would have enjoyed it. It made me feel my ignorance, especially when I noticed how much the little miss appreciated it, and how she clapped her pretty hands with de- light. During the intermission the large man who sat by husband asked him how he enjoyed the con- cert} I gave him a nudge with my elbow, so he answered evasively at first. ‘‘There is no American music on the pro- gramme,’’ said he. ‘Of course not.”’ ‘‘But here are selections of music of most other nations. Have we no American composers?’’ said husband. ‘‘T never heard of any that amounted to any- thing,’ said the large man, good humoredly. ‘‘ There is a strong prejudice against American music. The Clio seldom makes use of American words or music. It is very careful of its reputa- tion; it is a very choice club. I like American art myself.”’ ‘¢But we have an American literature that the world reads; we have young American art clubs; is there no school for the development of Ameri- can music? for the setting of the poetry of Amer- ican life, history and scenery to song? Other na- tions have such clubs and schools, and are proud of their own songs, music and words. Every ——— stream and river, and mountain and valley, has its.song, and the best singers are not ashamed to sing them. Wesing them. Would it not be well to have some of our own?” said husband. **T never heard of such a thing before. It does seem reasonable, as I think of it. It is held to be one of the fine arts here to be as obscure as pos- sible; we seek to use unknown pieces from un- known names, as far as we can. See what a pro- gramme that is, for example. We prefer Italian words to German, and German to English, though old English words will do,” said he. He laughed as though he half agreed with hus- band after all. ** But does the Club never present original com- positions? ”’ “Yes. Herbert once wrote a boat-song on the Volga; it was received with tremendous enthusi- asm.”’ ‘* Was it published?”’ asked husband. 66 Yes.”’ ** Did it sell?” **He sold enough copies to his own pupils to pay for the plates. They all do that.” He laughed again, as though it looked to him rather ridiculous. ‘Would not a song on the Jharles, or Hudson, or Ohio, have been as acceptable? It would, at least, have been American.” ‘* Perhaps so; but the days of ‘ Hail Columbia,’ and the ‘Blue Juniata,’ are gone, and foreign teachers have taught us that the world is the prov- ince of music, and that music is not provincial. Every teacher teaches the music and songs of his own land, — the songs that are most pleasing to him, —it is only natural. The city is full of for- eign music teachers, and each is true to the music and traditions of his own country. These teach- ers are a great help to us; but each teaches his own art.”’ ‘** And so the only people who are untrue to t’e music and traditions of their own country are Americans?’ said husband. **So it would seem. I never knew any one ex- cept a Jenny Lind, Parepa Rosa, or a Nilsson, that even dared to face a Boston audience at a concert like this with an American song. No man ever does. America is new. Yankee Doodleism is dead. Even the old Handel and Haydn Society has gone by. Why, some of these young men even laugh at Handel himself.” ** Are you acquainted with the members of the Club?” said husband. 66 Yes.” * Who is the first one to the right? ”’ ** Hobbs,”’ ‘* What is he? ”’ “A clerk.”’ ** Where was he educated? ”’ ** He came up from the Cape.” ‘* Who is the next one?” ‘Now, this is too bad; if you go to analyzing the Club in that way you will ruin its reputation. The Club takes its tone and character wholly from its teachers, just like organ-pipes that respond to another’s touch.”’ **T see.” *‘ They just sing.’’ ** Would n’t a school for the purpose of the de- velopment of American music be a good thing for Boston? ” **T think it would.”’ ** Democratic — utilitarian — founded. on the principles of Jeremy Bentham and John Stuart

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Mill, — that that is best that benefits the greatest number; a school in which musical artists should retain their own names and not be ashamed of them. Artists in other nations do this. A school that should sing American words under American titles; a school that should estimate music as an influence as well as an art.” “‘T am somewhat a utilitarian. I believe, with Mill, that the greatest happiness of the greatest number should be the aim and end of all institu- tions. You see how that would apply to music. That would be the best music that would be most helpful and do the most good. [ think we need a school like that. Germany has such schools.” Now what do you think? As soon as husband said ‘John Stuart Mill,” that little minx looked up to me and said, — “What a lovely man your husband is —I think he is just lovely. women.”’ I told husband that as we were goin’ home. We both said that that would make the recollection of the evening very pleasant, and when we got home, and Jefferson asked Uncle how he liked the concert, he just answered, — “It was lovely. We had good seats.” After all that he had said, teo. Neen, a JOACHIM’S FIRST TRIUMPH. The great violinist, Joseph Joachim, was born on the 15th of July, 1831, near Pressburg, Hun- gary. In 1840 he was put under the instruction of Joseph Boehm, Professor at the Vienna Conser- vatory. Boehm, himself, was the best and favor- ite pupil of Pierre Rode, and inherited his mas- ter’s sweet and noble tone, combined with a purity of intonation that has never been surpassed, and has been acknowledged by ali artists and connois- seurs who ever had the pleasure to hear him in his palmy days. Even the great violin wizard, Paganini, more than once admired Mr. Boehm’s pure and noble playing. Under his kind and care- ful training, the young genius of Joachim soon began to unfold its wings, and in less than three years had mastered all the difficulties of his in- strument, and stood head and shoulder above his fellow-pupils. Withal he was then, as he is now, molest, unassuming, kind to everybody, though he well knew his own powers as an artist. To- ward the close of his course of studies at the Conservatory, during the season of 1842-43, Hen- ry Vieuxtemps was concertizing in Vienna, and played there, for the first time, his Concerto in E. Score parts and solos were all as yet in manuscript. The master’s playing, and the grandeur of the composition, electrified the audience. Amongst the most enthusiastic hearers were young Joa- chim and his fellow-student, Gruenwald, who for a number of years has been professor of the vio- lin at Kullak’s, in Berlin. Going home together, they spoke about Vieuxtemps playing, and the merits of the composition. ‘What a staccato,” exclaimed Gruenwald, ‘Cand what a tone, and how clear and majestic his playing was.”’ ‘Yes, and everything else,” Joachim added, thoughtfully. ‘Yes, and look at the difficulties with which it bristles; there is none here that could play such a Concerto; not Boehm nor Mayseder.” ‘‘ Look here,’’ interrupted young Joachim, “‘do you know, Adolph, that I was just thinking to play this Concerto at our great farewell concert at Mill was suck a friend to Fut: 2173 the Conservatory, three weeks hence, which, as you know, will close our student career here in Vienna.”’ “Why, Joseph,’ exclaimed Gruenwald, ‘‘I know you are an extraordinary performer, but I am afraid you undertake too much, and, besides, you have no copy; the composition is as yet not in print.” ‘Never mind that; promise me to keep a se- cret, Adolph, will you? Professor Boehm has asked me time and again what I would play at our last concert, and [ told him that I had not made up my mind as to that, and [ had n’t, either. But now [I have. Nevertheless, I shall not tell him the title, and I want you, dear Adolph, to keep it a secret. Will you?”’ **Certainly,’’ replied his young friend; ‘‘ but why do you not want to tell Professor Boehm about it?”’ ** He would only lauch at me, just as you have done.’’ ** But how will you get the manuscript? ”’ “Well”? (Adolph and Joachim stood still), ‘I must ask him for it, and, though he may think me bold, I shall have to ask him for it. But then, ; you know, true artists are all kind to young disciples.”’ This was on Saturday shes and on Sunday morning at about half-past eleven the two boys in- quired at Vieuxtemps’ Hotel whether the master was in. *“QOh, yes; do you not hear him play? ”’ So up they went to the Bel-Etage, and presently found themselves before the door of the Belgian master’s room. When he stopped playing, little Joseph knocked gently. Vieuxtemps spoke the German beautifully), and in went our young hero and his young friend, with beating hearts, to be sure, but not undaunted, to attain their purpose and get the manuscript. Vieuxtemvs kindly asked their wishes, and was not a little taken aback when told the purpose of their coming. Said the master, — ‘‘My dear boy, you astonish me with your re- quast, still I say neither yes nor no; but here is my instrument, play something for me.” Young Joachim took the fine violin out of the artist’s hands, and played quite to the satisfaction of the attentive master. ‘* And now a little playing by sight.’’ With these words Vieuxtemps conducted his young acquaintance to a music-stand, and placed on it the coveted solo part of the manuscript. The end was, that Joachim got his manuscript and the promise of Vieuxtemps to be present at the concert and not to divulge his secret to Joachim’s Professor. 3 For three weeks Joachim practiced ten to twelve hours his Concerto. To Professor Boehm he would say, that two days before the concert, at the rehearsal, he would bring his selection along. Of course the whole conservatory were on the tiptoe of expectation as young Gruenwald, though he did not break his promise, yet gave his friends to understand that Joachim would eclipse all his former efforts, and would also play something quite new, a manuscript composition. When, on the day of the rehearsal, Joseph Joachim’s name was called, and he brought to Joseph Boehm Vieuxtemps’ celebrated new Concerto, of which ' he said he would play the Adagio and Finale, the astonishment of his master knew no bounds. Looking over and over the leaves and then on his pupil, he said, — ‘*Komm herein” {for | SR TS RG SEEM TT ET AOR PIPE MEL BT SITS RT RATROE RS LRT P PE TAT | IF SINT LURES R GERI NGIER AEE Tinlr” ASB ATA apes ace ge isk Papa ea 7) NNN ATT tt tet tt tte ttt Nt tnt tite ttn nt ~— ‘* Well, well, my dear son, I doubt whether you can grapple with these difficulties, still we shall see,’’ With this he gave out the instrumental parts, and it went out through the whole number of fellow-pupils like wildfire that Joachim was going to play Vieuxtemps’ new Concerto. And he did play it so successfully that his listen- ers carried his fame all over Vienna, and that in consequence two days afterwards at the time of the concert, Emperor Ferdinand and his court, the elite of nobility and art and all connoisseurs of music, were assembled vo hear our young artist. “Well,” said his friend Gruenwald, twenty years afterward, to me, ‘‘ you ought to have heard the playing of Joachim. It proved him to be a master of the first oruer. But you ought to also have heard the applause. Time and again he had to come out and bow. When at last a young man was seen rushing on the strge, ‘ Vieuxtemps! Vieuxtemps!’ went from mouth to mouth: Quickly he was seen to embrace my friend, and his tall frame bent over Joseph, and he kissed him before the large audience. But such an uproar; such a ‘bravo, bravissimo!’ such shedding of artists’ tears; Vieuxtemps, Joachim, Boehm, and we all were bathed in tears. Yes, yes, this was Joachim’s first great triumph, and made him a name all over Europe.”’ Many and innumerable have been his successes since 1845. World-renowned has he become asa composer and a violinist, yet sweetest of all he considers “his first triumph.’’ — ¥F. F. Veling, in American Art Journal. OO CHOPIN’S NERVES. Chopin’s nerves were over-excitable when he was a child; whenever he heard music he was im- pressed by it to such a degree that he usually burst out crying. But he overcame, to a great ex- tent, this weak organization at a comparatively early age, and studied so successfully that when nine years old he already made his debut in a con- cert. His mother, anxious to adorn her pet be- fore all, put him on a chair to see if there was any flaw in his appearance, and rendered him espe- cially happy by adding to the charms of a little velvet coat a lacecollar. After the concert, where he was very much applauded, his mother asked him what the public liked best. *“‘O mamma!’ he said, ‘I certainly believe it was my collar.”’ The success of this concert launched him in- stantly into aristocratic circles, which contributed much to give him the refinement and the delicate taste that made him all his life keep aloof from everything common or vulgar. It so happened that Chopin accidentally struck a chord of rather distant intervals which required a bigger hand than his to span at once. In order to ehable him- self to do this, he invented, just as Schumann did, a contrivance with which to stretch his fingers, and not only did he often employ such chords, but he wrote a study»on purpose for such arpeggiati chords of considerable stretch. It was fortunate that Chopin was put under a master (Elsner) who, although a very learned man, was liberal enough, when some scholar drew his attention to the unu- sual work of Chopin, to reply, ‘ Let him alone; he does not tread in the beaten track, because he finds one of his own. He will, if left to himself, produce works for the piano of an originality un- precedented to this day. ” __ Temple Bar.

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174 ic oe 8 Ele © PAG). Music, DRAMA, ART, LITERATUR. EARL MARBLE, EDITOR. BOSTON, MASS., NOVEMBER, 1883. **RicHARD III.” will be given as a special Sat- urday-night bill on November 3, with a strong cast, at the Boston Museum, ETE iike SAT tne ie eo scree ae ‘‘PEDRO” is the title of a comic opera to be produced in Philadelphia. Come, come, Pidgin! why don’t you shake that copy-right in their faces? i ANNA Dickinson, as Hamlet, is said to have provoked a ‘‘great deal of curious criticism in the Western towns.’? And why not? Curious per- sonation, curious criticism. RO AIS ce REE a CON VIRGINIA Evans, late of Virginia, made her debut in ‘‘ Virginia’? (but this is not a funny item), as Mrs. Cowslip, recently, and her success was remarkable for an amateur. She sang well and acted cleverly. ea SS RNa ea se cet Be aa “A, A. M.”’ has written some ‘‘ poetry,’’ which is printed in the Saturday Evening Gazette, where- in ‘‘ma’”’ and ‘‘bar,”’ ‘‘four’’? and ‘“‘ law,’’ and ‘occasion’? and ‘‘ Caucasian’’ are paired of as rhymes. Is this indeed Boston? pa a a ee ee ee ‘* LORD COLERIDGE Will spend his time in Phil- adelphia quietly,’? says the Philadelphia News. Well, Lord Coleridge understands the country pretty well. There is no better place than Phila- delphia for a man to go when he wishes to be quiet. — ‘‘ VIRGINIA,’ spite of the clever lines added to its libretto by J. Cheever Gocdwin, and the excel- lent presentation it had at the Bijou Theatre, can- not be said to have achieved a success. There is a long distance between Gilbert and Sullivan and Stephens and Solomon. LTS Ry hae mM a Ma De Tue EDITOR OF THE FOLIO has allowed him- self to be persuaded to deliver a lecture on ‘‘ Mar- bles,’”’? cn October 25, in the course being given in the Broadway Universalist Church. If he escapes with life and limb intact, he will receive the con- gratulations or condolences of his friends on Octo- ber 26. ise aap oer alpeie le nidipoactaclageis J. H. Wiaein, the Boston correspondent of the American Art Journal, writes the most inter- esting musical letters sent from Boston to any journal published elsewhere. His criticisms are made without the stings of sarcasm or malice, and his fund of good nature and story-telling is never drawn upon in vain. ee A JOURNAL of Cordova, South America, an- nounces that “in the theatre the company Cap- pelli will produce the new opera ‘Lucia,’ by Maes- tro Lamermoor.’’ This should go with the an- nouncement of another journal of South Ameri- ca which last year announced that the military band of the place had ‘‘augmented its repertorio with a potpourri by the noted composer, Semira- mide.’’ _——— THt WYNDHAM CoMEDY COMPANY have just entered on a six-weeks’ engagement at the Bijou Theatre, probably the only times during the sea- son when comedy will be seen at this house. And such comedy! It is perfect in its way, the dainti- est work being presented in a painstaking but delicate and artistic style. ‘* Fourteen Days’’ and ‘‘Ruth’s Romance” have already been given, and other favorites will follow. a aa healt ear Mr. AND Mrs. W. J. FLORENCE will be seen at the Park Theatre, early in November, in “Facts, or his Little Hatchet,’’ which title is whimsical enough, in addition to the great reputa- tion of the principals in it, to afford a pleasant evening’s amusement. It is from the pens of George H. Jessup and William Gill. The piece has made a favorable impression elsewhere. SLSR ELAS BR ORO STO “Young Mrs. WintHRoP,”? which has been running for nearly a year at the Madison-Square Theatre, in New York, is crowding the Park The- atre nightly here. It is a play that appeals strong- ly to the masses, as did ‘‘ The Banker’s Daugh- ter,’ and, being by the same author, it could hardly fail to please, especially as its lesson to those having an imaginary skeleton in the house is a good one. —_— Oo “WARRANTED,” which has been the attraction at the Boston Museum for the past three weeks, made an immediate hit with lovers of genuine fun, and was only withdrawn to make room for other novelties. ‘* Warranted’”’ will be put on the road immediately, where its success will be immense. Mr. Field, who owns the right for the United States and Canada, has arranged to have it given in New York soon. a ree i ee a reed ANOTHER ‘‘ PINAFORE’’ CRAZE seems to be the next sensation. Though this time it is ‘‘ The Beggar Student.’’ Its presentation at the Bijou Theatre will follow the engagement of the Wynd- ham company. Manager Hastings made his re- cent trip to Europe especially to see its presenta- tion in Berlin. Its music is bright, melodious, and catchy, and yet is of no clap-trap order. A synopsis of its plot and incidents is given else- where. i Epwin Booru will begin his first engagement in Boston for some years at the Globe Theatre on November 5, which will last for two weeks, and during which he will be seen in his best roles. His welcome back will be a strong one, which will receive not only the added impulse of his great German triumphs last season, but the other fact that he has become a citizen of Boston. His career has been one worthy of the crowning tri- umph he will make on this occasion. hE ORIEL EDO “SNe ES ‘“WuAT isin aname?’’ Some of the changes of names on the stage are funny enough. We see it stated that the real name cf George Clarke is Peter O’Neil, and that he formerly was assist- ant janitor in a bank. Another popular profes- sional thought that O’Neil’s meat was his poison, and so he changed his name from Clarke to Signor Brocolini. What a funny world this is, to be sure! But how much funnier it would be if every man had his uwn little say in making it ever! o SAKE aR ese 2 re. OES Ee THE OCTOBER EDITION OF THE FOLIO is in danger of being exhausted, owing to the great de- mand occasioned by our offer to send free the three closing numbers of 1883 to all subscribers to the Fouio for 1884. We still keep the offer stand- = | great deal to Mr. ing, however, with the proviso that if the edition does not hold out we will send one of the previous numbers, with the November and December issue, free to all subscribing to the Foxio for next year before the January number is issued. Send in the names at once. 3 EES Tana SC TEN eee SI Otro SutTro, the president of the Oratorio Society of Baltimore, called on us during a recent visit to Boston, and expressed himself as greatly pleased with White, Smith & Company’s large establishment, their method of procedure, the results, and the great success of the Fotio. We can sineere:y and heartily return all his compli- ments. The art of music in Baltimore owes a Sutro’s cultivated taste, his thorough business energy, and his honest and gen- tlemanly methods. EE SERN NOP SOD ys LE Rae ‘“‘In THE RANKS, or A Soldier’s Wife,” will follow ‘‘ Engaged’’ at the Boston Museum, hav- ing its first representation November 5. Itis from the pens of George R. Sims and Henry Pettit, known as authors of ‘‘ Lights o’ London,’’ ‘*‘ The World,’”’ and others. This presentation will be coincident with its first London aud New-York production, and the scenery will be from models of that used in the London Adelphi, furnished by the authors. The Museum production, in scenery, cast, and other particulars, will equal if not sur- pass that of London. ooo JOHN STETSON has just organized a new com- pany, with Sara Jewett at its head, which he calls his ‘Pique’? Company, and which will appear during the season in ‘‘ Pique,’’ ‘*‘ Divorce,’’ and other popular attractions. Clement Bainbridge, Harry Brown, Annie Russell (who made such a hit as Esmeralda in the Madison Square Com- pany), Georgia Tyler, and others well known in Boston, are members of the company, which will be playing at the Globe Theatre when this issue of the Fou1o appears. This is a very strong, well- balanced company, aud cannot fail to make a great success under Mr. Stetson’s vigorous man- agement. OO ‘* JALMA”’ isa success What else can be said? Though the critical may not be able to say ‘‘ the play ’s the thing,’’ they can go into raptures over the spectacular and the musical features, especial- ly when they both culminate in such fine ballet action. In these latter features, we do not recall so brilliant an affair during the present generation. The dancing is graceful, not only of the two prin- cipals, but of the four secondas, who are quite worthy to be ranked as premieres, while the entire corps is pretty and vivacious, The dramatic part is rendered in a strong and an effective manner by the excellent stock company of this theatre. ‘*Standing room only’’ is the legend displayed nightly, and the spectacle will run until Henry Irving’s engagement begins early in December. Sg Dae ON iith ow Mes Reka Paar: ‘¢ PINAFORE,’’ we learn from a facetious notice in the Philadelphia Progress, is to be given by the church choirs of Lancaster, Pa., on Thanksgiving evening. ‘‘A comic opera is not strictly a part of Thanksgiving services,’ says Progress ; ‘‘ but for all we know here, there may be a religious vein running through this ‘ Pinafore.’’’ Possibly our readers may remember a humorous sketch by F. M. Bronson of Providence, which appeared in the Foxiio a few months ago, in which ‘‘ He is an Englishman” was extolled for its strong religious feeling. If the Lancaster ministers “kick”

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poses. z a * ww _ against ‘“ Pinafore,” as several foolish Cambridge ministers have- against ‘*‘The Musketeers,’’ as - chronicied on another page, copies of Mr. Bron- son’ s article might be used for enlightening pur- SS) ” “A VARIETY SHOW gone mad, with many things that are wearisome and depressing in the _ performance,” is the way that London Figaro re- ; fers to the stupid fanfarronade of ‘‘ A Bunch of Keys.” ——————— —___.__._.¢. Wuar is the secret of success? Boston man- agers have said frequently that they could not take the risk of producing anything here without it had made a European or New: York success. “The Queen’s Lice Handkerchief’? has had a very decided success both in Europe and New York, having had long runs and large houses. At the Globe Theatre it was given by a superb com- pany, — that of Manager McCaull’s, — and did not succeed. The people who came were enthusiastic at the tuneful opera, the fine acting, the beautiful singing, the pretty costumes, and the brilliant set- tings; but the success was not pronounced. Can any one divine the reason? Usually too much attention is paid to the incident of foreign success, but evidently not in this instance. Its only par- tial success is no credit to Boston audiences or Boston criuicism. —————_ 2 ‘* ENGAGED,”’ in some respects the masterpiece of William S. Gilbert, will be on the stage of the Boston Museum when this issue of the Fouto ap- |- pears; but it is quite safe to say that it will bea success with such a company in such a cast as the following: — ; Cheviot Hill, a young man of property...... George W. Wilson. RN MI MORNIN fs Soa WA 55 sic dX eke wa ve as i J. B. Mason. eee EE COLETTE. LEP S POT eee eee A fred Hudson. Angus Macalister, a Lowland Peasant lad..... George R. Parks. SEE MAGA IECUGEY THE ART OF ACCOMPANYING. ‘*To accompany well, you must not only bea good musician, but you must be mesmeric, sym- pathetic, intuitive. You must know what I want before 1 tell you; you must feel which way my spirit sets, for the motions of the soul are swi*t as an angel's flight. What! When I had given three bars thus, you coald not guess that I should hurry the fourth, and droop with a melodious sigh upon the fifth! You dare to strike in at the end of a note which my intentions would have stretched out into at least another semibreve. You are untrue to the rhythm of my soul! Your finishing lessons in music can do nothing for you. Your case is hopeless. You have not music enough in you to know that you are a failure. ‘* But you may be even a good musician, and yet not be able to aécompany. If you cannot, be ee Ce ee eee ee 175 passive for a while; you are of no use to me, You want to take the initiative; you think you know best; you want to impose your ‘ reading’ upon me! What! you wiil dare do this when I am the soloist or the singer? You are profession- al, and I am but an amateur. No matter; if I know not best, that is my affair, for better for worse, you will have to follow me or you will mar me. ‘Ihe art of accompanying lies in a willing self-immolation An excess of sensibility, but a a passive excess. Yet must your collaboration be strong. You must not desert me or fail me in the moment of my need or expectancy. You must cover me with thunder, yon must buoy me up; you must be still anon, and wait and dream with my spirit; every mood of mine must be thine as soon as it is mine; and when all is finished my soul shall bless thee, and thou, too, shalt feel a deep content.”’ —_—____ CHICAGO MELANGE. OCTOBER 10, 1883. The music season of 1883-4 is now well under way. All of the choral societies have begun re- hearsals — the Apollo, Beethoven, and Mozart — with a fair outlook for good work and first-class concerts. Rehearsals have also begun for the next May musical iestival. The Weber Music Hall is already a lively mu- sical centre. Most of the piano recitals, soirees, and musicales are held there, especially if given by the score or so of music teachers who have their studies in the building over which Messrs. Curtis and Muyor preside. Wabash Avenue is fast becoming a business street, especially for the book and music trade. S. G. Pratt gave his piano recital of the season in Weber Music Hall, assisted py Medora Henson, vocalist, and Flora Colby, one of his advanced pu- pils. W.S. B. Mathews opened at the same place October 9, assisted by May Phoenix, contralto; his most conspicuous pupil, Lydia 8. Harris (who soon goes to California), and D. E. Crozier. in addition to the Four C.’s Opera Company, and the Chicago Ideal Opera Company, we are to have the Chicago English Opera Company with Mr. Leis- gary as director, and Mr. Broderick as manager. At the monthly entertainment of the Caledo- nian (Scotch) Society, October 5, in Hershey Music Hall, Ida Mae Pryce of lowa City, Lowa, sang several Scotch ballads with marked success and great acceptance. The Duff (English-Italian) Opera Company closed a two weeks’ season at the Grand, October 6. The repertoire consisted of ‘ Heart and Hand,” ‘‘ Patience,’’ ‘* Faust,’’ and ‘* Lakme.’’ The first was well done, the second fairly, the third only tolerably (‘‘ Faust”? with Faust left out), and the fourth was—rehearsed. Mr. Duff has some good material in his company, notably, Emma Juch, prima donna; Marie Conron, sopra- no; Sara Barton, contralto; George Sweet, bari- tone; J. H. Ryley, -buffo and ‘‘ talkist’’; and Sig- nor Campobello, basso. Miss Juch has both his- trionic and cultured ability, both as a vocalist and actress, This lady was born in Vienna at less than a year old |We should smile! — Ed. Fo.to.] and came to this country, which has been her home ever since. Her principal instruction was received from her father. Her Marguerite and Lakme were highly creditable. Miss Barton was, like others of the company, afflicted with a cold, but appeared when announced, and with much credit. She has a full, strong "voice, which was cultivated under the tuition of some of the best masters of Italy, for several years. She appeared with flattering success with Mme. Zucchi, in Italian opera in Florence, Italy, in 1875-6. Cam- pobello is a good basso, — manly and dignified, — and a star in the company, while Mr. Sweet is probably the best native baritone. The patronage was large during the two weeks. L. A. Phelps, tenor, has joined the company for a short time, to try his hand in ‘‘ Faust”? and ‘* Lakine’’; as Gerald in the lacter. Rob. Morris, LL. D., of Kentucky, the famous Masonic leciurer and traveler, as well as historian and poet, is spending the winter in Chicago, and lecturing before the craft in their lodge-rooms, His fund of information is almost unlimited. His recent work on William Morgan is of special interest, alike to the profane and the frater. It settles a long uisputed and mooted question. H. S. PERKINS. :

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176 Pe -t+ ©). THE ROUND TABLE. Spring has a great deal to answer for. It makes one feel frisky. It often makes a very common- place person imagine himself or herself to be a poet. But spring is not to blame. I do not know who or what is to blame; but it is not spring, and we should not fai} to rémember that fact. Why I write thus is because I have received the follow- ing ‘‘ poem ”’ (sic.), —no, not sick poem, — which I hasten to give the readers of the FoLio, with the assurance that its author, Mrs. H. M. D——, could. do worse—but not much—if she tried. The spelling and punctuation are the author’s own _ peculiarities. Summer is comeing. The birds are all singing. The grass and and the flowers. To new life are springing, The bee and the Butterfly Are both on the wing To welcome the sweets That summer will bring The hill tops and valleys with verdure are green while The bright sparkling brooklets Go dancing betwen O weleome to summer thrice Welcome again From the bill tops and valleys The Welcome proclaim, All nature speaks Her language is her own She speaks with voices low and sweet She speaks in thunder tones Not only is the individuality very strong, but the reader can hardly fail to observe how beauti- fully, not to say grandly, the climax is reached, and how fitfully the red fire closes the scene. * * % Head-Usher Onthank of the Boston 'Fheatre continues his dreadful puns on the slightest provo- cation. A few evenings ago, there came a lull be- tween his oft-repeated ‘‘ Next double door to the right”? and ‘‘Next double door to the left” (which phrases I understand he intends having stereotyped), and he whispered in my ear, as I stood in the lobby, with my face to a window, watching the entree of the ballet, — ‘‘I say,”’ said he, ‘‘¢an you tell me why the ballet is always such a sparkling, brilliant affair? ”’ I shook my head. ‘‘ Because it ’s Mumm,” he said, as he slid away to send another late comer to the ‘‘ Next double door to the right.”’ oh ® And, speaking of the Boston Theatre, I am re- minded of what came very near being a capital joke on William Redmund, the popular leading man of that house. It occurred—or came near occurring —in the play of ‘‘ Pluck” last season. It will be remembered that he occupies the stage at the time of the great railroad collision. The ears, that look so terrible to the audience, are very light affairs, and the slightest touch would stop their movement. One night, as Mr. Red- mund stood waiting for the smash-up— that he séemed powerless to prevent —to occur, one of the. trains threatened to go too far, and, as it passed him, he lifted his foot to stop it, but, like a flash, the intelligence of how ludicrous such a scene would appear came to him, and he desisted just in season to prevent a farcical turn to a tragedy. . * * % The following letter speaks for‘itself: — EARL MARBLE, EsQ., EDITOR THE FOLIO, — In the October number of the FoLio appears the following editorial paragraph: — ‘*George T. seems to be Bulling the market in teaching harmony by mail, since he could not bear it awhile ago. This is a joke, and each reader will find that it contains just as much or as little truth as will suit his own ideas.” I feel it necessary to offer a word or two of ex- planation to those readers of the FoLiIo who may not fully understand the paragraph above quoted. First, the specialty which I follow in my pro- fession in New York City is the Science of Vocal- ization and the Art of Singing, and not musical Theory. Ido all in my power to protect this spe- cial vocal branch from the damaging effects of the innumerable quacks and pretenders who assume to teach voice culture. I thus not only help the legitimate members of the profession, but also aid myself. Some time ago I started out, in an apparently roundabout way, to attempt to prove to the mu- sical public that piano and voice could not be taught by mail, but that, to a great extent, har- mony could. I practically and extensively tested the matter, for I knew that if I did not do this, I would not be in position to speak authoritatively on the subject. The sequel proved that I succeeded well in what I aimed to do. The leading music journals of this country indorsed my views on the impracti- cability of piano and voice lessons by mai}, and I received the personal thanks of many gentlemen eminent in the vocal and musical professions, for my effort to ‘‘ knock the bottom out” (as one well-known composer expressed it to me) of piano and singing lessons by mail. I formulated a system of harmony and counter- point lessons, feeling the pressing need of a clear and thorough statement of the principles and de- tails of these important branches of musical study. ‘‘ The proof of the pudding is in the eat- ing,’’ and the proof that my lessons in the above branches are effective, is the fact that orai and mail students make solid progress by means of them, and like them. Please understand that I never made any at- tempt at “‘bulling”’ or ‘* bearing’’ the market in harmony by mail. I still hold that oral lessons are better than any mail lessons, but the latter, competently given, are better than none at all. The great need among music students of today, is thorough musical knowledge, such as may be gained from the study of harmony, counterpoint, musical forms, and so forth. Though my specialty is voice training, I saw the need of real musical knowledge among students, and with much study, together with a certain facility for expressing myself clearly in words, I brought common sense to the teaching of theory, I am vain enough to think, and made oral lessons for each pupil, whieh gave good results. I was the first to teach harmony by mail, and am glad to see that many competent musicians have followed me in this work. So long as compe- tent men teach it by mail it will be of general mu- sical benefit. But, the trouble is, the abuse, and not the use of it, which is liable to ensue by scal- awags, attempting to teach it by mail. I counted, in the last number of the London Musical Times, the ecards of eleven prominent and duly qualified musicians advertising lessons in harmony and musical theory by mail. When I started this system afew years ago, I do not re- member of seeing or hearing of a single advertise- ment of this kind anywhere. It may be interest- ing to your readers for me to quote a few of the advertisers just aJluded to. Your readers will un- derstand the titles, though a title is not always a CARS of competency. >. Francis Lloyd, Mus. Bac., Oxon, L. Mus., T. C. F. r. Crow of Ripen Cathedral. W. H. Tutt, Mus. Bac., Contab., L. R. A. M. H. A. Harding, Mus. Doc., Oxon, L. Mus., ZT. C. L., F. C. O. R. Stokoe, Mus. Bac., Cantab., F.C. O. C. Stiebler Cook, A. R. A. M. E. Burritt Lane, 'L. Mus. , T. C. L., Tallis Gold Medalist. 1880. J. Abram, Mus. Doc., Oxon. IT had an unnecessarily slew and laborious Ger- man education in musica] theory. If I could have studied under the comparatively simple and unique manner in which I now present the same subject, I would have been saved a great deal of superfluous worry. Though I have the fullest respect for German musical knowledge, I have an abhorrence for their usually prolix manner by which they attempt to teach that knowledge to others. Very respectfully, GroRGE T. BULLING. Explaining jokes is bad enough, in all con- seience, when they are too dim for self-elucidation ; but pulling out an imaginary sting when it is too sharp is even less desirable as a steady occupation. The item that Mr. Bulling thinks contained a sting was entirely innocent in intent. It was fired off simply for the sake of the two punsinit. In- deed the latter of the two sentences comprised in it was added to prevent any misconception. But, the longer I live, the more I am convinced that the punster is entirely and irremediably bad. He may think he is making innocent jokes, but the adamant of his nature will assert itself. The moral is, don’t pun, and live unknown as well as commonplace. |'This is also a joke. ] In a personal note accompanying the above let- ter, Mr. Bulling says, ‘* Advertising in the music journals will discover their circulation as soon as anything. I have found the Fouio one of the few music journals which have a circulation.” It is pleasant to have this fact discovered in this way. And it is another reason why no injustice, inten- tional or otherwise, should creep into its pages. The bad amateur artist, we are informed, used to label his efforts, ‘‘ This is a rose,’ ‘This is a cow,” and so forth. Possibly the bad punster may be led some day to label his efforts, ‘* This is a joke.””? However, I am not sorry the item ap- peared and was misunderstood, since it afforded me the pleasure of receiving and printing Mr. Bulling’s letter. ———$—$<$<$<$<$§_q This is the way that Puck apostrophizes Mr. Abbey and his opera: — With shows that are new, and that are not shabby, Ifenry E. Abbey, Henry E. Abbey His opera ‘vill run on a novel plan, With Nilsson, Sembrich, and Campanini, Capoul, Del Puente, and Corsini, Valleria, Scalchi, Lablache, Contini, Trebelli, Stagno, Guagagnini, And others who do not end in ini, And thirty-two coryphees from Milan, ‘With Cavalazzi to lead the van. Man, man, man, man! Think, if you can, How you ‘ll feel when you scan Thirty-two coryphees from Milan!

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& ' PAD 4 +2); tay mo.’ Boe gai 6 \ , The water question — ‘‘ Not any in mine.” Charles Dickens’s death-Nell gave him a live fame. An image of the Old Scratch would look well in a niche. The . for putting the : has, gain. — [Boston Star.| ? — ! Paragraphers never play euchre unless the ‘‘little joker” is in the pack. _ “Fugit” is the Latin for ‘‘flies.’”? Few git indeed, unless you give them fly poison. *‘About the cheese’? — when a regiment of soldiers have surrounded a lot of blood-thirsty Apaches. Even after a pair of trousers have become baggy at the knees, the sari contain more corn than they do. The horse prefers to dine at the table @ oat. — | Boston Commercial Bulle- tin.| Yes, it’s stable enough for him. An exchange speaks of ‘‘a new marvel.’’ We did not read the article, but presume Ik Marvel is the father of another boy. By the way, speaking of Rip Van Winkle, has it ever occurred to any one that it was a very natural thing for a ‘‘ Rip’’ to go on a “‘ tear’’? Sophronia: ‘*‘Why is a woman always surprised when a man asks her to be his wife?’’ Well, maybe it is because she is sir prized. Come again! ** How to Act in a Tornado”’’ is the title of an article in a scientific jour- nal. An actor generally acts better in a tornado of applause than in a calm of indifference. **T should n’t think,’’ remarked Bangs, ‘‘ that a full chorus could do very good singing. —[Oil-City Blizzard] Why, cert.! They would sing with a great deal of spirit. Bob Culbreh’s (San Francisco Argus) last and best joke is a fourteen- pound boy. We hope none of the paragraphers will steal it. — | Exchange. | No danger, as it is not a girl. The ballet girls of Paris are on a strike. We thought they could not bare much more. — [Boston Commercial Bulletin.| Ah! they kicked at the small salary instead of the audience. According to an exchange, nearly every scribbler in Boston is writing a comic opera. The most comic thing about the matter is the fact. — [Lowell Courier.| Just wait till you hear some of the operas. John L. Sullivan says there is only one difficulty about his business; his hands are likely to strike at any time. —| Boston Commercial Bulletin.] But John will not be the one to shut up shop when they do. Ada Richmond’s new piece, written by Joaquin Miller, is entitled ‘ Tally Ho.’’ Nota bad name for a stage piece. —| Boston Courier.] | Tne actors ought to get well coached in such a play, and it ought to have a good run. The properties of water are only partially nnderstood by those who have never seen it under very high pressure. — [Chicago Daily Sun.| It must have been a high pressure indeed that forced any into the Sun man’s whiskey. A Frenchman is teaching a dqnkey to talk. What we want in this coun- try isa man who will teach donkeys not to talk. —[Boston Post.| And have no more such bad plays as ‘‘ Gifford’s’ Luck,” ‘‘Cezalia,”’? and “A Bunch of Keys’’? Second the motion! There was a maid with a bouquet, Who thought she was sweetly ou fuet, But the awful coquette A stranger once mette, Who said to her, ‘‘ Sweet, you ’re ou kuet.”’ An exchange says that ‘‘ Old probs,” or his relative in Europe, is now predicting the coming earthquakes. Another one is named for October 15 at Ischia. This Ischiaful news for the inhabitants. —|[Buston Star.| A man who will make such a pun as that deserves to be ranked with Judas Ischiariot. Like chestnut was her wavy hair, Her face was tinted like a rose; But, though her profile was most fair, She had a wart upon her nose. — New-York Journal. Her eyes were bright as midnight stars, And gave the index to her soul; Her form would fascinate a Mars, But cn her csheek che had a mcle. 177 When a hen retires for the night it is quite proper to speak of her as a rooster. — | Rochester Post-Express.| At any rate, she is often next thing to one. I am sorry to say it, —I am most deeply sorry to say it, — but the Ameri- can child everywhere in Europe, so far as I know, is considered a nuisance. — [Chicago Tribune Letter.| But God bless the children, all the same! It will be a cold day for decent folks when pug dogs take their places in the affections of the people. It is a little curious that the postoffice officials have never conceived the idea of utilizing the likenesses of some of the fair citizens of the republic on stamps. Mrs. Pinkham’s picture would look well on a stamp. — [Oil- City Blizzard.| How absurd! When all the stamps are green, blue, brown, and so forth, it would not do to Pink?em. The hotel waiter’s costume still remains the standard for an American man’s full dress. To prevent mistakes at parties, however, the waiter is directed to carry a towel on his arm instead of a young lady. — [Boston Traveller.| It would be funny to see a waiter carry a towel on a young lady. ** All the kisses I have given I grudge From my soul today; And of all I have ever taken I would Wipe the thought away,”’ Sin *s Charlotte F. Bates. Guess Charlotte must have a new lover. the way it usually affects them. That is Maid of Athens, ere we part, Give, oh! give me back my heart. — Lord Byron. Maid of Cincinnati sweet, Hide, oh! hide your wondrous feet. — De Menil, St. Louis Magazine. Maid of Richmond, bright and young, Hold, oh! hold your naughty tongue. — Burton, Richmond Baton. Maid of Baltimore most fair, Where ’s thy equal? where, oh! where? — Baltimore Every Saturday. Maid of Cambridge, sweet annex, Many a student’s head doth vex. — Cambridge Tribune. Maid of Boston old and staid,* Come where Pegisus once neighed. _ * It is Boston, not the maid, that is old and staid. _ Oh >“ A PAGE FROM THE PAST. The private entrance to the old Tremont Theatre still remains on School Street between Burnham’s book-store and the Parker House. It is an en- | trance to the Parker House at present. In the time of the old Tremont there stood here a large wooden structure kept as a hotel by one Grimes, pee known among the Thespian fraternity as the ‘‘ Slaughter House.” Grimes’ Hotel was also at one time kept by H. L. Bascomb, father of the H. L. Bascomb who was a member of the Boston Museum company. Old Geer, the celebrated performer on the “ big fiddle”’ in the Tremont orches- tra under the lead of Ostinelli, boarded there, and had a curious collection of muff-boxes, rings and other articles, which he used to show favored vis- itors to his rooms; so, also, did Beau Mulliken and some other members of the Tremont company. ‘The front portico or stoop and front room of the house used to be a favorite resort of actors and members of the orch stra as a good place for a final sip or a cigar before going into the theatre for their evening’s performance. The writer has seen George Barrett and ‘Bill’? (W. F.) Johnson, 8. D. Johnson (little Sam, the original Dolly Spanker in Boston) there; W. R. Blake, one of the best of Sir Harcourt Courtleys, and the elder Booth; Bob Beatty, who played the clarionette, and who is still living at the age of eighty-three at the Sailors’ Home in Quincy; Ostinelli, who led the orchestra, and whose big head, bald as a billiard ball, was familiar to all Tremont Theatre goers; Dorn, who played the French horn; Jim Kendall, Tom Armour, and old Geer above men- tioned. Muzzey, an excellent delineator of fops, occasionally spent a half - hour there, and Beau Mulliken and Walter Leman, or Mr. Le-Man, asa young newspaper writer of the day used to call him, were among others who put in an appearance at the famous hostelry. In those days, the ‘‘Slaugh- ter House”? and the old ‘Sun Tavern’? kept by W. P. Capewell, in Bat- .terymareh Street, were somewhat noted for the good character of their fluid refreshments. — Curtis Guild, in Bostor, Commerciul Bulletin.

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178 Pt Gt tS. AUTUMN AUGURIES. The fall hath come, and park-seats are Toe chilly for the tramp, And now he seeks the work-house, to Evade the night-air damp. ’T is now that overcoats go out, And summer suits go in The pawn-shop, where our *‘ Uncle”’ adds Up interest with a grin. . The front. yard gates now take a rest, And sofas get new springs, So they will stand the wear and tear That winter always brings. Once more to sanctum comes the po- Et, with his cheek immense, With *‘ Autumn”’ verses, and gets fired Into the Unknown Whence! [Consider me “‘ fired.’’] Jer. JOsLyN. a CHURCH AND THEATRE. This is not the sixteenth century. We say this - advisedly, several ministers in Cambridge to the contrary notwithstanding. Such decided progreat in freedom and intelligence of judgment has been made during the past quarter of a century, thss the course of these ministers is hardly to be cred- ited. We take the following account of t e affair from one of the daily papers, merely remarking, that, the less bigoted the church and the ministry are in such matters, the more of a hold they will retain upon the more intelligent church-goers. ** Quite an excitement has been stirred up over the action of the three most prominent ministers at Cambridge in regard to the Union Hall course of lectures advertised by Messrs. Burditt and North. Rev. George Chadbourne of the Harvard- Street Methodist Church, alluded in a recent ser- mon to the fact that the opera, ‘The Musketeers,’ was to be performed in the Union course. He stated the fact that in company with Mr. Leavitt of the Pilgrim Congregational Church and Rey. W. T. Chase of the First Baptist Church, he had called upon the managers of the course, who de- clined to remove the objectionable opera from their programme. The public was next appealed to by the reverend gentleman from their pulpits on Sunday, advice being given their hearers not to patronize an entertainment tinctured with the least odor of the theatre, a place so baneful, even in Union Hall, to the morals of the young, and to the matured and fixed judgment of their elders. ‘‘Rev. Mr. Chadbourne even went so far as to tell one of his deacons, G. W. C. Fuller, who was under contract as ticket taker for the course, that both of them could not remain in the same church if Mr. Fuller persisted in having anything to do with the course. Mr. Fuller did persist, and awaits the results. Rev. W. T. Chase threatened never to recognize socially a parishioner who ex- pressed the purpose of going to see the opera, and in his Sunday discourse forvid his people, on the pains and penalties of his church, and individual displeasure, from purchasing tickets to the course. ‘“‘ Rev. George R. Leavitt of the Pilgrim Church threatened in his sermon ‘to cast all offenders into that all-consuming pit in which all who do not believe will be burned to a crisp, there not be- ing sufficient left as food for worms.’ “The root of the whole matter is said to be in the fact that Rev. George Chadbourne has been in | the habit of giving a course of lectures in church each year, and this year he proposes to have a course of lectures of his own in his church simi- lar to that of last year, which is alleged to have been a financial failure, due, as he thinks, to the superior attractions of the Union Hall course. The effect of the whole matter has been to stir up in the churches an ill-feeling which may result seriously for the parishes concerned.”’ De EE ee eR ee Sn See eee nant? Grau’s French opera troupe, which has been making a great success at the Fifth-Avenue Thea- tre, is thus referred to by a New-York correspond- ent of the Boston Transcript : — “Tt will be a sad day for Harvard when the French opera arrives in Boston. Were Aimee the only star in the troupe there would not be so much danger that the young men would forsake their books, and pay high premiums for seats in rows A and B, orchestra. But there is another who is by all odds the best artist that I have seen for years on the opera-bouffe stage — Mile. Nixan. She has youth and beauty; and, singularly enough, a good voice. I saw her the other night in ‘ Boccaccio.’ The house was crowded, every seat being taken and scores standing in the rear of the orchestra chairs. It was evident when this new-comer had sung half a dozen notes that she was something more than an actress who depended upon suggest- ive winks and kicks to win the favor of the house. As the opera advanced she proved to be an admir- able singer, with an agreeable mezzo-soprano voice that had been well cultivated, and that was free from most of the faults of the French school. It was indeed refreshing to hear such a young, sweet, full vuice at a French opera, where one has to put up with so much bad singing. In her acting, too, Mile. Nixan surprised her audience. She has all the delicacy, ease and grace of the French, combined with a frank, open, winning manner that is thoroughly charming. Best of all, she does not resort to the vulgar tricks that seem to be the stock in trade of some French actresses, and which appeal to the lowest tastes. The per- formance does not lack in spice, but it is not marked by coarseness. Mr. Grau has certainly secured a treasure in Mlle. Nixan.”’ ee nee wt nea tT Snes Nes Se The venerable Charles R. Thorne, father of the late comedian of the same name, of Edwin Thorne and of Mrs. Emily Chamberlain, was married last week in-San Francisco to the widow of the late James Stark. Mr. Thorne has led a romantic life. He has been on the stage over sixty years, and in his time ‘‘ played many parts.’? As a young man he was a great success, and dramatic records tell the story of his triumphs inthe Bowery, San Fran- cisco, Panama, Australia, China and India. As leading man of the best theatres long ago he sup- ported the great actors of the past. His expe. i- ences ‘‘on the road’’ ran the gamut of fun and frolic, of trouble and disaster, of disappointment and defeat, of wonderful success and great pecun- iary return. He was left for dead once in Pana- ma, was kept captive for three weeks by South Americans, was feted on a stage covered with lumps of gold in Maysville, in the days of ’49, begged his way through the almost impassable fastnesses of Australia, rode in triumph on the back of an elephant, fled, nearly naked, from a gang of miscreants in Sydney, fought the fight of a true Amexican against the prejudices of English colonists, and fathered a family noted, as was their mother, for talent, versatility, and physical beauty. The death of Mrs. Thorne about two years ago was a heavy blow to him, and the utter- ly unexpected death of his son Charles seemed for a time to unnerve him. He went toSan Francisco and again astonishes his friends by marrying the widow of an old comrade. The bride was once well known as the wife of a noted actor, whose performances, when wrapped in the American flag, made him the talk of New York. He was the famous Kirby of the Chatham Theatre. Mrs. Kirby and Mr. Kirby were not happily mated, and the lady in later years became the wife of a popu- lar tragedian named James Stark. He was quite wealthy. Mr. Thorne was once manager of the Boston Theatre on Federal Street. The new Mrs. Thorne’ was a member of the stock company at the new Boston Theatre in its early days, when she played heavy parts under the name of Mrs. Hudson Kirby. — Exchange. > ae eros 1 Viele Tor ine ORES Be PLOT OF “THE BEGGAR STUDENT.” Like all the successful operas of the German stage, the book of ‘*The Beggar Student” is a play of strong dramatic interest, and in Zell’s work the clever interweaving of love and politics gives constant interest to the several scenes. The action of the opera is in Cracow, in Austrian Poland,-the time early in the eighteenth century, when a conspiracy was organized against Frederick August I., surnamed the Mighty King of Poland. The first act takes place in the yard of the public jail previous to and during a visit of the governor upon a tour of inspection. Upon the arrival of the governor it appears that he and his « ffi- cers cherish a feeling of enmity toward a certain countess, whose possessions consist chiefly in two marriageable daughters, one of whom Laura, has especially offended his excellency by a refusal of his hand. In order to avenge themselves, the officers con_ ceive a plan of introducing some nobcdy to the countess, under an assumed title, with a view to engaging the affections of Lau- ra, and thus revenging themselves for the slight put upon them by the haughty but penniless young woman. The jailer 1s con- sulted, and recommends one of his prisoners, Symon, as a worthy subject for the efforts cf the officers. Symon is called, and proves to have been one of two students arrested as beggars, and an offer of liberty and a purse of ten thousand dollars is made him if he will consent to marry within eight days the bride selected for him by the conspirators. Symon accepts upon con- dition that Tan Tanicki, his fellow, shall also be liberated and appointed as his secretary, Symon being given the character of a wealthy and eccentric prince of vast estates by the conspirators. The second scene of the first act takes place during the Cracow autumn fair on the King’s plaza, and during it a meeting is arranged between the newly made prince and the haughty Laura, who quickly falls a victim to the fascinations of Symon in his new role. The sister of Laura is equally interested in Tan, and thus the two love stories of the opera are opened. In the second act, which takes place in the grand hall of the palace of the countess, the preliminaries of the marriage of Laura and Symon occur, with many amusing incidents, which recall the scenes in the ‘‘ Lady of Lyons,’’? Symon having parted with the entire ten thousand dollars with a freedom which estab. lishes his position as the wealthy prince to all but those who have contributed to supply his limited wealth. Symon confesses his duplicity to Laura in a letter, which he confides to the countess to deliver before the ceremony, but which the conspirators suc- ceed in having her retain until after the ceremony, and the finale of the act is attended by all the pomp and dispiay suitable to such nuptials. The third act takes place in the garden of the countess’ palace, and opens with the ejection of Symon upon the discovery of his identity when the letter is read, after the ceremony. In this emergency the real character ard objects of Tan are developed, and it appears that he has hidden his identity as an officer in the army of the duke, who is leading the insurrection against the King, and allowed himself to be arrested in order that he may the more readily carry out his plan for capturing the citadel in which the jail is located. Finding in Symon a daring spirit, he has followed him in his love affairs to utilize the time during which he must wait for a certain two hundred thousand dollars, for which the officer guarding the citadel has offered to surrender it. The working out of the plot of Tan to make the governor himself furnish the means to enable Tan to buy the citade: while the governor is a resident in it, makes the action of the last acy peculiarly interesting, as this is accomplished in a very clever way. Inthe denouement Tan’s identity is made apparent, and the unselfish love of Laura’s sister is rewarded by Tan’s hand and the attendant wealth, while Symon’s difficulties with Laura are removed by his appointment as an officer in repayment for his services in assisting in the dip'omatic actions resulting in the capture of the citadel by the insurgents. The three acts of the opera give opportunities for fine scenic displays, and the second scene of the first act affords a chance for grand spectacular effects and artistic groupings.

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ciel eg WE: iF CHRYSANTHEMUMS vs. ROSES. “When the roses bloom again,” Sang my darling soft and low, As above the ivory keys Waved her small hands to and fro. *“‘ Sweet,” I whispered earnestly, ‘¢ Roses will not bloom till spring. Why should we for roses wait ? Other flowers are blossoming.” Still her fingers swept the chords, Though her cheeks grew rosy red. * Find for me a flower as fair As a rose in June,” she said, “And I ’ll listen to your suit, But,” she laughed, ‘“ you understand, It must be a garden flower.” Joyfully I caught her hand. * What,” I cried in finest scorn, “Care I for the fairest rose While the white chrysanthemum Blooms amid December snows ? E’er tomorrow’s sun goes down, Lady mine, I ‘ll bring to you Flowers more fit to deck a bride Than June roses wet with dew. “ For the roses blossom when All the world is gay with flowers ; While, like love, chrysanthemums Brighten gloomy winter hours.” Flashed a glance of mute surprise ; Then, as drooped my darling’s head, And I clasped her to my heart, “ We ’ll not wait for June,” she said. And while yet the winter snows Glittered on the mountain side, I before the altar stood With my bonnie, winsome bride. And the white chrysanthemums Gleaming in her braided hair, — Ah! the fairest rose of June Never could with them compare. E. V. Witson. SS MADAME SEMBRICH. The New-York correspondent of the Foto recently had a very pleasant interview with Mme. Sembrich at her pleasant apartments in the Windsor Hotel. In physique and personal appearance she reminds him of Mme. Scalchi. She has strongly marked German features, and is very agreeable. Around her handsome reception room are many souvenirs of her artistic career, but what is particularly noticeable are the photographs of her little five-year-old boy, who is at present with his maternal grandmother in Ger- many. Mme. Sembrich’s con\e'sation was a mixture of German and English, which latter language she speaks but fairly, understanding it very well. She spoke in pleasant anticipation of her coming appearance at the Metropolitan Opera House, which she has already visited, and with which she seemed highly delighted. As is well known, Mme. Sembrich is a fine violinist and pianist, and the evidences of her accomplishments are scattered about. Prominent in the room was a magnificent Steinway Piano, an in- strument which would delight the heart of any artist. Her suite of apart- ments is on the first floor, and on the 47th Street side of the hotel, and very near the apartments which Mme. Patti will occupy. She said that she en- joyed them very much, as she was so secluded that her practice could dis- Cae a ee SS hss sss sss sss 179 turb no one. After an interesting conversation on topics principally musi- cal, your correspondent left with the kind adieus of Madame, and the request to visit her again. ee AUXILIARY NOTES. William J. Winch will give several song recitals in Boston during the sea- son, devoting certain evenings to the works of a single composer. Reinhardt Richter, violin, Emil Schenck, violoncello, Bern Boekelman, piano, under the name of the New-York Trio Club, continue their concerts of chamber music this season,*under the management of George W. Colby. John Stetson expects to make thirty thousand dollars this season out of ‘¢Monte Cristo.’ A small estimate judging from the profits during the first week in Boston, the amount taken in during that period being nine thou- sand dollars. Dio Lewis’s Monthly should be read by every woman in the land. Dr. Lewis has no patience with foolish ideas and injurious notions of dress, and he states his ideas and elucidates his theories so well that no one not entire- ly given over to prejudice can read his articles without profit. M’lle Avigliana gave her annual concert at the Prince’s Hall, Picadilly, London, recently, under the patronage of Antoinette Sterling and others. She sang ‘‘ From Mighty Kings,” from ‘‘ Judas Maccabeus,”’ ‘‘ My Dearest Heart,’ by Arthur Sullivan, and other selection, to great acceptance. The Chatterton-Bohrer Concert Company this season consists of Emma S. Howe, the popular American soprano; Frank Ridsdale, baritone, from England; Jarlos Hasselbrink, violin; Nicolai Zedeler, violoncello; Freder- ick G. Richmond, piano and organ; and Mme. Chatterton-Bohrer, harp. Henry E. Abbey, in a recent interview, said, ‘‘I have bought the opera of ‘Lackme,’ by the way, for Mme. Sembrich. I have also bought the music of ‘Hamlet,’ which will be produced for the first time in its original form. Campanini will sing in the title role. It has never been sung as written. Hamlet’s music has always been transposed for baritone.” ‘‘ Zara, the Gypsy,”’ is the title of a new song just composed ha C. A. White, which is destined to be another great success, as it was written especially for Annie Pixley to sing in her play of ‘‘ Zara,’”’ and she has already sung it from manuscript, awakening great enthusiasm. Its title page will be brilliant, being printed in several colors from stone. The Fifth Annual Festival of the Southeastern Massachusetts Musical Association will be held in Music Hall, Taunton, October 31, and Noven. ber 1 and 2, giving four miscellaneous concerts, one oratorio, and four public rehearsals. Carl Zerrahn will be the conductor, and among the soloists will be Mrs. Georg Henschel, Signor Campanari and his wife, Eunice Hum- phrey Allen, Emily Winant, Franz Remmertz, and others. The Boston Star Lecture Course began its ser‘es of entertainments at Tremont Temple on Monday evening, October 15, with a musical entertain- ment comprising Rose Stewart as soprano vocalist, the Hungarian Gypsy Band, and the original Spanish Students. Miss Stewart sang the recitative and polonaise from ‘‘ Mignon ”’ with great brilliance and purity, and Tosti’s ‘**Good-by”’ with genuine feeling and dainty fervor. She gave a lullaby, playing her own accompaniment, in response to an encore, with artistic nicety of touch and expression. The next musical entertainment in the course will be given by the Meiggs Sisters Vocal Quartette on October 29. Robert J. Burdette describes ‘‘the pilgrimage of the funny man” on November 12. Another musical offering will be given on November 19. Georgine von Januschowsky, who lately made such a hit at the Bijou Theatre, we learn from the Herald, who holds the title Baroness of Wysseh- rad, isa native of Austrian Poland, her father being a member of the no- bility and Knight of Wyssehrad. He was an officer in the Austrian army, and upon his retirement assumed the publication and editorial charge of one of the important newspapers of Brunn. After his death, when Geor- gine was about twelve years old, the family moved to Vienna, and in that city she, with two of her sisters, entered upon her professional career upon the stage. Georgin? made her debut at the Theatre au der Wien in Vienna, and subsequently filled engagements in Berlin, Hamburg, Stuttgart, and three years at the noted Stadt ‘heatre in Leipsic, where she alternated with Mme. Geistinger in the principal e~mic opera vols. She created the title roles of ‘‘ Prince Methusalem’’ and ‘‘ Boccaccio,’’ in Leipsic, and subse- quently came to this country as a member of the New-York Germania Theatre Company. Those who have heard her in *‘ Virginia,’’ her first role in English speaking opera, will be surprised to know that she began the study of English only six months ago, and has since then learned the lead- ing roles of the ‘‘ Pirates,’’ ** Patience,’’ ‘‘ Iolanthe,’’? ‘* Heart and Hand,”’ ‘* Olivette,’’ ‘‘ Mascotte,’? ‘‘Prince Methusalem,”’ ‘‘ Virginia,’’? and other operas of this class. |

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180 4 ee Ait Ways ‘ ‘ ~ NSN " NT my ty ty tate ANS ' wh Matas NNN ‘ " Whee vy \\! DR. LOUIS MAAS. Louis Maas, whose portrait we take great pleas- ure in presenting above, has won an enviable place in the regard of lovers of the piano in Bos- ton during the past two or three seasons, which regard, indeed, has spread over the country as ’ well wherever he has been heard. Dr. Maas was boron at Wiesbaden, Germany, June 21, 1852, whence his father immigrated to London soon after his birth, so his early training in many respects is quite as much English as German. Notwithstanding very marked and early indications of musica: genius in the child, his parents were unwilling .that he should enter the musical profession, and kept his attention on his general school studies, with but little time lft for music. At the age of fifteen, however, his genius and inclination showed itself so strongly that his parents withdrew their objections, and he was sent to the Leipsic Conservatoire in 1867. Here his development was very marked, and he soon distinguished himself by the success attending the performance of an overture of his own for orches- tra, and the Beethoven Concerto in Ed at a Con- servatoire concert in the Gewandhaus. His studies at the Conservatoire lasted four years, and during this time he made his public debut at a concert at the Grand Ducal Theatre, at Weimar. The summer m:nths of the three fol- lowing years were spent in study with Liszt, and during the winter seasons he filled concert engage- ments throughout all the principal cities of Ger- many, meeting with great success, especially in — — Leipsic, Dresden, Berlin, Munich and Stuttgard. His reputation as a composer was at this time fully established, and at a matinee given by the well-known violinist, Komple, and associates, at Liszt’s residence, they played a string quartette of his, just finished, of which Liszt was pleased to speak in terns of the very highest praise and delight. In the year 1875 he was called to a professorship at the Leipsic Conservatoire. He was then only twenty-three years of age, and to be invited to fill such a position was an honor never before be- stowed upon so young a musician. He remained at Leipsic as professor of technique and piano- forte-playing for five years, and during this time he made several extensive concert tours; but his time in the main was devoted almost exclusively to teaching. He has had over three hundred pu- pils at Leipsic, many of them Americans, coming from all parts of the United States. Some idea of ‘his ability as a composer may be gained from the following partial list of his larger works: namely, several overtures, a symphony, a suite, a tiiumphal march, a fantasiestuck, and so | forth, for orchestra, a string quartette, songs, violin pieces, three large sonatas, and about thirty miscellaneous works, including a concerto for the pianoforte. Many of the younger generation of artists had made the acquaintance of Mr. Maas in Leipsic, so that when he came to America he was at once received with many honors and much enthusiasm. He was induced to make Boston his appearances in concerts with d'stinguished suc- cess. He was elected conductor of the Boston Philharmonic Society for the season of 1881-82, ana he filled the position in a most creditable manner. During the season some of his own composi- tious were given, and he also appeared as solo pianist. To appear in a single season as conduct- or, pianist and composer in the Boston Philhar- monic Society, is indeed an honor which few receive. It is now nearly three years since h* came to this country, and over two years since he has made Boston his home. During the winter season he has a large class of diligent and enthusiastic pupi‘s from all parts of the country studying with him on the piano, theory of music, composition, orchestration, and so forth. His piano method is mainly based on what he learned whilst with the great master Liszt, according to whose teachings he has modeled his own eminent technique on the instrument. In his compositions he follows the old classical style, taking from the modern only hat which is congenial to his tastes. One of his latest and largest works is his American sympho- ny, “‘On the Prairies.’ It is a tribute to his adopted country, and was first performed with great success at the Boston Music Hall on Decem- ber 14, 1882. Outside of his teaching and compos- ing he makes extended concert-trips every winter, giving recitals in most of the large cities such as Boston, St. Louis, Chicago, Philadelphia, Pitts- burgh, and so forth, meeting everywhere-with the greatest success with his audiences, and the high- est encomiums on the part of the press. In closing this brief sketch, it may be remarked that he is a deep thinker and student in literature as well as a musician. He is familiar with the politics, history, and present thought of the great nations of the civilized world, as well as the tra- ditions and lore of such countries as Persia, Ara- bia, China, Japan, Egypt, and so forth. His broad-minded thought, liberal sentiments, and in- terest in the world’s people, which are shown by his literary tastes, we believe will yet develop a musician, whose name may well rank with those of the world’s geniuses. : Among a number of enthusiastic notices given Dr. Maas on his last winter’s concert tour, was the following from a Cincinnati paper: ‘ Another tremendous audience greeted Dr. Mass last night at Dexter Hall, to listen to the rendition of his second evening’s programme. His _ reception amounted to an ovation, so enthusiastic were the listeners. His playing was but a repetition of the musicianly performance of the previous night. As a pianist he stands in the front rank of artists. Between him and many other concertists there is a most marked difference. At no time does he impress the listener with the idea that he is, so to epeak, a part of a beautiful mechanism. There is soul and sentiment in all that he does. The features last night were his rendition of Liszt’s arrangement of the four songs of Schubert, the ‘Erl King,’ ‘ Marguerite Spinning,’ ‘Thou art Re- pose,’ and ‘To be Sung on the Water.’ In these he showed a most happy conception of the com- poser’s idea. The ‘ Mendelssohn Songs Without Words’ came to surprise the hearers with new beauties. His own composition, a Norwegian dance, full of poetry, and the Chopin ‘ Barceuse,’ that well-known concert piece, which many thought they had never before so well under- home, and soon after his arrival made several | stood.”’

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ae ee og the 5 2 Pe FOLLOW THE BENT OF YOUR GENIUS. Not every one who strives to ascend the Art-lad- der succeeds in gaining even the round of medi- ocrity, much less that of pre-eminence, and of those who obtain the latter, many owe their suc- cess to a fortuitous circumstance rather than to their inherent capability, thus corroborating the statement of Horace Greeley, ‘* that popularity is an accident.’? Granting the truth of his assertion, pc pularity, nevertheless, may prove the outcome of pure meritorious effort, for merit, from the very nature of things, sooner or later must receive recognition. But we are prone to consider merit and natural capacity subordinate to energy of character, as appears. in the motto, ‘* Where there ’s a will there ’s a way,’’ which motto is true only toacertain extent. Youth, in the fer- vor and buoyancy of its nature, gazes too confi- dently at the highest round of the ladder, forget- ting that requisites other than ardor and persever- ance are essential in reaching the coveted height; the fate uf such climbers is often a position below the middle round, and the unhappine:s resulting fiom inability to proceed is liable, in the extreme, to prove ruinous, for mis directed energy re-acts upon the soul in which it is engendered, checking its srowth, wasting more or less vitality, and fre- quently causing so keen a disappointment as to impair reason and shorien life. The object of these remarks is not to dampen ambition, but to couple it with wisdom. Since each is endowed with a faculty which enables him to achieve re- sults that others cannot accomplish, and which renders him necessary to his fellow-men, it is the duty of each to strive to discover and develop that faculty; in other words, he should judge for what ladder in life he is intended to climb, and then fol- low the design of his Creator. Such a course must inevitably enable the individual to gain the topmost round, for what can withstand the union of will and inborn capacity? Although the dis- covery of germs of talent may be prevented by self-ignorance and unfriendly environment, the case is different with genius, whose seed wherever sown must, because of the deathless element with- in it, eventually sprout, flower, and bear fruit. It is irrepressible; nothi: g can resist it since devel- opment is its fate, and if denied advancement for a time by the corrupted will of him in whom it is embodied, who shall say at the death of that indi- vidual, »y some mystical process it does not be- come re-incarnated at the birth of another? When once introduced into the world it is inde- structible, and though hidden for several genera- tions, it will at last find vent and demonstrate its divine origin. The genius is born to make his own ladder by which, as Emerson tells us, ‘‘ he climbs to Heaven, drawing the ladder up after him.”? We may not all originate our ladders, but life teems with those already made, from which we should aim to select the one for which we are fitted, for upon that only, by means of real merit, can we succeed in gaining the top. These observations account for the numerous music teachers, composers, performers, and, in- deed, for all individuals of all professions who never ride above the common level. Compelled by environmont, or, indeed, by love of gain, they adopt a profession to which they are unadapted, and in which, because fate is against them, they cannot excel The question how to convince these classes that by remaining in their mistaken voca- tions they injure not only themselves, but those designed by Providence to occupy their place, can find solution only as each convinces himself of his error. But here the right and wrong of the mat- ter becomes entangled in a net-work of circum- stances and conditions that affect the deepest problems of life, and few are they conscientious enough to investigate the subject. What a won- derful revolution will have occurred when all are working in their proper stations! The change is inconceivable! Life is broad enough to maintain every human being w)o follows the purpose for which he is created, and when humanity realizes and acts upon this truth, the sorrow resulting from misapplied effort will be avoided, and a great stride be taken toward the millenium. HENRY W. STRATTON. ioe ene erwengemenentstininnienieetseeeceos GOETHE, HEINE, AND SCHUBERT. The Italians had one great advantage in their favor in the composition of short songs; their lan- guage lent itself readily to poetry, and there were many writers who sang of the lighter order of subjects in preference to dabbling in artificialities and pedantries, as the Germans did. All this was, however, soon to be changed. Germany was soon to own a son who combined in himself the quali- ties of statesman, philosoper, scientist, and poet. With the rise of Goethe, the true short-song form came into existence in Germany. Short lyrics, little word-paintings, came from his pen, which had not only the merit of avoiding the endless repetitions of the strophe (or repeating verse, and consequently repeated music) school, but suggest- ed a picture to the musician, and left him to add something to the co-partnership. It is almost an axiom that, if good poetry exists in a modern country, good songs will soon follow. Such was the case in Germany. Goethe had not given forth many of these lyrics, when an cbscure young man, living in the midst.of poverty in Vienna, seized upon them (he was always casting about for some -new verses to set to music), and began to write a new style of song. The poems of Goethe had a perceptible influence upon the music of Schubert. He also had fallen into the strophe form of com- position, although under his hands it glowed and sparkled as never before. The highest point reached by this repeating style of vocal music may be found in the cyclus, ‘*The Miller’s Pretty Daughter.’’? But the poems of Goethe demanded a different treatment; and Schubert, in setting the ‘‘Erlking’’ to music, tacitly proclaimed the fact that the composer could add something to the poet’s picture. The ‘‘ Erlking,’”’ when merely read, conveys a graphic suggestion; when sung to the music of Schubert, it becomes a vivid and en- tire picture. The novelty of the manner in which it was treated; the boldness with which Schubert made a tone picture of the accompaniment, as in the gusts of wind; and the portrayal of the storm in the beginning and at the end; and the brusque changes of melody, defying form, which shifted abruptly with the changes of the sentiment of the poem, — all these were innovations wh‘ch at first offended the critics. But it was a true union of the sister arts, and not only outlived criticism, but founded a school. Yet Schubert did not promul- gate his treatment of vocal music asareform. In setting the songs of Muller, he kept to the time- honored form; but, in the poems of Goethe, he felt the impossibility of doing thi.. The poet had, on the one hand, influenced the music; the music had, on the other, elevated and made clearer the poem. The path which Goeihe had opened toward the closest union of poetry and music —the German Liedt — broadened out vastly when another figure came upon the scene. It was a poet of a wholly different nature. Goethe had turned from his higher paths to produce, occasionally, short po- ems; but Heine in his poetry was entirely epigram- matic. Goethe was lofty, calm, and idealistic; Heine was incisive, vehement, and bitter. Yet the latter was by far the best adapted to producing poems for music. In all of Heine’s poems, even in the shortest, we find a strong contrast of emo- tion; and such a contrast always gave an opportu- nity to the composer, since contrast is alike the life of both arts. The shortness of Heine’s poems did away with all possibility of treating them in the time-honored stroplie form. The originality of shape and subject gave no choice to the musi- cian but to compose music throughout; and, in- deed, it would have been the veriest clod who could have dreamed of setting such poems, ablaze with life and passion, to the dry style of music with which the dry poems of the preceding centu- ry had been treated. Some of Heine’s poems had so marked a rhythm that music was suggested in their very essence. — Louis C. Elson in Musical Herald. Pe a nS SE nS ee a GOOD JOKE ON BRAHAM. A contemporary tells a good story on John Braham, the leader of the orchestra of the Bijou Theatre. It happened during the run of the **Queen’s Lace Handkerchief’’ at the Globe The- atre when Jesse Williams, the orchestra leader of McCaull’s company, and William H. Rising. the tenor of the same company, were in a restaurant in company with Mr. Braham, when the latter in- cidentally mentioned that he had been under the necessity of writing new music for a song in ‘Virginia,’ and had done it that afternoon. Mr. Braham’s overcoat was on a chair near by. In the pocket was a roll of music, which Williams sur- mised to be the manuscript of the air referred to. Slyly abstracting it, he made an excuse to call Rising into the cther room, and they hastily com- mitted the piece to memory, returned and placed the roll in Braham’s coat. Presently Rising began _carelessly to hum the air, and Williams joined in. It caught Braham’s ear, and in a moment it dawned upon him that it was his new tune, com- posed that day. . ‘*What are you humming?’’ he asked. ‘*Oh,” said Williams, ‘‘ that ’s a song I pub- lished years ago. Rising knows it well.’’ ‘* Sing it again,’’ said the excited Braham. They complied. He was perfectly amazed. Could he unconsciously have stolen Williams’s song? He went to his coat and took out the mu- . sic. ‘* Will you go over that once more?’’ he asked. ‘** Certainly.”’ . It was note for nove. Braham could not ac- count for it. He had no remembrance of ever having heard the song, and could not understand it. But the similarity was evident. ‘‘ Here goes!’ he said, and was about to tear the music to bits, when a laugh from the conspir- ators revealed to him the joke that was being played on him. asians appieibaaeaipalplacitiiat te ties shells Gertrude Griswold recently made her debut at the Monnaie Theatre, in Paris, in the opera of ** Mireille,’”’ and repeated her Parisian triumph. ————— —___ Emma Nevada will soon appear at the Paris Opera Comique as Mignon. :

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182 Wp ae ee a oO. Boston, MAss., NOVEMBER, 1883. OFFICIAL BULLETIN. Sarah Bernhardt has decided not to visit Ameri- ca this season. Norah Bartlett has been engaged by Edwin Booth for this season. | H. 8. Perkins will conduct a musical convention in Augusta, Ill, the week of October 30. Signor Farini is preparing for a series of cham- ber-opera concerts to be given soon. The Wyndham company gave ‘‘ Pink Domi- noes”? at the Union-Square Theatre with great success. Mrs. Josephine Logan returned to Washington immediately after the successful debut, at the Bi- jou Theatre, of her pupil, Virginia Evan.. Mr. F. H. Butterfield of Orange, N. J., has been appointed supervisor of music in the Public Schools of Washington, D. C., and assumes his duties this month The 132d recital of the Washington (D. C.) Conservatory of Music oceurred at Music Hall on Monday evening, Octeber 15, 1883, with O. H. Bullard as director. W.M. Furbush & Sons, of Portland, have re- cently fitted up and moved into a new building, enlarging their piano and organ business in obedi- ence to the public demand. If any choir wants one of the best books, either for quartettes or choirs, we advise them to intro- duce ‘The Choir Favorite,’? by Leonard Mar- shall. It is a book of gems. The Salem (N. Y.) Musical Association held a musical festival, commencing ‘Tuesday, October 16, and closing Friday evening, October 19, under the direction of W. O. Perkins, Mus. Doc., of New York. “The Low, White Cottage on the Hillside ”’ is the title of a new song avd chorus by E. H. Bai- ley, which has a pretty air and sweet sentiment, and will certainly find great favor with lovers of the plaintive in music. An advertiser, to whom we sent a bill recently, complained that the price was just double that charged by the Musical Record. It was worth three times as much, at the very least estimate of equity as to circulation. Helen E. Ricker has returned from her vacation, and is located at her residence, 6 Milford Street, where she is prepared to receive her pupils. Mrs. Ricker is one of our best lady teachers, and those wishing the services of a thorough teacher would do well to call upon her. It is announced that Mullocker’s ‘‘ Beggar Stu- dent ’’ is as successful in Hamburg as elsewhere, having already run upward of a hundred nights at the Carl Schultze Theatre. It will soon be given at the Casino, in New York, with W. T. Carleton in the title-role, and later in Boston. The engraving force of White, Smith & Com- pany, under the direction of James Lawson, re- cently of New York, deserve a word of mention and encouragement for the good work they are doing and the revolution in music production that they are silently and steadily accomplishing. The ballet of ‘* Excelsior”? seems to be making a successful tour of the whole world. It has now broken out in Rio Janeiro, where the manager has made a profit of thirty thousand dollars on its production. It is still running in New York, and will probably continue the entire season. It will come to the Boston Theatre during the season. We clip the following neat hit from the New’ York Mirror: ‘‘I ‘vas standing at the Star door, between acts, and a lady was with her escort ex- amining the big frame of fifteen poitraits hard by, and I heard a sweet voice say, ‘ But where are the pictures of the compa :y? Can Mr. Barrett be so conceited as to put up fifteen pictures of himself and not one of that pretty Miss Wainwright and that clever Mr. James?’”’ | The proposition to take to pieces the opera house built by Wagner in Bayreuth, and putting the parts together in Munich, has been abandoned; but if there is a move on foot to take some of Wagner’s music to pieces, and put the parts to- gether again so that it will sound less like the screech of a steam fog whistle, the good work should be pushed right ahead. — Norristown Her- ald. ‘ The Miami Valley Music Teachers’ Association was held in Sidney, Ohio, October 10, 1885. The opening address was by E. L. Hoskins, Sidney, Ohio; and the musical features comprised selec- tions from Rossini, Vieuxtemps, Wieniswaki, Pin- suti, Von Suppe, Handel Haydn, Beethoven, and others. Ada Rehan, Daly’s clever leading lady, was born in Limerick, Ireland, where her father was a ship- builder, in 1859, and came to this country in 1867. During the season of 1875 and ’76 she belonged to the Arch Street Theatre company, and while there the printer made a mistake in printing her name, making it Rehan instead of Crehan, and she has used it ever since. ‘* Emil Mollenhauer, the well-known violinist of New York City,’’ says a New-York paper, ‘‘is to be a resident of Boston this season, as he has an engagement at the Bijou Theatre. Not only is this young artist a fine violin player, but also an excellent pianist, and we trust that his stay in the ‘Hub’ may be long, and productive of both pleas- ure and profit.”’ J. E. Pinkham, the brilliant pianist, who was formerly at Chickering & Sons’, has retired from the services of that firm and accepted a position as organist of St. Paul’s Church, Malden. Mr. Pink- ham will receive pupils at Chickering’s, and may be addressed there or at room 10, Bijou Theatre. We take much pleasure in recommending Mr. Pinkham as an admirable teacher, and an accom- plished pianist. Gounod's ‘‘ Redemption’? was given recently with a large chorus, ang with great success, at Kittanning, Pa. Harry Wheeler was conductor, Eugene Thayer, organist, and Madam Dietrich Strong, pianist. The soloists were, Fannie Ami- don, soprano; May Monks, contralto; Joseph Vogle, tenor; H. A. Moore, baritone. The solo- ists rendered their parts finely, and the chorus sang with excellent expression. The ‘‘ Universal Studies,’’ by James M. Tracy, / recently issued by White,-Smith & Company, in a very attractive form, are fast becoming very popu- lar. They are useful, musical and progressively arranged. The teachers who have examined them, the press and students, all speak in the highest praise of them. They will meet with a large sale, and teachers, after once using them, cannot do without them. Progress, of Philadelphia, says of Ida Mulle, who has been singing the role of Virginia in that opera in Philadelphia, that she ‘‘ is not only young and charmingly pretty, but has an excellent light soprano voice, which she uses with skill. She both acts and sings the role of Virginia artisti- cally. Though not before unknown in Philadel- phia, she created a genuine sensation last season in the Rice folanthe, at the Walnut.”’ Taunton is growing constantly in musical excel- lence. It has several orchestras that are growing beyond local fame. Among these may be men- tioned Coe’s Orchestra of five pieces, composed of young men, which played at Block Island las summer; the Taunton juvenile orchestra of six- teen pieces; and White’s orchestra of six pieces, composed of lads from six to twelve years of age, all of whom are nephews of C. A. White, the well-known popular song writer of America. White, Smith & Company have in press an im- portant work, for Christmas service, composed by E. H. Bailey, which will be found of particular value to those who wish to make a special feature of music in their Christmas offerings of praise. Nut only is the work adapted to regular religious service on Christmas occasions, brt- Sunday- Schools will find it an incentive to better and more successful works on the occasional days of especial festivity throughout the year. Mae Shepard, the brilliant and talented pianist of the Emerson Concert Company, is a pupil of James M. Tracy, who is justly proud of har. She plays from memory the following choice repertoire of music: ‘* Rigoletto’; second, fourth | and sixth Rhapsodies of Liszt; Scherzo, B minor; Waltzes Ab, C, and Berceuse, of Chopin; Sonata Amgir, Mozart; ‘*‘ Silver Spring,’’ of Mason and Bendel; Gottschalk’s Banjo; ‘* Cujus Animam,”’ Kuhe; *‘ The Brook,’’? by Pape; with many small- er pieces. She is seventeen. We would eall the especial attention of teachers and pupils to White, Smith & Company’s new editions of the works of Loeschhorn, Heller, Kohler, Czerny, Plaidy, Petersilea, Tracy, and others. They are printed from stone in book form, are elegantly gotten up, and sell at much lower prices than works by the old process of printing and manufacture. The house now issues both styles, but particularly recommends the stone process as one that will give the most entire satis- faction. ‘* Hodges’ Anthems”? is the title of a work pub- lished by White, Smith & Company,.of Boston. It is a collection of new anthems, sentences, mo- tets, chants, and responses for opening and clos- ing public worship, designed for the use of choirs, and adapted to the wants of musical associations, conventions, and so forth. The publication is edited by D. F. Hodges, whose reputation for such work is very high. It is a substantially bound and handsomely printed book, and will be found to supply just what is needed in this line of music. — Albany Sunday Press. James M. Tracy will give three or four concerts the coming fall and winter. The first will consist entirely of Franz Bendel’s compositions, and will be given at Chickering Hall some time in Novem- ber. He will have the assistance of Bonnie Star- rett and Nettie Driscoll, two of his most eminent city scholars; and a soprano and probably C. N. Allen and Wulf Fries in the only trio composed by Bendel. Bendel was the author of more than three hundred compositions which are published, and meet with large sales in Germany. He was only thirty-three when he died. Ditson & Co.’s Musical Record has ceased to appear as a weekly, dying the natural death of a mongrel publication. We understand it will now be issued as a monthly. It is surprising to us that such level-headed men as the Ditsons’ will persist in placing a one-horse paper before the public. ‘Such an affair has never yet succeeded, and they ought to be clear-sighted enough to know that it never will. They do not appear to be, however, and we p’esume their new issue will go stubbing along for a few months and then give up the ghost; and unless it proves to be a decided im- provement upon the weekly, there will not be much mourning for the loss. —Chicago Indicator. The revolution in music-printirg has been thor- ough as far as the house of White, Smith & Com- pany is concerned. The stone process, which has been in use in Leipzig only about twenty years, has been adopted very generally by them, and the results are very gratifying. Foreign editions of standard works have been imported to a great ex- tent during the past few years, and sold for less prices than they could be reproduced here for, and thus damage has been done, not only to American business enterprise, but to American composition as well. So marked in bad effects did this become that American publishers have sought every meth- od or avenue of work to compete with the impor- tation. After two years of experiment by White, Smith & Company they have succeeded in turning out editions of standard works by stone. process that in no case fall short of, and in many cases excel, foreign productions. It has occasioned great expense, but the work and experiments have been thorough, and now White, Smith & Compa- ny, after great outlay, show a great and wonderful catalogue, which is an honor to American enter- prise and workmanship. “The Choir Favorite,’ by Leonard Marshall, the new book for the use of choirs, musical asso- ciations, and conventions, is a great success, and is creating quite an excitement among choirs, and conductors of musical conventions. Itis sought for on every band. Mr. Marshall is to be con- gratulated on giving to the public just the kind of a book that is wanted. Open the book, and on any page you will find a gem. We recently re- ceived a letter from Dr. D. O. Smith, of Hudson, N. H., who is a composer of church music, and conductor of a very large musical association, taking in the towns of Hudson, Lordonderry, Pelham, and Windham, and who writes, ‘‘ I have introduced ‘The Choir Favorite,’ and have used it at several rehearsals. The class, as well as my- self, think it is splendid. We never have had a book that gave so good satisfaction. I think it must be very popular everywhere. All it needs is to be made known.’’ R. K. Higgins, a successful singing-teacher of Missouri, who used Mr. Perkins’s ‘* Model Class Book,”’ and found it excellent, writes, ‘‘I wish to say to you that I think ‘The Climax’ far superior for the purpose, in every way, to any of Mr. Per-

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eee eee I ee ee ee ee ‘ kins’s sts aiieiki snac cdunccah his ti works, although they have been very popular, and I have used them with great success and satisfaction in my class and institute work. The departments are well arranged and well filled with choice pieces. I hope to use ‘ The Climax’ in all of my classes the coming season.”’ J. Warren Dunc an, a singing-teacher of Iowa, with many years’ experience (he used the ‘* Model Class Book”’ the past two years), upon examining **The Climax,” gets enthusiastic, and thus gives vent:— “The ‘M. C. Book’ I surely thought Was high enough for any man; But now ‘ The Climax’ he has wrought, Which certainly will lead the van. I thought the ladder’s ep he’d reached A year ago, or more But now I find that I am beached, While H_ S. P. takes one step more. . How much higher will he climb? max’ suitsme. I shall use it.’’ The cat show at Horticultural Hall is attracting great attention. It is unique, and pleases grown people as well as children. Tabby and Tom have hos’s of friends. The canine show at the Windsor Theatre is a howling success. Horticultural Hall, fortunately, is a mile and a half away. The Howard Athenzum never had a more pros- perous opening season than the present; the at- tractions being pleasing, and the houses crowded. ‘The Cli- WHIETE, SMITH & COMPANY'S MONTHLY BULLETIN OF NEW MUSIC Kssued to date of October 20, 1883. EASES hkin\: 05 debs sinc dnc cae oy pm awns te C. A. White. 60 A song for contralto or baritone in G, or tenor or baritone in Bd. Dedicated to Josephine Logan, the well known singer and teacher in Washington. Issued as a com- panion to ** Marguerite,” and destined to become equal- ly as popular. Wuen OTHER Eyes SHALL Look 1n THINE. E. H. Bailey. 40 Song and chorus. Words by W. H. Putnam. Tit. We Maer AGAIN: ...60. vec ecce sees E. H: Bailey. 75 Waltz duett for soprano and alto, from the celebrated waltz for orchestra and piane. Words by W. H. Put- nam. Sung by the St. Felix Sisters. Trt WHITE. SQUALL 2... cccececes cece sees G. A. Barker. 50 Issued in the series of ‘* Baritone and Bass Songs.”’ pe FT ee Peer ery er William M. Hutchison. 35 Issued in the ** Bouquet of English Songs.” Maery,;: MERRY. ARB WE 0060 0ces cosecccnsess P. Comer. 73 Words by L. Ganan. Vecal duett for soprano and alto, or tenor and bass. With a {lithograph of Madame Fursch-Madi on the title-page. Re Us ak oo ds Sct ese nad Has tesetes Carl Zollner. 15 A musical pleasantry for male quartettes, with English words by Emil Schwab. ** Standard Choruses.’’ Issued in the second series of INSTRUMENTAL. WHEN THE LEAvEs BEGIN TO TURN..... Adolph Hessel. Arranged for violin from Mr. White’s great song. DREAM FACES WALTZ .....00-sececcceccces C. D. Blake. 35 Arranged fram the song by William M. Hutchison. BATTLE OF- WATERLOO S550 Fos. occ tees pine G. Anderson. 40 A grand dc:criptive battle piece. SHOWER OF ROSES...+seeeececeeeeeeee eens L. Streabbog. A series of six jittle dances for the piano, including MAME fsb sy dwic na chained nye cViwe cee eececesepesvenss ShES 25 OE, Fo Sie ao s0 caw ches Pav omnes oes ce bares Cig gasn cts hee 25 Settee 5 0s oe eae sige cows an satewnsccessnecesces 25 CRON ks Sheds Shad reins on nig e's ciiene 40 CU mE sew sR ahs Ce0e> 25 A polka mazurka and a quadrille will follow. EVAGIAN CORMBRADE 605055 ccc cte ceesscse Albert Jungman. 40 PRE RR ino idle fice EN Sad ibs cand Heinrich Lichner. 40 IN THE FLOWER GROVR .--. sees cece ee erences Th. Giese. 40 Three preity airs in ‘* The Evite ” series. BOOKS EE EPO END os os be fs noe saad aa cae een ses Loeschhorn. eS ae RENEE SESS EET RENTS PETE Pe ee 75 Se. OES PR ee ye err a Ch es OP re hee 75 ON eee S Pettey ee eee er ie Ler re 75 IAN ic kt'nk wR AGEN 165546 vA vin dp cetgul gee nel meeh I 50 eS re rey or ny erat ee ERT OL hs ree 75 Pen BV PRONE ksi a oe Ce eared Os ci we Swe See Helk r. RE BO SIU, Back ae peo e us wevide desea cegneqeyes am 75 Opus 47. NO. 2 cc cecccccccccrccesccewesescccenceses 75 URN 6 Nin 8s bib chek Kee ths pot edeRiCh en caknrgr snc I 50 The above are the famous edition White-Smith, in beau- tiful style, equal if not superior to the foreign editions STUDIES IN VELOCITY< «se ceessccvcsecesceees Loeschhorn. 1 25 Opus 136, book 3. P< le 183 “es Wide Awake for 1884. $2.50 A WEAR. ANNOUNCEMENT NO. 1. Starting at the source of good things, we give a list of some famous contributors whose stories and poems and articles are already in hand for the comin: year: — Elizabeth Stuart Phelps, Mrs. A. D. T. Whit- ney, Dinah Muloch-Craik, Edward Everett Hale, H. H., Susan Coolidge, Arthur Gilman, Lucy Larcom, M. E. B., Mrs. Catherwood, Rev. Charles R. Talbot, Lucy C. L'llie, Margaret Sidney, George MacDonald, Lady Blathwayt (Aunt Maggie), Louisa T. Cra‘gin, Lizzie W. Champney, Mary E. Wilkins, Kate Gannett Wells, Prof. D. A. Sargent, Ernest Inger- soll, Marion Harland, Sarah Orne Jewett, Clara Doty Bates, Elbridge 8. Brooks, M. E. W. S. (Mrs. John Sherwood), Amanda B. Harris, Sophie May, Dunboyne, Mrs, Raymond Kate Upson Clark, Margaret Eyting2, Rose Kings. ley, Edwin D. Mea’, Susan Power, Jessie Benton Fremont, Sarah K. Bolton, Philip Bourke Mars- ton, Celia Thaxter, Nora Perry, Rose Hawthorne Lathrop, Mrs. A. M. Diaz. Glancing along the list of notable names, we turn with a smile to our great army of boys and girls, and congratulate them because the best writers for young folks delight to make Wide Awake what it now is: the favorite and standard Young Folks’ Magazine. After a careful stu“y of the tastes and wishes of our readers, we have chosen, out of our over- flowing stores of manuseripts, these Illustrated Serial Stories for 1884. I. ‘A BRAVE Girt.” By’ Elizabeth Stuart Phelps, author of *‘ Gates Ajar, *‘ Doctor Zay,”’ and so forth. If. ‘A DisTRicT MESSENGER Boy.” By James Otis. Ill. ‘*‘PAMELA’S ForTUNE.’”’ By Lucy C. Lillie, author of ‘‘ Prudence,” and so forth. IV. “His Turee Trias.” A story for boys. By Kate Gannett. Wells. V. ‘‘ AN HisToRIcAL SERIAL.’’ To begin in the December number. VI. “In No-MAn’s-Lanp.”? A wonder story for little folks. By Elbridge 8. Brooks. Announcement No. II., describing some of the leading novelties, notable articles, and art attrac- tions, will be made next month. There will be two beautiful holiday issues, a Christmas number, and a New-Year’s number. All boys and girls who take Wide Awake are in- vited to act as agents for the magazine, and speci- men numbers and circulars stating the very liberal payment for this work will be sent on application. Address all letters to D. Lothrop & Co., Franklin Street, Boston, Mass. Sone een naan ee eee a RE Ie ne NE ee Cr ee Se ee Cen Oe Se Ne ES en EL SES ae a ae ee eR eee a ee ee TEE Ee Ce BE END ne See ae ee ee NL, Se eR MAGAZINES For boys and girls not old enough to read Wide Awake. BABYLAND. The only magazine in the world expressly for babies. Only 50 cents a year. No home where a baby coos and laughs can be complete without this dainty monthly, edited by the editors of Wide Awake. with gayety in its musical jingles, its sweet, cun- ning stories of tiny men and women, its large, beautiful pictures. It fairly brims over It is printed on heavy cream paper, in large, clear type; made for babies them- selves to see and to take. OUR LITTLE MEN AND WOMEN. For youngest readers at home and at school. Only $1.00 a year. The little men and women just beginning to read for themselves will find this ~harming month- ly a treasure-box of short-sentence stories and poems, about home pets, and wild birds and ‘beasts, and the queer ways and plays of the chil- dren of strange lands. It is the aim of the editor to give entirely true stories, or stories based on facts. This monthly was formerly the Little Folks’ Reader, and while under the new title the general character will remain unchanged, the shape has been modified, and the pages increased from sixteen to twenty-four. A special new feat- ure will be six full-page pictures monthly. THE PANSY. An eight-page weekly for boys and girls. Only 75 cents a year. This favorite pictorial Sunday magazine for the children, in which all the week-day interests of their young lives are written about in the bright- “It is edit- ed by the author of the popular Pansy Books — ‘* Pansy ”’ herself (Mrs. Alden), ard she numbers among her contributors some of the brightest est and healthiest manner imaginable. writing women in the country. For sale by all newsdealers. Subscriptions re- ceived by your bookseller, newsdealer, or by the publishers, iD. LOTHROP & CO., Boston, Mass.

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4 Standard Ghoruses! Containing «ll the popular choruses for conventions musical] soc‘eties, social gatherings, quartettes, and so forth Volume I. Price, boards, 75 cents. Liberal discount to societies, conven. tions, the trade, and so forth. CONTENTS. Come Celebrate the May.........seesseeeeceeeeeesHatton, 06 sieraacre Boy, — har. by......-sseeee. vevdeste .»» Pittman, 04 arp that once through Tara’s Hall.... ....+.+.. Rittman. 04 Parting and Meeting... .. Lise sactknd exueous Mendelssohn. 05 MVGRUME Wisencip bess Kueh sss’ devs ew Torr Goodban. 06 Sing we and Chant it .....sccessccvevcccccecs De Pearsall. 05 The Hardy Norseman, and so forth .........- De Pearsall. 04 Come away, COME AWAY. +s-seeer sees sacs dened -Schsffer. 06 Sleep while the soft Evening Breeze ........seeees Bishop. 06 The Welcome Home «2... .ccccscscecccrevcccccces Haking. 05 NE aia, s Senne po ax ds es hbwe anus Zimmerman, 08 The Fairy Ring ......... 7, o4= bitte BeSb ce eenake Lemmens. 06 Grand March in Norma..... fecvevsd. svepeevaeerionn Birch. 06 NOE PIO kok en ba No. inde avs cbin a8 s pesnacedinnde Barnby. 05 This World is all ......-.020- eens. Webbe ep cka pees Waley. 06 Anniversary Ode ....ccecccersecccnceeccees J. W. Turver. 05 OME aca acis sb eaesbseene) +s: ante -+--Barnby. 06 The Angels breathe on Flowers ......+.+.. yi s ben Naylor. 04 The Parting SEONG bob KaN > 6.o0denseccndicsciwess SRO. O06 Hence now, away..--. bi oe or Sd ath ad widen bie ee Offenbach. 06 All among the Barley .......+...eeeeeeees (ain Sterling. of Bluebells of Scotland......... PME AE AE T e eP Neiphardt. 04 Raise again the Bold Refrain..........ssesseeseees Leslie. of RE VE ITOT SOUR vane cvevevccesny cospseageres De Pearsall. 06 Good-Morrow to my L2dy bright ...........+++-Macirone. 05 The Wind ..... Sees neces SSN eh hath sedaibhw amen Batnby. 06 Song Of the Triton, «.0s062....0008 bei bees Seen »+»Mollov. 06 Those Evening Bells. Female voices........ saeee Wilder. 08 I TOD oid a 60400 6 beep ss n0aeses cones Taylor. 06 Bt the Lord is Mindful..... ives shat 1de oh Mendelssohn. 06 Gloria, from Mozart’s 12th Mase. .......ccccsccvccscecess 08 Halle'ujah to the Father, from M:. of Olives....... seenepd 30 Humpty Dumpty....... a ee oe Aree rae he J. Caldicott. 12 Jack MT JU isi Voges ccc cccevcccss Shee wee J. Caldicott. 12 Single cheruses for sale at the prices given above. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New York. Classics by Various Composers Rs oS. b% tn wae deb ssicledncetoa dues Boccherini. 25 Nocturne. Op. 9. No. 2......0.. $004 000d eden Chopin 15 Mazurka. Op 7.. No 3 .....000 oe» Aer ee eR »»»Chepin 30 PEGIGHE PORGOIE F054. Foes eee e ee Bees vecesees( hopin. 15 GIBUe cveviscccvenesscsrscssces meena En INS -++-Corelli, 25 Les Moissonneurs Rond:)......00seeeeeeeeee ..-Couperin. 15 EE GUE penises cise ce cetcseneece sooes Dussek. 15 CIBBUIOME NOCHUFHE. 6.06 ib bs cere cede acew cee anes Field. 25 Marche Religieuse d’Alcest ....+..ee.eee0e ‘ae sche Gluck. 25 ITO rl... suka vek'c ote ccae deavcsense eure. 28 Rondo. Op. rre..cvecevene ioe ie oe bacnas ene o Pe RUENe! 30 Rondo de Ja Sonatine. Op. 2 Wa: ¥, i ecu cowas Kuhlau. 25 BNR ES TONO OS 6 iyi Sis canoe ode be civ vibe ac wle ab ep os Martini. 30 Menuet de Castor et Pollox.........cseescccccess Rameau. 15 L’Orage. Rondo Pastoral ..... CP Sy er Oa ey Steitelt. 25 MOE. MRED oP eve g nk sve cece deck peer ss ssccbect Chopin. 15 EG, © TW BB, TNO. B occ cbc cdsiccesdsvecs Chopin. 30 Fragment du Concerto. Op. rreseesseeeceeeeeees Chopin. 25 Allegretto de la Sonatine. Op a8: TNO. B.e0 de'ou te Clementi. 15 L’Ausonienne. Allemarde.........eeceessceees Couperin. 15 La Consolation...... wate ivan a Mate eater: «A's 8 Ske wo Kote D issek 25 i CIE. YEROMID c 66s cesc eh ces ccacsiceccesice Dussek. 15 a Re ee as Be een Uke cet bbe aah Field. 25 Gavotre d’Iphigenie en Aulide ............ cece cece Gluck. 15 DM PU SR MNOOOIO, coe oc o cecss dens vuveniersces Hummel. 30 Rondo Villagenis............08- io westeuds »oesHummel. rs Marche des Rois. .......+00e04+ qoveobegasecaes % -»-Loully. 25 Les Mounons. Gavotte.....seseesecsssccvenccees Martini. 30 Dil’ RUMEOTIE oi. dao 6 itso c ces nc us eevevee cooeseeRameau. 25 aN Eee odes wh Wik be dee bees Steitelt. 15 Complete, 75 cents. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEUHUNHOFFEF, New York. Heath’s Common-School MUSIC READERS BY W. F. HEATH. We have just issued the second book of these Readers, which, ogether with the first book, forms a Complete Course for Graded Schools, from the Primary to the High School. These Readers are not a mere collection of songs, but a TEXT BOOK containing. to- gether with the many beautiful songs and exercises, a carefully constructed method which, when systematically followed, puts music on a par with other schcol studies. Price 35 cents each. WHITE, SMITH & CO,, BosToN AND CHICAGO. SPEAR & DEHNHOFE, New York. ~ FSi: THE CLIMAX! By H. S. PERKINS, Author of nearly thirty popular works, is the GREAT BOOK of theseason for CHOIRS, SING- ING CLASSES, INSTITUTES, FESTIVALS, CONVENTIONS, and sv forth. It contains every necessary department, which is elaborate and com- plete, from the first steps of an ELEMENTARY COURSE to the heavy chorus for choral practice and concert use. (= Choristers, Convention Conductors, and Class Leaders, Attention ! It is the best effort of the most successful com- poser for the people of the present day. The ele- mentary course is superior to any other ever offered. Teachers, don’t fail to examine it early. It is now ready. THE CLIMAX contains two hundred and seventy-two pages. Retail price $1. By the dozen, $7.50. It is the cheapest book in the market. A sample copy sent by mail for 60 cents. SOME OF THE CONTENTS. GLEES. A Happy New Year. . A Hundred Years to Come. Anvil Chorus (‘‘ Trovatore ’’). Awake, Sweet Lady (male voices). Beautiful Stream Chivalry of Sabar. Don’t Forget the Old Folks. Drifting Away. Farewell to the Forest. Friends, we Come (male voices). Hark, Apollo Strikes the Lyre. Hark, Above Us (male voices). Here in Cool Grot. Hearts and Homes. Home by the River. Let me Dream. Merrily Rolls the Mill-Stream. My Home on the Hill. My Name on the Sand. My Rose (male voices). O Nightingale. Oh, Hail us, Ye Free. Sleighride Song. Soldier’s Farewell. The Deep old Well (song and chorus). The Sweet Now and Now. The Temperance Ball. The Winds Fiercely Blow. Vale of Rest (female voices). Where Earth and Heaven Meet. ANTHEMS. Awake, O Zion! As the Hart Panteth. Father, I Bend to Thee. Flee as a bird. Hallelujah (Beethoven). He Watcheth Over Israel. Hear my Prayer. Help us to Watch and Pray. Hosanna. In Whom all Goodness Dwells. I will Arise. O Lord, be Thou Merciful. Out of the Depths. O Holy Night (Christmas), Oh, that I had Wings. Praise God (Easter). Saviour, like a Shepherd. Seek Ye the Lord. Sweet is Thy Mercy. The Lord is my Shepherd. Also ninety-four new hymn tunes, twelve old (congregational) tunes, eleven chants, special ex- exercises for voice culture and elocution, and the most common-sense method of learning to read vocal music at sight ever put into a book. Every- body who has examined THE CLIMAX, speaks in the highest terms of praise. There is but one sentiment. WHiTE, SMITH & CO, Publishers, BOSTON AND CHICAGO: SPEAR & DEHNHOFF, New Yorks. _ List of Books! Day Schools, Seminaries, &c. Bailey’s School Songs and Music Reader ...........s0e006 50 Buds and Blossoms. W. Williams...........eesseeeeeees 25 Common Schoel Music Reader. Partr. W.F. Heath... 35 {Part 2 in press. ] Fifty Hymns for Girls’ High School. J. Eichberg. Paper. 30 Fifty Hymns for Girls’ High School. J Eichberg. Boards. 40 Fifty Hymns for Girls’ High School. J. Eichberg. Cloth. 50 Headlight. School Singing Book........seeeeess od) wane 50 Merry Songeter. “Gy Fe Wi nOfiscos oc00 verviasacesd cvbece 35 School Wreath. C. P. Morrison.........se0. ceeeeeseeee 75 Church and Singing Schvol. American Singing Book. S. P. Cheney .............eee0 I 09 Bai‘ey’s Collection. Revised and enlarged. Boards...... I 50 Brother Cheney’s Old Folks’ Colleciion .......0.+eseeeeee 35 Choir Bell. Sacred Music. Singing Schools. L. Mar- shall......0- PaeW peed bNGs CAIN ENC ty co ceied se eeutignud ee I 00 Com veetion Gilt. cred collection. ..........0008. 2 00 The Citmeky. : Derkineiscavisis ncciis iain I 00 Witte’ s Tacred Wiartattet. ose. cceigs ina: ens peen oes oo EO Instructors and Music for Reed or Pipe Organa. Blake’s Dollar Organ Instructor .......ccceceeee cocceees 1 00 Blake's Model Organ Schock i cece cvccseicstiecsveeetses 2 50 New Method f>r Mason & Hamlin Organ. Eugene Thayer. 1 50 Organists’ Quarterly Journal and Review, separate num- UES Kak Gb sb Ress <5 be Un Sead Gr CAEL ES b0Rh SORE Shbabeee 1 00 Organists’ am y Journal ard Review, comp ,.12 num- Or B RIOR sadn nn fade soveuses psdewnassscemeebones 3 50 Ovetin Meloditt. Boars.) iseus'ss'4s wiiéscny ion thee ates 2 ©0 Cae SC COU Scenics umnian dedckmenchasis beat 2 50 Pine LIEN TION Ska, Fh an ets iicdas ae bene tec hay sabe en I 00 Raymond’s Reed Oigan Gems New and enlarged edition. a atikenitnk $s Kccha dees cme be t4 ne stairs be keane 2 00 Raymoend’s Reed Organ Gems. New and enlarged edition. CNORD o's 6 oS tinsiees cswekseews sv etecetesengecedbedecis 2 50 Ryder’s Short Organ Voluntarics. ........ cece cece ceeeeees I 00 Thaver’s New Method for the Organ. ........ cece cence cees I 50 Thayer’s Voluntaries and Responses, ix numbers. Each.. 1 00 Thayer’s Voluntaries ard Responses, complete........ ... 2 50 Themes and New Arrangemerts by R. F. Raymond ...... 2 00 White’s School for Reed Organ ......eeceeecseeeeeeeeeece 2 50 Pianoforte Method... Beyer’s Method. American fingering. Boards........... I 25 Beyer’s Method. Foreign fingering Boards. Sone Edi- PIE 752 Gr in ene Bik Bs Ate Eee Wc caw d MEAs ahi okaN eve cn 2 00 Petersilea’s Method. Revised Clo h.... cee eeeeeeeees 3 00 Petersilea’s Method. Bcardé....cccccccccicesccivescvess 2 50 Eoston Conservatory M:thod. Revised and enlarged edi- Src SO WMO MEE. e500 ce anv ne'ed poet Viake ce ches 2 50 Blake's New Piano Method. Boards.......-...eeeeeceee I 00 Blake’s New Piano Meth d Paper ......... cece cceneees 75 First Lessons for Piano. By the Sisters of Notre Dame of CONGIIEET, COD: PRET cies o.c00 baics sepepehercactoas I 50 Kohler’s Practical Method. Vol 1 ........ceeeseceeeeees 75 Kohler’s Practical Method — Vol. 2 .... eee ceeeuceesccces 75 Biake’s Primary. Methic.d.. B rds ccccercnccccngensuceean 1 00 Blake’s Primary Method. Paper ........ccsccccscccceces 75 WHATE, SMITH & CO., Publishers, BosTON AND CHICAGO, SPEAR & DEHNUOFE, New York. MUSIC READERS And Day-School Song-Books. BAILEY’S SCHOOL SONGS By F. H. Bailey. This is intended as a thorough course of instruction in the rudiments of music and singing. Price fifty cents. THE HEADLIGHT. By H. S. Perkins and C. A White. A book that has become widely popular.. Full of bright and catchy songs and choruses, also contains the operetta of ‘* Grandpa’s Birthday’’ complete. Price fifty cents THE MERRY SONGSTER By G. F. Wilson. A new book destined to become very widely used, as it contains every e'ement of popularity. Price fifty cents. JULIUS EICHBERG’S FIFTY HYMNS AND TUNES. Arranged fer the Girls’ High School, Boston, and also adapied to school and home use. Price thirty cents. PROGRESSIVE SINGER, OR BUDS AND BLOS- SOMS. By Williams. A book for the use of singing and day schools Arranged in the most approved and progressive man- ner. Price thirty cents. Liberal discount.to the trade, profession, teachers, and schools generally. Specimen copies mailed to any address on receipt of price. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO.

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—_____. PUBLISHERS OF THE E"OLITO. te~ “THE BRIGATEST OF THE MUSICAL MONTH. LIES,” says the Norristown Herald, ALSO COMPLETE SCORES OF THE OPERAS OF OLIVETTE, LA MASCOTTE, TRIAL BY JURY, THE MERRY WAR, PRINCE METHUSALEM, THE QUEEN’S LACE HANDKERCHIEF, THE BEGGAR STUDENT, NORA, THE PRETTY CANTINEER, THE BLACK MANTLES, GYP, JUNIOR, AND THE BERRY-PICKERS. A WESTERN BOOM. THE GREAT SUCCESS OF THE SEASON! The Gonvention Gift. A COLLECTION OF Secular and Sacred Musie FOR SINGING SCHOOLS, CONVENTIONS, ACADEMIES, COLLEGES, CHOIRS, anp tut HOME CIRCLE, CONSISTING OF MUSICAL NOTATION AND EXERCISES, FOUR- PART SONGS, GLEES, QUARTETTES, HYMN TUNES, SENTENCES, ANTHEMS, AND CHANTS. By LEONARD MARSHALL Part First. — ELEMENTARY DEPARTMENT, This department, it is believed, will commend itself to teachers as a very convenient and satisfactory arrangement for elementary classes. : Part SeconD — GLEEs AND Four-ParT Sones, These are written and arranged in an easy and pleasiog style, nd will prove to be an interesting and profitable feature for Singing-school practice, as well as for concerts and public per- tormances. ParT TuirD. — Hymn-Tungs, A goodly number of church-tunes, in a variety of metres, have ‘een inserted, which are varied and complete, well adapted to singing-classes, choirs, and societies. ParT FourtTH. — ANTHEMS AND SENTENCES, Great care has been taken in the arrangement ot this departe z ent. It is believed that for beauty and excellence the anthems and sentences in this collection cannot be surpassed. With these brief, explanatory remarks, the ‘‘ Convention Gift ” is submitted to the public with the hope that it may prove a val- uable addition to the list of books of this description already iblished. LEONARD MARSHALL. Send to the Chicago house for specimen pages, and to either che Boston, Chicago, or New- York house for specimen copies. Price 75 CEnTs, WHiTE, SMITH & CO, Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New York. jak te OME fos De HTH, SMITH & CO,,| 9° eines nee nase ESTABLISHED 1867. The Most Thoroughly Equipped School PIANO, VIOLIN, ORGAN, and VOICE, IN THIS COUNTRY. Over Nineteen Thousand Pupils Educated! Special attention to Techical Proficiency. The VIOLIN SCHOOL of Mr. Eichberg STANDS ALONE AS THE ONL1 ONE IN AMERICA. augry For particulars, apply to JULIUS EICHBERG. THE CHARMING OPERETTA, “TYROLIEN QUEEN,” hy C. F. Hanson, is pronounced the most succssful Operetta for Exhibitions of Schools, Academies, and Singing Classes for young people, easy learned in three weeks. Musical critics speak high in its praise. Crowning success wherever given. WusLeyAn FEMALE CoLiecr, Macon, Ga., JuLy 12, 1883. Mr. C. F. Hanson, Dear Sir : — As by programme you will see that we gave your ‘“‘Tyrclien Queen”’ again in place of our annual concert programme. It drew the Jargest audience of any concert we have ever given during any previous commencement. It was highly complimented and gave very general satisfaction, and was pronounced a beautiful success. et me campliment you on its beautiful arrangen.ent — Melodies (Selos) Trios, and Choruses. With much respect, J. H Newman. Prof. of Music, W. F. College. Further recommendations furnished on application. Specimen copy sent on receipt of 75 cents. CHAS. F. HANSON & CO., Publishers, oct3m 242 Main Street, WORCESTER, MASS. CURTIS & WHELD, COSTUMERS, And Dealers in Theatrical Goods, 5S Flayward Place, BOSTON. Sam Lucas's Great Song, The Jolly Dude ! They say my girl is a dudelet : I think that ’s shocking rude; They once used to call me a ‘* masher,” But now they call me a “‘ dude.” This song is making one of the greatest hits o1 any song for many years. Written ard composed by Sam Lucas, and sung by him with great success in his new play. Beautiful title-page. Price 35 cents. of price. WHITE, SMITH & €0., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New York. Sent postpaid on receip The New Medley for Brass Band. |The Birds, or Echoes from Dreamland, Contai~ing ‘* Birds in Dreamland Sleep,” ‘‘ Marguerite,’’ by 186 —— —_—_— THE PETERSILE Academy of Music, ELOCUTION and LANGUAGES 28:1 Cotumspus Avenuz, BOSTON, MASS. ESTABLISHED IN 1870. The Piano School of America. The only School in the world where the Piano is a specialty, and where a definite and scientific system is pursued from the beginning to the most advanced grade of artistic virtuosity. Vocal Culture and Eloeution, Singing, Harp, Organ, Violin, Flute, and all Orchestral and Band Instruments, Ancient ard Modern Languages. Drawing and Painting taught in the most artistic and thorough manner. Circulars, with full information, sent free to ary address. octry LARGE PIANO, ORGAN, AND MUSIC TRADE FOR SATE. Desiring to retire from business, I offer for sale ene of the oldest, largest, and best established music stores in the State -f New York, at a nominal price of the actual cost of stock on hand, with agencies of Steck, Hazelton, Kranich & Bach, V. se & Sons pianos, and the celebrated Burdett Organ, with good will and long lease if desired. Terms easy. REFERENCES. O. Ditson & Co., Boston; White, Smith & Co., Boston; J. C. Haynes & Co, Boston; W A. Pond & Co., New York: T. Gordon & Son, New York; C. H. Ditson & Co., New Yor: 3 C. A. Zoebisch & Sons, New York; J. E. Ditson & Co., Phiia- delphia; John Church & Co., Cincirnati; Lyon & Healy, Chi- cago; Brainard & Sons, Cleveland, together with piaro and organ firms above mentioned. J. H. HIDLEY, Aug 4t 6562 Broadway, Albany, N. «a. Are You Going to New York? IF SO, TAKE THE Fall-River Line, AND ENJOY A TRIP ON THE New and Magnificent Iron Steamer PIrtGRIM, Or the World-Renowned BRISTOL. Trains leave Old Colony Railroad Depot, corner Kneeland and South Streets, daily at 4.30 and 6 P.M. Sundays at 7 P. M. Tickets and state-rooms can be procured at 3 Old State House. C. A. White, ‘“‘ We Never Speak as we Pass By,’’ ‘Good By, | Nancy Jane,” by C. D Blake, ‘*The Jolly Sleigh Ride,’’ ‘“* Hold, Susan,” arranged by A. Damm. Price per copy, postpaid, $1.50. Liberal] discount to dezlers. WHITE, SMITH & CO., Publishers, Boston and Chicago. L. H. PALMER, Ageut. J. R. KENDRICK, General Manager.

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186 WHAT THE TEACHERS SAY OF THE FINE EDITION WHITE-SMITH PIANO STUDIES. The publishers take pleasure in calling the attention of the musical public, and the profession in particular, to the new se- ries of studies just issued by them, — ‘‘ Universal Piano Stud- ies,”’ in two volumes, by James M Tracy, selected and arranged with great care from the works of the most distinguisi.ed mas- ters. They are useful to both teachers and students for their musical, technical, and educational excellence. A trial of them is solicited. They are e'egantly printed and bound, and cannot be excelled by any publishing house in this country or in Europe. ‘6 Technical Studies,’’ in two volumes, by Carlyle Petersilea, are something new, being purely technical studies, as their name implies. They are arranged on a new plan which has been thor- oughly tested, and found highly useful in helping to develop the great technical ability displayed by many of the eminent master scholars. For the training of the fingers and wrists there are no studies superior to these. They are artistically gotten up, like the ** Universal Studies,” and ret>il for the l»w price of $1.00 a volume. White, Smitu & Co. RocKLAND, ME, SEPT. 22, 1883. Dear Mr TraAcy,—I have just received a copy of your Studies, for which please accept my thanks. I shall be very glad to use them in teachivg Yours truly, FrED R. SWEETSER : RocHESTER, OcT. 2, 1883. Frrenp Tracy, — Your ** Universal Piano Studies” I have examined carefully, and find them very useful, and arranged in a systematic, progressive, and practical manner. As soon as you have Volume II. readv, please send it tome. Receive my many thanks for a copy of Volume 1, and hope it will receive the at- ee of the several teachers, as well as myself. They are : he Yours respectfully, J. H. KALBFLEIscH. This is an age of progress in all departments of science, but in none more than in the modern manner of printing music. White, Sn.ith & Company are an enterprising firm, having just completed a reprint of Gounod’s ‘* Redemption,’ and Bach's ** High Mass,’’ from the foreign editions, which we consider superior in clearness of otes, words, and general excellence, to the foreign editions. We have made a critical examination and comoared the two editions together, and, in our judgment, the White, Smith & Co. edition is:the best, and we heartily com- mend their publications to all who have occasion to__urchase any of the above works. James M. Tracy. TWO BEAUTIFUL SONGS. Waiting mid the Pansies Sorg and Chorus. Price 35 cents. Companion to ‘‘ Only a Pansy Blossom.” WRITTEN AND COMPOSED BY C. D. BLAKE. Love will Roll the Clouds Away. Song and Chorus. Price 40 cents. Companion to ‘* Wait Till the Clouds Roll By.” WORDS BY EARL MARBLE. MUSIC BY CHARLES D. BLAKE. These are two really, beautiful songs, and destined to become immensely popular. Copies mailed to any address on receipt of price.- For sale at all music stores. WH.TE, SMITH & CO, Publishers BOSTON AND CHICAGO. SPEAR & DEHNHOFF, NEw York. WINNER'S NEW AMERICAN SCHOOLS FOR PIANO, ACCORDION, GUITAR, VIOLIN, CONCERTINA, FLUTE, BANJO, CABINET ORGAN, CORNET. These excellent Primers contain Thorough Instruction for learning to play any of the above Instruments without the aid of a master. Contaiuing a large collection of popular melodies of the day. Beautiful title pages in several colors. New editions printed from stone. Price 75 cents. WHITE, SMITH & CO,, BosTON AND CHICAGO. SPEAR & DEHNHOFE, New York. THE IDEAL. "IVHCI HHL itt ti if The Ideal One-Minute Process Is the only correct method of drawing tea and coffee. We have the ccffee pots from ro cents to $5. Also, pure ideal ground cof fees, which we put up in air-tight, impervious cans of our own invention, for which no extra charge is made, as they cost us but a trifle more than paper bags, and wiil preserve the coffee in all its strength and freshness for any length of time SAVING NEARLY HALF. The IDEAL FARINA BOILER. ING OATMEAL, TOMATOES, OYSTERS, MILK, AND SO FORTH, WITHOUT STICKING OR BURNING. (e- The Best Thing Ever Invented. IDEAL COFFEE CO«, W. H. BAILEY, Manager, 90 Friend St., near Washington, Boston Nov3m Dooley Paper Cutter, Manufactured by THE ATLANTIC WORKS, EAST BOSTON, MASS. (==> Sord for circular and prices. LYONS (N. Y.) MUSICAL ACADEMY. Founded 1854 Daily Lessons. Noted for furnishing excellent teachers. Imparts best modern fechuigue and artistic execution. Addres: L. H Sherwood, M.A., founder and principal. LEONARD MARSHALL, Teacher of the Voice, Singing and Musical Composition Conductor of Musical Associations and Conventions. Address White, Smith & Company, 516 | rs ec Street, or Mr. Marshall, 169 West Newton Street, oston. MRS. STRENGER, Teacher of Piano. Young beginners a specialty. Address 2993 Washington Street, Egleston Square. 1. Fee RY DES Favorite Compositions for the Piano. Each of the following is an established favorite, and hasa steady and constant!y increasing sale. Chanson des Alpes. Fantasie d2 Concert .......+.++eseeeee 75 Little Footsteps. Transcription .......00.0+ seeeeeeeeceees 79 Lida: Polka Maite x55) 0000s cuban bd cee cedeniccceccssad ee 60 Ryder Waltzes: Brillante..... 20.00 .ccccccecse. cbecscccsces 75 Mountain Echoes. Mazurka Elegante ......++.seeseeeeeees 50 Remembrance. Grand March .........eseeeeeeecceseneeeces 50 Home, Sweet Home. Fantasie dz: Salon .........-eee scene. 60 [he Shepherd’s Dream Melodie Variee ..........+e+ee00- 70 Shadows of tho Past. Idylle.........ceeeeeeeneee coeeece 50 Life “s. but a. Dream: ... Nocturnes. oes ..ccccedonsccendceweins 60 Sounds fromthe Glen. Valse Brillante. .......... see. eeeeee 60 Fire- Fiend. =‘ Grand BRGrGd ooo ii.cic ei iced veetededvicsacse 65 Rustic Maiden Scene Romantique..........eeeeeeeeeeeeee 50 Night Fall. “Tdylle...2 0... ccc ceceeces decweeet sens ccevccss 40 Nearer, my God, to Thee. Fantasie de Concert ............ 75 On the Lake. Caprice 4 La Midgett. Arr. for two hands. .......+.eeeceeeeeceeceses 65 By Gone Hours. Valse ...+....seeeesseeceeeccescnceeceees 7 Pleyel’s Hymn. Variations .........seee cece cece ececeeeees se The Harp that Once Through Tara’s Hall. Transcription .. 5 Dripping Fountain. Mazurka Elegante.................0.. . Ras ARIE... BUBRRRTIRAOM, nnd 5 ove os et iwdedveeseecueadss 6° Dainty Morse]. Valse ..p2sscc ccc ccscccee voce ccccscccsecs 3°, WHITE, SMITH & CO., Publishers, Boston and Chicago. SPEAR & DEHNHOFPF, New York. EDITION WHITE-SMITH. PETERSILEA Technical Studies. PREFACE. In offering these technical studies to the consideration of the piano student, I beg leave to call attention to their plan which differs in many respects from that of the studies in general, use. My purpose has been the training of the wrists and fingers in a great variety of movements, and to teach the pupil to transpose all the studies through all the different keys. This is of the ut- most importance for the cultivation of the memory, and for the acquist:on of that artistic execution necessary for the most diffi- cult music. Very many studies have been written to promote especially the development of style and expression which may be used in connection with these technical studies. CARLYLE PETERSILEA. PRICE ONE DOLLAR WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOEE, New York. TWO GREAT BOOKS. Blake’s Dollar Method for the Reed Organ. The most popular book of the kind in the market. Used by all the teachers. Blakes New Method for the Pianoforte. Price, paper covers, 75c. Boards $1.00. These two books .can be used with or without the aid of a teacher. Everything is plainly explained and illustrated. For sale at all music stores. WHATE, SMETH & CO., Publishers, BOSTON AND CHICAGO.

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FOLIO. 187 To Miss [sabelle Giles. IN HER CRADLE BABYS SLEEPING. Andantino con espress. e ) al / SF a —_- SS SS Inher era-dle ba - bys sleep - ing, ‘Neath the sun-lights sil- vry gleam, how sweetly ba - by slum - bers, Her lit - tle hand be-neath her head, Copyright milccciaki hy White, Snith aiil Coe

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188 BO iL KO, rete. et 2 SAORI IOS NY). KI . RRS 9 OS SR SRS o PR? Re EE: aeons 1 SEER And the moth-er watch is keep - - ing Oer the spot where ba-by dreams, Know ing not of care or sor - - row’ In that sim-ple lit- tle bed. pret 7 eS ee _et lee. BS VOR ae OR i i, ie. RN ee... 7. eid. PS REE FE 8 SSR a OSE NUT Te)” Og me Rock - ing soft that lit - tle cradle, Fear - ing that the door will creak, Soon our dar- ling will a- waken, And reach - ing forth its ti - ny arms, nw a TE ER. if ee iL a r | <a Soe ia ES SS ESSE th CE i eid Fa A le SS I Tk SN ES AS | Ee See Ne AS I * A YESS — tee And a- wak-en lit -tle dar ~- ling From her calmand peaceful sleep! Beg -. ging moth-er to be ta ~._ ken, And keep it safe - ly from all harm.._.

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Syd Ley tgs CHORUS. AIR. : oe TCI. “Tatty Oona. a ini S age ae 6 3 NIP ES Of Aes SRY EE ea a Of (i <a -; _. <a BURP SO ar” a f SL SS i RES MRS Fu oo ° BPs a A Rock the cra - dle, moth . -er dear, Si - lent watches keep, ALTO. | the cra - dle, moth - er dear, Si - lent watches keep, our dar- ling lit - tle one Will soon be fast a - sleep! } fx} + a Se Eid a Pe ation i AOS Ra RSE 8 OES yan Cosas PMCS © Son sie <2. = SY ae Soca Bs a Selon lal! ee ee a we 7 7 to. a ee a <<a : f rit. ~ ae TRNERARA. neat: air eres 8 vee a ain? aR sikh toe ot OR oR maa a -_ RN ER ie aealiamesrans. aaa Nt eal —— vd a our dar - ling lit. - tle one Will soon be fast acca eS sf , MA AACR REGRET canter

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FP GSE Pee oo LITTLE “CHICK-A-DEE-DEE” BIRD SONG, SOPRANO. Words and Music by C.A.WHITE, Author of When tis moonlight, Moonlight on the Lake. Scherzando. PIANO. wee lit-tle bird Left out in the cold, -Like a_ poor Lamb that’s 9 like me, Youll know how to pit- ty poor 1. Im a e. ev - er youre left a -- lone +. Come with me lit-tle bird my home you shall share,Tho hunt- ble _ it CVRD ERE Ao i : ‘- RS a ones. Sor / ha at i i Hh A OS, al LR i) ES GL SATA RR OG LA SRS: 3” SA 9 EA TRS FS LS TR Se BD ree eee SS SE Te SR ee ey eee cer rs ' $e * ear a arena _——— == poe Biren nd \ RR SR hres E-SERIES, SEER A ES I A GS SERGE Ger a SE CURR es £3 oe So ee a ee | 7 Ee ESS aoe woetenee: ee SRS PES ae RTE Goo ee ee oe i acetates eo + ”s 3301 = Copyrighted 1878 by White Smith and Co

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, es 2s Ss ae EU © SAREE «RINE oe aes SOR Ss ae strayed from the fold, Oth-er birds, they have gone, Far o- ver the sea, and ; ) chick - a - dee- dee, *Tis the crumbs from your floor, I beg youll give me, [il thrice wel- come there, And re- mem-~ ber the God that watch-.es oer me, will left all a - lone poor chick-a- dee-dee chick‘a - dee chick - a - sing you the song of chick- a-dee -dee ad lib: chick-a- dee chick - a- care for the poor lit- tle chick-a-dee-dee _— Cchick_, dee 2 chick -a- Br a SPR SS = ~ if - dee | Wherewill this nights shelter be .. . . The winds are so ‘cold, and Im - dee Wherewill this nights shelter be ... . The winds are so cold, and Im - dee, Trust-ing my song eer shall be... . The God of the Fath-er- less Hp es 8 ey th 2 ee ee a a a a ee ee oe ee ee eg DREREEE 56) AE TURE RN HORE aa UTE RR ya fd eee ee ee te ee LAS fue: pages coe i. 22S ET IIE AER ER CO OR o 6 ” — ad _ De 3 Cea ee . tempo. . ra eee eS a Oe RN 2 A A ene! MeN Be a aa ee é for Toke ee ge ee é a Aa coo © RANE WRB AO STR ae | hun-gry . . But theres none to care for me... The night windsso cold, and Im hun-gry . . But theres none to care for me... The nightwindsso cold, and Im watches . . QOb’r the poor lone chick-a- dee... The God of the Fath- er- less 4 A Sebcl | Sem tae aeeeener— sommes | SUKI ca : — — a ee a ee eee ee eee pany a 8 ee ee a oe ee SS it ke \ | ° ‘otk? «a | —— j\ SA AWC RR Foe So . E AR eh cm 7 eee EEE a SS a ee ee es ee es oe “2 ae hae ae ae ne ae a Scaneoer Ge cn commeramedy soa cae BOL eeap e ¢ : : ala 2

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NI o> nos 1 } ‘ > Im a poor lit-tle chick-a-dee- dee. . Im a_ poor lit-tle chick-a-dee - dee . Oer the p hungry. . 3 it a ut co) ion) % ind 4 PS 2) ~ H i 3 Pa ‘ee Eth - . & a or) ’ + o pone i ~~ o pat famed = oO 5G (S ( Ser” 0 58 Et The winds are 50 The winds are The God cold be . Where will this nights shel-ter sO of the a Where will this nights shel-ter Trust-ing my sony eer shall be. lit- tle chick - a - dee - dee... poor lit - tle chick - a - dee - dee . 4 x Se een 7 7, vr; = i lit- tle chick - a - dee - dee . poo) poor 3301=3

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193 FS beb4D- TRUSTING. FOR TENOR OR SOPRANO . =) ° s © ae 1. S & 5 = Y e oS F E = < | +- With Quartette Ad lib . near Written and Composed, by C.A.WHITE., And the heartisbowedwith a lifecome:.darkest hours, in the would live in be So the heart on earthwill tost 2 God, life. boat thee Oh storm the bread now our dai-_ by: Give us We When lifes Whenthe Now we a—F a: Be we | | Sediet GSC Ai | Pe A TT 0S RN. ee ae Be | ee e— ee i ee rustin God you llfind re. lief 4 Angels whisper soft and low — But be. yond E — ter— nal free is thy hands have ravens fed earth rest . Whenthe soul from And Thou hast watched the sparrows fall: _ Copyrighted mdccclxxviiiby White Smith and Co.

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—— ne rt ne SR ER REESE TN a ar ar. OM att a Ae +H ce man Oe ows’ hover round And weé near the golden shore, Then. our is cold and sad And the star ef Wope is dim, Then = wed to thee in prayer Trust ing ev er in Thy love, Guard and a8 tL oy. ae ase , xe. ce) thoughts will turn back, To the friends that havegonebe fore_ Then our fh “te our God- There to dwell in peacewith Mim Then wed cuide Take us home in thy arms Guardand willturn back to our God There to dwell in peace with Him in peacewith Take us home In thy arms, — to thy great love. To thy great ae , wo *

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a 2h gies 195 OT ET rs een QUARTETTE, Sopram. When in life come: darkest ‘ hours , in life come darkest hours, And the heart is bowed with grief with grief a IS Sia a sr es © St MM eb —}—_4— yo Comedarkest hoursthe heartis bowed with grief with grief ee ee ee een PS oe 4 oe Angels Whisper soft and low Trust in God youll find rf lief . Angels wisper soft and low Trust in G f ind | lj Whenlifes 295

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me a Ae Shadows — -— hover round And we near the golden — shore, Shadows —C _ hover rount 2 ae RARE 5 Oe ee Beau : ae it 2 ers aw PE NAL RPT ERR LEAN PET FOE Be PAT AE TI” As SIS T thoughts will turn hack Tothe friends _ ~~ that have gone be SY —— SSR ER TAT ES TSS SOE ETE. FR. IM SSR CREST AN AAA HOSE 5 0 ES TT F * RE SERIES “SPARED jr _;_____) PIRTS SOO) GAMER: ¥ SA, OA LAR 9 ane Mea: RR a sh IES a, RAR & GR RES = Re ° 5 RSE SO" CEE . AEN ME ASRS | i) SST RR OS ey SLL, KOE Ft a SRR san) AAR Thenour thoughts will turn back To the friendsthat have go te be- a SC aI - es es ee ee ee TREE CET EE RONEN | COPE S BRET EY SRE EE TEAC CIEE A AN! LNG EE STC AT YN ss ieaibaiie PRES ee EW. 8 eee. ee A Oe ON i ES. TT 2. TS A Fa —___ ____. 1 _____,.._,} __} _4 Biol a 3 3 Then our thoughts will turn back To the frienéstiathave gone lbe_ — “4 J a ee ae 1? gl p @ 4 a ee ee 1

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LE VUPO e@ fore be fore, fore be fore, SSS LP Ee = : Then ourthoughts will turnbackto the fore be fore,Then our thoughts fon 1 @ marae 2 FUR Babbitt ac tee ee PRP STE 2° PER FRE ce Wate eh DORR Se A 5 MN TE RF § SRT, we SR CEC GT if wie @«¢ OF Ff § Wem NE _ I = F eee aeree . friends willturn back To the. friends Thenour thoughts Will turn back | Tothe friends that have gone 197 Re - BE Oa RE ye Adlib nae yr ) ae > —_—_——~-S 6 | oe eG * Sar ch See (Ce Re Ss Oe ee ) 9 IM 4 i Grn ry 4 a £2") &2' 7) Oe ewes *._¢« _ th thi ie > Sm OE Me a 5 +2

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Pf ho 1. 198 ISE GWINE BACK TO DIXIE. TRANSCRIPTION. BLAKE. D. 6 3? {uthor of Shepherds Evening Song: INTRODUCTION. FUP & alll Beat + SY) on i aw A I 4 ‘ PE ELE EE ON AAR Ce SS | / ‘ SERRA BES WES PE res BS cee cial 6 ORE eee MR. | BR 6 oe WS TORE SA eS 4 4 4 4 262145 Copyright naiccelxxix by White,Smith and Co.

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199 a LL TT Lr aN EO tio, LZ jh se esensnashsntsssesnssstennesesytessss sense seen ae ee ee ne a ee an a rn ee a SN Tempo march. ™ | | P he | ll | | i a f 4 i ‘ : id , HE mh MIF 2821-5

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200 Pm oe ks tt. Brillante. ————_ =e 1S OA a —— = ne ae RT BGR RN ee ta ae 220. San A SEP SAECD ° Pein —— Pe 3 , 4 “ igen. ious alent en inal g aad Sako, RPE ESE GRE oe ao ES SE RE OY A ee See es SS a a Ye fe a —— AO} ts A FT ALA WG SS MT ST RR RN RIA GRAS ASS Sk TR Gk Si: CET ae SSO SSE Re ae atl ial andl et 3 , ane a See een _—————— P)__s | aes” TRA tia, aa lA, si aS Se SC See wees oa SEEAS STAT SE AE ATE, SONNE SER SAE RE 2 I PE AE RE ME ones aoe Gee 0 ma Se ae a lied iar ELA Aa RE SSI EN EES 4 GO RE TRE SS 17 SAS 0. ZARA, A OP: 2 NA s tietanisiel ETE CNS 6G ETE MS PE ee eK an — = = = a = r) AE: ne 4... ___— _ a —_____—_ 1 0S Gn ’ J “~Gn e ———_ a Std oxaeaie OG AR B Sons ae | RE ES cee... Ba: Se EE ee a ee ee ee Bae ta tl ee ee _w —a- i t tS OEE Ste a Ses ae a Ee Ce a, I eC ee + Og site OF 6 i

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ee ee PeELioe> 201 4 ‘ ne 24 a CTT... ee. We eee. V SO ... ee e eee 2 eee 66) SRR OS 6 TE SRS RS PCS ar Pe Le Ree ee ee et Na - Gay at FT OR 2M AR oli Le se OE OSE RRR Ek de SRE ila Brillante. 4 i a °° 2 STs Se oS SL SG ee ee 2 ee ees ea a o @#..f c= A 2 ee SERIES SS TT ee A Ls OS OE OR Se Oe 2 LA Le Oe OR OO . £4) RRS 2 ee ee ee ee ee ee AS AS META BA NCS SR eS PRS RO I ME ae aa as a oe 1! SS aT ill SS CE Cl a cae eee eS — — i ee ee ee _—“ a2 Ix. - Ok RES AR, SET oe a See I A A Mi SB: POEL SES ER TE GL ETS 4. Se BE OSS, Fe isan 9 AGRE ERS OA TS GRRE BA Dal UY CRI NR MT GNC REO SAREE, 2 SS I GK AT ES 25) oe eRe, Ge i i _..<a” <<a coo 008 S° 2.2 __ A Be I Pas LY et

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a RES - @e a —ms = Fentr a See | SES +} Ph pe esc att e 8 & SE "SU RRS > Ses) Se EE Ee _ _ J Rp ns : 5 « al . ‘ \ RE ecto oer > | Re SRR RN ete, om r . Sit a ee 2 eS el ee SIS A SR: RRO SE IE ORE See ce fea : r ee }_ eee Ee ee eh A A A eS Me A ee er Be PR ae ee RR CRE er i en nee eee ASQ eee a eee 2 es 1 Ae Nag gS arama ——~ ey + enema ee ~~ i Oe . aaa . Lee 2 oss , i e L a a 4 - » _ 3 . TY 4 i ~~" =a. 2, Fa ; Se See. Se 1 eee ee ee. a I » Bate SE As SPS ee ee ee Or Rt es vege Saas ae AY i We OR: GE De Se eS oe 7 Rem : SF Rm eR ee ee a Ss = mae Ce a en ee Se ———___—s vs 2 ee a et a OE a RR I A _ WRER Be Weeco BR ee Stee. De A { . ee ale Naas ane at sSnlel ate A RS APRS SS S. aEN CGC SG" SL GR Ls Ee a, a ae “ 2828-45

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To the New-Hngland Organ Company. MECHANICS EXHIBITION GRAND MARCH. J. FRANK DONAHOE. Tempo di marcia. > N Phat Se A A ( es Searses eee “o=- a f a a es oe ee — sais — Ss a Sa Copyright, 1878, by White, Smith & Co. 3,445—s.

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NA RR © eared awe 7—J-4 as z | a — a was re: o—- ——— | —--— or aah = ae ot | allt HN ql | alli We TH i. Bee | SIN ‘ = j . TRIO. a = Mechanic’s Exhibition Grand March. 3,445—3.

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33-38. 3-853 5 SS SS eee: SS ee Pe See ee ee oe OEE 2 SAM? EON AMET MEDS Hee SANA © SEAL ma Ce Mechanic’s Exhibition Grand March. 3,445—3.

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PROFESSIONAL CARDS. —— L. W. WHEELER, 161 Tremont Street. CHAS. LEWIS, 7 Pelham Street. Voice. WM GARRETT, 7 James Street. Voice. JOHN O’NEIL, N. E. Conservatory. Yoice. H C. LOGAN, Piano Teacher. 22 Eliot Street. MRS. RAMETTI, 16 Dartmouth Street. Voice H E. SAWYER, 44 Mentgomery Street. Voice. CARL PFLUEGER. 154 Tremont Str et. Voice. T H. HOWE, Teacher of Music, 15 Allston Street. —— JULIAN DOANE, Tenor, 95 State Street, Boston, Mass. MISS SARAH C. FISHER, N. E. Conservatory. Voice. ————— —_ MADAM E. M. D’ANGELIS, 379 Columbus Ave. ——_—_- J. W. TUFTS, Teacher of Theory and Piano, 1 Hollis Place. Voice. W. J. D LEAVITT, 433 Washington Street. Piano and Voice. MRS. G. A. ADAMS, Teacher of Singing, 108 Appleton Street. MISS M. J. SCANLAN, 156 Salem Street, Teacher of Piano. HARRY BENSON, N. E. Conservatory. Voice and Tonic Sol fa. MRS. FLORA E. BARRY, Teacher of Singing, 124 Chand- ler Street. I H. K. DOWNS, Teacher of Piano. Address White, Smith & Co. Ww F. WALKER, Music-Title Engraver. Address, White, Smith & Co. MRS. C. N. HOMAN, Teacher of Piano, 98 Warren Street, Charlestown. EDWIN TROWBRIDGE, Teacher of Piano and Voice, Norfolk, Mass. MISS LAURA WATERMAN, Teacher of Piano, 380 4th Street, South Boston. MRS. J. W. WESTON, Teacher of Vocal Music, 75 West Br.,okline Street. MARIE D’ANGUERA, 59 Baldwin Street, Charlestown. Piano and Guitar. W. H. THOMAS, 31 Johnson Street, Lynn, Teacher of Piano and Organ. LOUIS C. ELSON, Piano, Singing, and Harmony, 83 Fort Avenue, Highlands. B R. DOWNS, Teacher of Piano and Singing. Address White, Smith & Co. R* F RAYMOND, Teacher of Pianoand Organ. Address, White, Smith & Co. MISS LINDA DE ANGUERA, Teacher of Piano, 1 Med- ford Street, Somerville. HARRY COWLES, Teacher of the Organ and Piano. Box $ 154 Tremont Street. HARRY WHEELER, 149 A, Tremont Street, and N. E. Conservatory, Music Hall. GEORGE BOARDMAN, teacher of iano, 143 Warren Avenue, Boston, cr care of White, Smith & mpany. ait». JULIA A. WELLS, Contralto, will receive pupils at Hoici Beyistorn, Boston, Mass. JOHN A. WASHBURNE, Teacher of Organ and Piano, Montrose Street, Vineland, N. J. G. LENNON, Teacher of Piano, Organ and Theory Address, 149 A, Tremont Street. MRS. ANN\ LORING, Music Teacher, Hanson, Mass., solitits the patronage of the public. MRS. ANNA MAYHEW-SIMONDS, Teacher of Piano and Organ, 136 W Chester Park. —— SE - S MISS ANNIE C. WESTERVELT, Vocalist, Soprano, Hotel Union, 301 Shawmut Avenu "MISS SARA G. BAILEY, Piano, Singing pad Harmony. a edress, care White, Smith & Co. s — K. H. BAILEY Organist, Musjeal Director, and Teacher of Singing and Pianc ess care White, Smith & Company. ky Ze 6 ee MISS SUSAN NEWSOME, Teacher of Piano, Eliot Street, Jamaica Plain. Refers to L. C. Elson. . J. W. ADAMS, Teacher of Voice Culture, and English and Italian Singing, 22 Eliot Street, Room 1. _ A. E. WARREN, Teacher of Pizgoand Cencert Accompan- ist. Address in care White, Smith & Co. MISS LILLIAN WESTERVELT, Teacher of Piano. dress Hotel Union, 301 Shawmut Avenue Ad- MISS MAY ALICE VARS. Vocalist and Teacher of Sing- ing. Address New England Conservatory. MRS MINNIE LITTLE, Teacher of Piane and Veice, 14 Edinboro’ Street, or care White, Smith & Co. MRS. J. M. HALL. Teacher of Vocal Music— Italian and English School, Maple Street, Malden, Mass. SIG. L. D. VENTURA, French and Italian Languages, and Italian Elocution, 102 Beylstor Street, Boston. WILLIAM H. ROLFE, Teacher of Pianoforte. care Woudward & Brown, 690 Washington Street. Address, MRS. J. H LONG, Voice Cultivation and Singing in all its branches, 21 Holyoke Street, off Columbus Avenue. FRANK L. CROWELL, Teacher of Piano and Organe Piano pupil of Lebert. Office in Park Street Church. JAMES M. TRAC\, “eacher of Piano, Organ and Har- mony, 154 Tremont Street, or care White, Smith & Co. H H. RICH, Tenor, Choir and Chorus Director, and Teach- er of Vocal Music, Address care White, Smith & Co. MRS. C. A. GUILMETTE, Teacher of Vocal Technique and Singing, Hotel Union, 301 Shawmut Avenue, Boston. MISS JULIA DAMON, pupil of Mrs. S. E. Wasgatt, teacher of piano. Address care White S ith & Company. H. M. SMITH, Lynn, Mass., Teacher of Music, dealer in musical merchandise, &c. Subscriptions to the Forio taken. MRS. O. T. KIMBALL, Teacher of Vocal Art, will take a limited number of pupils. Address, care White, Smith & Co. J. F. CHAFFIN, Pianoforte Tuner, 168 Main Street, Fitch- burg, Mass. Also dealer in Pianos, Organs, Stools and Covers. MISS SARAH LISSNER, Teacher of Piano and Singing. Address care of Women’s Industrial Union, 157 Tremont Street. F. L. HILL, Teacher of the Guilmette System of Respira- tory and Vocal Technique, 36 Winter Street, Room 13, Boston. HIRAM WILDE, Vocal Culture ard the Art of Singing. Address care Boston Conservatory, 154 Tremont Street, Boston. MISS L. E. BRADSTREET, Teacher of the Pia~oforte and Harmony. Address 73 Hancock Street, Boston, Mass. GEORGE C. DOBSON, Teacher cf hanjo and Guitar. Fine listruments a speciality Address 290 Shawmut Avenue, Boston. PAULINE PFEIFFER-STRATER. Dramatic Soprano, can be eugaged fur Concerts, and so forth. Cultivation of the voice (Italian method) and Teacher of German Songs. 18 B>yl- ston Street, room 11, Bb. Y. M. C. U. tuilding. FRED WELD, Theatrical Builder.” Scenery to let for dra- matic representations, also ma __and painted to order, 290 Tre- mont. corner of Castle Street, woston Mass. EDWIN S. BETTELHEIM, Albanv, Agent for all leading musica) monthlies. FOoLio received. N. Y. Genera: Subscriptions for the MISS KATE A. BOWERS. Vocalist and Teacher of Vocal and Instrumental Music, and the Italian Language, 28 Worces ter Square, Boston. G#tORGE FOX, Concert Pianist, and Teacher of Modern an.i Classical Music. Address 10 Common Street, or care of White, Smith & Co. MISS AMY AMES, Teacher of Vocal Music, the method of Wartel of od an the teacher of Nilsson. For terms, address care White, Smith & Co. MISS ADDIE DEMONT, 224 Tremont Street, Teacher of Pianoforte, and soloist on the Zither and Xylophone. Engage- ments for concerts solicited. HELEN E. H. CARTER will devote her time to Concert Engagements, and Teaching. Address 51 Warren Avenue, Boston, or White, Smith & Co. H. S. PERKINS, Teacher of Violin, Harinony, and Musical Composition, Conductr. ef Musical Conventions, Chicago, Ill. Address care White, Smith & Co. T. P. RYDER, Tescher ef wx. and Organ. Soloist and accompanist for cone °‘s, lez.ares, &e. Director of musieal so- cieties. 516 Wash.agton Street. FERNANDO D’ANGUERA, Teacher of Piano. reom 20 Uuion Street, Charlestown. Terms, $25 per quarter at room; $soat pupil’s residlenee. Musie- MRS M. E. JARVIS, Teacher ef Vocal Musie 8: Lever ett Street. MISS AMELIA GROLL, Toacher of Piano, 40 Chestnat Street, Char'estown. ROSE STEWART, Soprano Vocalist, Member of the Ger- mania Concert Compa:y. Care White, Smitn & Co. PIANOS TUNED AND REPAIRED inthe most thorough manner by competent workmen. Pianos tuned at any distance. Address White, Smith & Co, Boston Mass. RAYMOND D’ANGUERA, Pianeforte Tuner, Regu ator and Repairer, formerly wih Chickering & Sens. Addros< 54 Baldwin Street. Bunker Hii! District, Boston. MISS JENNIE B. DECATUR, Pianist for concerts, enter ~ tainments, &c. Will take situation to show pianos ia ware-room.. Address 20 Carel Street, Chelsea, Mass. HENRY J. POOLE, Tuner. Pianos, Cabinet Organs, and Church Organs tuned, regulated, and renaired promptly and sat- i factorily. Address, care White, Smith & Co. MRS. M. E. JOHNSON, Teacher of Singing. Qualified and authorized teacher of the Guilmetie System ef Vocal Tech- nique, 28 Winter Street, Room 24, Wednesdavs avd Saturdays. G. W. FOSTER, Conductor and Vocalist, at Woodward & Brown’s Piano Rooms, 690 Washington Street. Call Saturday, from 11 to 12 o'clock. Soloists for Concert Conventions fur- nished at reasonabie rates. WILLIAM GOOCH, Practical Piano Tuner. Pianos tun-@ and repaired in a most thorough and satisfactory manner. Order books at Whire, Smith & Co.’s, 516 Washington Street, and at residence, 42 Dover Street. J. W. COOK Practical Pianoforte Mover. Offi-e 6 Avery Street; Stand near the Adams House; House, 1o Haymarket Place. Piarofortes and furviture packed in the best manner for transportation. Furniture moved in and out of the city. JOHN F. WAKEFIELD, Flute Soloist, can be engaged for concerts, l,ceums, concert companies, musical entertainments, orchestral performances ard general business instruction on the Boehm and German Systems. Terms very reasonable. 28 Schoo! Street, Room 39, Boston, Mass. MISS CLARA E. SMART is prepared to receive pupils at Suite 21, Hotel Boylston. She teaches Madame Rudersdorff's System, and calls attention to the following endorsement: ‘* Miss Clara E. Smart is fully authorized to teach my method for pro- ducing and locating the voice legitimately. Erminia Ruders- Mrs. Parker Leach, Soprano Soloist. Spee alties;s Concert & Oratorio Work, Address in care of A. FARINI, MUSICAL STUDIO 150 TREMONT STREET. VOCAL CULTURE. Specialty: Opera and Concert Stage. MRS. J. H. LONG. TEACHER OF VOCAL MUSIC. Italian Method. English Songs and Ballads. Oratorio, Voeal Eloecution. Scotch Balluds snd De- scripiive Sougs a Speeialty. Lessena given at her resivence. 21 telyehke Street. eT Columbus Ave nue. OLD VIOLINS Carefully repaired --new tops and new bacxs—by L. O —— R. 27 Union Park, Boston. Old and new violins fee e.

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seestiiietinadotiies Rn Nk Chicago Professional Cards. NELLIE R. GRAHAM, Vocal Music and Piano, 3923 Dearborn Street. LEWIS HENNIES, Violin, 278 No. Wells Street, Chicago. Address White, Smith A Co. C H. BRITTAN, Voice Culture and Piano, 136 State Street, Chicago, or White, Smith & Co. SCHOOL OF PIANO TECHNIQUE and Music Read- ing, 21 Centre Avenue, Chicago, Il. MME. L. BALDWIN, Vocal Teacher, 117 So. Leavitt St., Chicage, or White, Smith & Co. JOHN MALTER, Musical Institute. Veice. 76 Monroe Street Chicago. Piano, Organ, and MISS ALICE ATWOOD, Piano and Voice, 3141 Prairie Ave.. Chicago, or White, Smith & Co. OTTO LOB, Musica! Director, 180 Goethe Street, or White, Smith & Co., 188 ard 190 State Street. D. M LEVETT, Piano. Address, care White, Smith & Co., 188 and 190 State Street, Chicago. ; MRS. p Pde LANGWORTHY. Piano. No. 337 Michigan i Avenue, cago, or White, Smith & Co. HENRY SCHNEIDERWIRTH. Piano. Aye., Chicago. Address White, Smith & Co. MME EUEGNIE DEROODE RICE, Piano. White, Smith & Co., 188 and 190 State Street. 1407 Michigan Address, MRS. W. E. ORCUTT, Piano and Organ, 436 West 15th Street, Chicago. Address White, Smith & Co. JAMES A. SEEBAUM, Piane, 128 N Clark Street. Ad- dress White, Smith & Co., 188 and 190 State Street. F. H. MACDONALD, Piaro, 112 Dearborn Street. Ad- dress White, Smith & Co, 188 ard 190 State Street. MRS. W. B. FORSYTH. Piano, 639 West Monroe Street. Address White, Smith & Co., 188 and 190 State Sweet. MISS ANNIE B HOWARD, Piano, 3159 Indiana Ave. Address White, Smith & Co, 188 and 190 Staie Street. MISS H. M. KELLER, Piano, 174 So. Sangamore Street. Address White, Smith & Co , 188 and 190 State Street. MISS BESSIE CHRISTIAN, Piano, 126 Dearborn Street. Address White, Smith & Co., 188 and 190 Srate Street. C MCQUISTON, Voice and Piano, 41 Honore Street. Ad- dress White, Smith C Co., 188 and r1go State Street. WALLACE ‘4. KRAUSE, Piano, 417 Mi'waukee Ave., or White, Smith & Co., 188 and 190 State Street, Chicago. MISS CARA F WHITTIER, Piano, 914 Fulton Street, Chicago, or White, Smith & Co., 188 and 190 State Street. MRS. MAGNUSON JEWETT, Vocal Teacher, 502 Web- ster Ave. Address White, Smith & Co., 188 and 190 State St. PIERCE WARWICK, Piane, Harmony, and Singing Address White, Smith & Co., 188 and 190 State Street, Chicago FRED L. MOREY, Piano and Composition, 2406 Wabash Ave, or White, Smith & Co., 188 and 1go State Street, Chicago. CHARLES M. SYKES, Teacher of Organ and Singing. Address White, Smith & Co, 188 and 19 State Street, Chicago. MRS. A. E. RUFF, Teacher of Music. Residence, 28 N. Throop Street. Office. Story & Camp’s Piano Rooms, Chicago. MISS NETTIE M(CDOUGALL, Piano, 7 South May Street, or White, Smith & Co, 188 and rgo State Street. MISS LIZZIE M. SEMPLE, Instructor on the Guitar, 516 Lake St., or White, Smith & Co., 188 and 190 State Street. H. ARCHAMBAULT, Teacher of Piano, 3300 Cottage a Ave., Chicago, or White, Smith & Co., 188 and 190 State treet. ALBERT E. RUFF, Teacher of Piano, Voice Culture, Violin, Theory, and Composition. Residence, 28 N. Throop Street. Chicago. GEORGE W. BROWN (Pers!ev}, Music for Seirees, and so forth, 3118 State Sueet, or White, Smith & Co., 188 and 1go State Street, Chicago. WALTON PERKINS, Teacher of Piano, Dore Block, 75 Madison Street. Room 41, or White, Smith & Co., 188 and 190 State Street, Chicago. MISSES GREER, Piano and Voice, 37 Dore Block, corner of Madison and State Street. Address White, Smith & Co., 188 and 190 State Street. D. P. F. VAN DE SANDE, Teacher of the Piamnoforte. Music Rooms at Story & Camp’s, 188 and 190 State “treet, Chi- gago. Residence, 40 Centre Ave. Optio. MiSS ZELINE MANTRY Violin Soloist, and Teacher of Piano For concert engagements add-ess White, Smith & Co., 188 and 190 Srate Street, Chieago oe BROWN & WINKLER’S BAND. Engagements made for ail musical eecasions at No. 3118 State Street, or White, Smith & Co. 188 and 190 S ate S:reet, Chicago. EMM a LOUISE FIROLERK, Vocal teacher after the style of Mye. Rude sdo f’s system cf voice placing and culture, 18 Wi lard Place. Chicago, er White, Smith & Co, PROF. W. WILL ‘MS, Teacher of Orgen, Vocal Music, Therouzh Bass, and Misicat. Composition. Address White, Smtth & Co., 188 and 190 State Street, Chicago MISS NELLIE G. HAYES, Teacher ef Piano, Organ, Voice and Hirmory. Address 179 Ash'and Ave., Chicago, or White, Smith & C», 188 and tg0 State S:reet. GEORGE BOWRON. Leader of Haverly’s Orchestra, will take » few pupiis for Violt. 2259 I diana Ave., or care cf Hav- erly’s Theatre, +r White, Smi h & Co., 188 and 190 State Street. H. S. PERKINS, Teacher of Voice. Harmony, and Musical Compositi 1; Conductor of Musica! Conve: tions and Festivals. Musical currespor dence soliciteu, Address White, Smith & Cen 188 and 1go Stats S:reet, Chicago. CHICAGO QUARTETTE — Harry Thomas, rst Tenor; James F. Bird, 2nd Tener ; C. A D w. rst Bass: C C. Lefler, 2nd Bass. For terms aud dates address Harry Thomas, Man- ager, 144 So. Clark Stre-t, Chicago OYS AND GiR~S, ATTENTION! Your name and pho- lograph on twelve fine Fre-ch visiting cards for 50 cents Send piciure for copring, which wil be destroyed. KELLER & Co. 12 Tibbits Plock. Utica, N Y. J. L. A. BRODERSEN & CO., DEALERS IN SHEET MUSIC, MUSIC BOOKS, MUSIC FOLIOS, &c. 137 and 139 Post Street, SAN FRANCISCO, - - CAL. All new music received as soon as_ published. books for all musical instruments. Instruction Agents for the Fotto. WILLIAM E. CHANDLER, DEALER IN SHEET MUSIC, MUSIC BOOKS, MUSIC FOLIOS, &c. 172? Middle Sireet, ORTLAND, ME. Instruction Books, for all ins :uments kinds of Orchestra and Band Music. Your patronage is solicited. Wright & Palmer’s Voluntaries. For Reed and Pipe Organs, fifty-eight beautiful theines, harmonized ina most effective manner, containing many imita tions of the Batiste School. For parlor organs orchurch organs, recreation aid study for amateurs and professionals. By R. P. Wright and A. H. Palmer. Price $1.00 WHITE, SMITH & CO., Publishers, Boston and Cl$-ago. Banjo Instruction Books GEORGE C. DOBSON Complete Instructor ........$1 00 Dobson Brothers’ Modern Me- thod.:: Paper 35 S080 2% George ©. Dobson’s New School for Banjo. oes es, Bouquet of Melodies (sheet mu- Orders taken fora Music sent by mail. 1 00 Td 50 WHITE, SMITH & CO., Publishers, 516 WASHINGTON STREET BOSTON. 188 AND 190 STATE STREET, CHICAGO. 207 os A Great Success wherever Presented. Gyp, Junior. An Operetta for Private Theat- ricals, Schools, &e. LIBRETTO : by : EARL MARBLE MUSIC : by : D. F. HODGES At the opening of the operetta, Gyf, Funzor, 1s living with an old Gyfsy in the woods, whence she is sent every day, rain or shine, to beg. Her only solace is her rabbits, of which she has several. She is a timid child, and is frightened easily after dark. About the time the operetta opens, she is frightened at twe Tramps who are prowling about the house, and who at last prove to be her father and brother, who have been searching for her ever since she was stolen by the old Gyfsy several years be, fore. The operetta opens with a song and chorus by scholars from a neighboring seminary, who are out in the woods at play. Some of the children have their fortunes told by the old Gypsy. Night comes on ina short time, and the 7ram#s come to the hut of the Gyfsy, and are satisfied that Gyf, ¥unior, is indeed their lost adel, and go into the hut to secure any clothing that may serve to identify her ; but when they come out the child has been coaxed away by two of the scholars who have taken a liking to her. - The second act opens at the seminary, where Gys, Fusior, has been taken, and has become a scholar with the others Ina few days the 7ram/s find her here, and so does the old Gypsy, the latter of whom watches her chance, and decoys her from the yard with a rabbit, and takes her a captive into the woods. But her act is seen, the alarm is given, and the 7rams, appearing just then, go in pursuit, and soon return with the child in safety, and the old Gyfsy a prisoner. The following notices are clipped from a great number that have been given in various irfluential journals: — A pretty juvenile operetta. — Boston Daily Traveler. “Gyp, Junior,” is a very bright, sparkling affair, and is sure to be very popular. — New-York Mirror. The plot is attractive, and the music well adapted for the en- tertainment of children. — Bost-n Home Fournal. The words are pointed and humorous, and the music sweet and suggestive. — Boston Saturday Evening Express. It contains many bright numbers, and the words of the songs and the dialogue are of a nature to please all. — Vew-York Sun- day Courier. The libretto is finely written, and full of interesting incident, and the music is lively and taking, — bright, pleasant music, such as children like to sing. — Boston Datly Globe. . This 1s one of those productions, — sweet as a chestnut, and without its burrs, — which 4 mericans want. Without claiming great originality it is sure to achieve local successes, as the mu sic is easy and melodious, and the dialogue good. — Rev. ¥. H Wiggin, in American Art Fournal. Donahoe’s Magazine, the well-known Catholic periodical, says of ‘* Gyp, Junior,”’ that it ‘‘is a very tasteful and pleasi-g little work, and, as its tile implies, is excellent for use at church en- tertainments, ard so forth, as it is not difficult. It is gotten out in Messrs. White, Smith & Company’s tasteful manner.”’ The Boston Watchman, the Baptist weekly that maintaios such a high standirg, says, ‘*‘ Gyp, Junior,’ a juvenile operetta with words by Ear) Marble and music by D. F. Hodges, takes high rank among productiens of its class. The poetry is of that fluent and breezy quality so acceptable for either reading or sing: ing. A description of school children in the woods having their fortunes told by an old gypsy is very picturesque and entertain: ing. The music is goed asa whole, and some of the melodies are unusually sweet and expressive.” : Hezekiah Butterworth, one of the editors of the popular Youth's Companion, and the a thor of the famous Zigzag Yourneys which, not belying their name, have circulated everywhere like zigzag lightning, writes thus cf ‘“‘Gyp, Junior” : ‘¢* Gyp, Junior,’ is excellent. It will act well. sy and her rabbits will take with yourg people. The loss and recovery of the child will excite an eager interest. ‘The libretto is a popular one. I am sure cf its success. It will last. Those who see it in one place will produce it in another.’’ ine old Gyp- PRIcE 75 CENTS. WHITE, SMITH & CO.,. Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFE,. New Werk.

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208 y 4 Wi 4 a ee, Oe ee eee 7 S448 4 ITE, SMITH & COMPANY'S — —s . En, sine GREAT WESTERN POPULAR PIANO INSTRUCTOR OF THE DAY. Boston Conservatory Method. Revised and enlarged edi- tion, 100 pages added.....-s.seveeccecee-soscsccees 2 50 Blake’s New Piano Method. Paper......+s+eeeeeseees Vex 3-9 Blake’s New Piano Method. Boards ..... igcdannpentauee I 00 First Lessons for Piano. By the Sisters of Notre Dame of Cincinnati, Ohio. Paper.....ceesscececseeccecces . I 50 Fiohler’s Practical Method. Vol. 1 ......++e+- éas'ewes fad 8 Kohler’s Practical Method. Vol. 2 ...-.seesceecee seeee . S-9s Blake’s Primary Method. Paper .....+2 sesscececceecees 75 Blake’s Primary Method. Boards .....-ceeseeeeeescecees I 00 Beyer’s Method. American fingering. Boards........... © 25 Beyer’s Method Foreign fingering. Stone edition. Boards. 2 00 Petersilea’s Method. Boards........++seeses- b ceeepvcdecs 2 50 Petersilea’s Method. Revised. Cloth. ..+.-.sesseeeesees 3 00 Hunten’s Piano Compositions.....s+sseecceccsesecccsecees I 25 Hunten’s Piano PITETITTTTI TTT TTT Teer 75 Lievert & Stark’s Piano Method. Parts1and2. Each. 3 00 POPULAR ORGAN INSTRUCTORS. White’s School for Reed Organ ......csccccccc eccccceces 2 Most popular book published. Over 300,000 copies sold. Blake’s Dollar Organ Instructor .......+.000- Blake’s Model Organ School .. New Method for Mason & Hamlin Organ. Eugene MOVE coswese bsekvedeacesas Ameehethewbeseuoabenk Wright’s New Method for Reed Organ. ... Thayer’s New Method for the Organ....- ecccsacccces eeeeeoeseeeee I cece 2 cove I eeeoeteeooe 5° NEW VOLUNTARIES AND COLLECTIONS For church and home. For cabinet organ and church organ. Organist’s Quarterly Journal and Review, separate num- EE veten dad Hess 044 Swe ye 054 DN Ga cnctdaveeebeses eee 1 00 Organist’s Quarterly Journal and Review, comp. 12 num- ers CIO occ cee cee cccceseccwcsecec se o so-3 50 Organ Melodies. Boards....... 2 ecubcbes saat ode Scocubaas Ge Organ Melodies. Cloth. ......+eeeeeeeeeeeees evcecese ». 250 Pipe Organ Gems... -eeececceccesccecceccsccscesceeees I 00 Ra-mond’s Reed Organ Gems, new and enlarged edition. Boards cocccccccccccccpevccce neheiiheyeeeses coses 2 00 Raymond’s Reed Organ Gems, new and enlarged edition. CIR 6090 000g se Ridden ubeb twee tie ekes Reeebaa’ 2 50 Ryder’s Short Organ Voluntaries. .-..++-+sseeeeeeeeeeseee E00 Thayer’s Voluntaries and Responses, in numbers. Each.. 1 00 Thayer’s Voluntaries and Responses, complete...----+-+-- 2 50 Themes and New Arrangements, by R F. Raymond ....- 2 00 Wright & Palmer’: Organ Voluntaries...---0.sseeseeseeee E00; Just published. Two new collcctions which will be sure to mee with great success. POPULAR COLLECTION OF INSTRUMENTAL MU SIC OF THE DAY. Echoes from Europe. Boards ......ss.eees sees cacbineee: Mf 00 Echoes from:Earope. Cloth ..00 .criecccisccocdssscececs 2 50 mehoes from: Riyitipe): Gule. cioscee sc ccdvicccccdewctioxves 3 00 Stratea’s Dance Music. “Paper. i... oc cccscccieceseccsees I 25 Guanes Dance Music. .. Cloth canes. cccecccscccnacde cose 2 00 Chopin’s Valses. Coll. Litolff, No. 1044 Paper......... 50 Viusic and Boe 2 nn nn cae en ann rnnnNn Senne ee EEE Publishing House. 5 and 6 Washington Street........ CEXICAGO, IT.I.. Chopin’s Valses. Coll. Litoiff, No. 1044. Gilt.......... 1 50 Home Favorite. Instrumental. Boards..........seeeeee 2 Home Favorite. Instrumental. Cloth............seeeees 2 50 Home Favorite. Instrumental. Full gilt....... 2.2.00 3 00 Semuivatin’s Albom: : Papas... 0<ssiceceucccavenvessvens 60 SCOMMINGR FIOM. Gh oc n.k oho sce ce odcadaeetevecesce I 50 PE WICK SIPIOE, 5: ONES Assos kine (00sec en son osedes 2 00 Mi usttal Uireeting... Chathiice Ss ienccce weds cccsvacuccvenpes 2 50 Musical-Greeting, . Full gilts... cc csk cers cceccsdecdeveecs 3 00 Duett Gems. Fourhands Boards ..........seeeeeeeees 2 00 Duett Gems. Four hands. Cloth...-.......sceeesceeeee 2 50 Duett Gems. Four hands. Gilt........0sceseececeeeeees 3 00 Clementi’s Sonatines. Peters’ Edition. ...........+.eees: 60 Kuhlau’s Sonatines. Peters’ Edition ........seeseeseeeee 50 Gems of the Waltz: Boards: .....ccccsccccccccsscecccecs 2 00 Gems of the Waltz: ‘Cloth......ccciscccccccccccccencces 2 50 Gems of the Waltz. - Gilt..........+. ecaesecees seer tnaces 3 00 O'd Time Favorites. Boards...........++ EE acer I 25 Old Time Favorites. Cloth «......e+eeeeeeeeee ebaweh ooe's I 50 Old Titnd Fawotinee - Gite iss oc see vesweccc ccc veviespens 2 00 Scenes from Childhood. Schumann.........sseceeseeeees 50 Mendelssohn’s S. W. W_ W., S. & Co.’s Ed. Peters’. Paper ccc Ghee covededevcesccccedes - cevesdscsceves I 00 Mendelssohn’s S. W. W. W., S. & Co.’s Ed. Peters’. UGA G She oe RE OSCR SE 0 CREK Ws UV ERCCLN SE eb ET RAR RES CRASS xr 50 Mendelssohn’s S. W. W. W., S. & Co.’s Ed. Peters’ FUE oss nce e- Gh ted epee cece hes tavheee soles capede 2 25 Beethoven's Sonatas. Litolff Ed. From stone. Paper .. 3 00 Home Delights. Instrumental Duetts. Boards.......... 2 00 Home Delights. Instrumental Duetts. Cloth ........... 2 50 Home Delights. Instrumental Duetts. Gilt ..........-6- 3 00 Sonatine Album.” Coll. Peters, No. 1233 ..-seeeeeeeeeeees 50 LATEST VOCAL COLLECTIONS, which are meeting with favor everywhere. Cluster of English Songs. Boards... ...ssseecseceeee oe 2 00 Cluster of English Songs. Cloth........sseeeeee er 3 50 Cluster of English Songs. Full gilt. ....s.eeeeeseseees ‘** 3.00 Gems of Foreign Song. Boards......++.sseecesecveees ++ 200 Gems of Foreign Song. Cloth -......+ssceeeveses oeeses 2 50 Gems of Foreign Song. Full gilt....-+.-.seeeeeeeeeeeees 3 00 Musical Gem. Vocal and instrumental. Boards......... 3 00 Musical Gem. Vocal and instrumental. Cloth........... 2 50 Musical Gem. Vocal and instrumental. Full gilt ......-. 3 00 Musical Wreath. Boards .......seeeeeseseees ss -steeve + 2 00 Musical Wreath. Cloth.....cccsccccccceccce coccece sees 2 50 Musical Wreath. Full gilt .......eseeeceeees éactive seseee § 00 Song and Dance Album. Paper.........+.. cbaps eden cedy. c. OO Song and Dance Album. Boards .......+seeeee- cceccenee I 25 Sorgs of America. Vocal. Boards.......+.+.++- osvescse 2 00 Songs of America. Vocal. Cloth.....sessessceeseseeeee 2 50 Songs of America Vocal. Full gilt.........++- psutbease, BD Songs of England. Boards....... bine sae din sv Caen ow as +. 2 00 Songs of England. Cloth cecce-coose 2 50 Songs of England. Gilt ....-.seseeececsceeseees sescecse 3 00 Vical Duetts and Trios. Boards .........see0. eprececese 200 Welcome Favorite. Vocal and instrumental. Boards..... 2 00 Welcome Favorite. Vocal ard instrumental. Cloth...... 2 50 Welcome Favorite. Vocal and instrumental. Gilt ....... 3 00 Send for a Specimen Copy THE FOLIO! HUNTING MUSICAL ITEMS. The Champion Musical Monthly. WRITING THEM UP, THE OLDEST AND BEST. SETTING THBM UP, $1.60 per Annum, with Premium. Single Copy, 15 Cents. Send for our New Complete Catalogue of Books and Music.

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: —_—_ —_— hen the Leaves begin to Turn. BY C. A. WHITE White, Smith & Company publish more good music and more popular airs than any other music pub:ishing house in the United States, and you are almost certain to get what you want by ad- jressing them a note at any time. As a sample of this their song, ‘* When the Leaves Begin to Turn,’’ had a sale of nearly -hree hurdred thousand copies. Nothing trashy is ever put forth by them, and their music, while being extremely popular, is sold at popular prices. — Buffalo News. WF Se GEO vine chee nanrcondssocccnecceses socccesces 66 WALTZ, FOUR HANDS ..0.0. ccccccccccccccccccccces I 00 PRANSCRIPLION ......... Cestecpesdeeececetcedeetses 75 VIOLIN AND PIANO 2.0... .ccecceecceeceneccescecces 65 PIANO, VIOLIN, AND CORNET ....cee.. se ceeceees 75 WALTZ FOR ORCHESTRA... cevccccccccccccccecs 50 SCR Fe DRS icccy thcctinh dives seen aauns tees éeecee 75 WAL1IZ SIMPLIFIED. oe neccds cccccuocceccacctsevecs 35 Ancther Great Waltz Song by C. A, White. ‘*Birds in Dreamland Sleep,” is a waltz song, by C. A White, that is very pleasant and easy to sing. It is not disfig- ured by crudities and awkward, jolling rhythms; the passages are free ard natural in shape, ard do not baulk the singer. The contralto edition mses to E flat, the soprano to C, and as the in. struments! accompaniment is printed it is ready for use in the concert room, and will save singers the expense of having an or- chestral arrangement made. It is also arranged for a small or. chestra, and as a pianoforte piece. — New-York Free Press. WHITE, SMITH & C€O., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNMHOFF, New York. Beethoven's Sonatas. * Beethoven’s Sonatas,” a reprint on stone from the famous Litoiff, is issued at last, and is ready for delivery. The plates are large, the reading plain, and a portrait on stone of the great composer adorns the work. Ic is the finest edition published, and ean be had with either foreign or American fingering. Ask for the White, Smith & Company edition. The following are the prices: Paper, $3; cloth, $3.50; gilt, $4. The publishers of the Boston Fotro, White, Smith & Compa- ny, while continuing the publication of new n.usic of all kirds, are also engaged in the long-needed work of reprinting classical compositions in a remarkably cheap, yet excellert form. Among these are a collection of Chopin’s waltzes, another of Chopin’s wocturnes, and very recently they have issued a volume contain- ing the first sixteen of Beethoven’s sonatas or symphonies, in- cluding the ‘ Pastoral,’”’ ‘*‘ Moonlight,” and others equally pop- ular with advarced students. It is know: as the Litolff edi- tion. — Philadelphia Evening News. SONATINE ALBUM. The “‘ Sonatine Album,” No. 1233, Peters’ edition, ~hould be in the hands of teachers and students. I: contains seleetions from Beethoven, Clementi, Kuh‘au, Morart, Haydn, and others, It is printed in the best style from stune, and is only fifty cents ARMINIUS. Max Bruch’s great oratorio of ‘‘ Arminius”’ has taken a great eap into popularity since its successful preduction under the ecomposer’s baton by the Hardel and Haydn Society. The ad- ditional sale has enabled the publishers to reduce the prices as follow: Paper, $1; boards, $1.25; eleth, $1 50; gilt, $2. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNUOFF, New York. Piste Boundless Love. By D. F. Hodges. CONTENTS. Miiihe with: Ue ug « idinwicaiin Ge ease dees vivcccuas D. F. Hodges. 22 ADide WH BEG 65 oo S68 00r80 8o ie he cave vcied W. H. Monk. 25 After this Life .......... ALIS UNG Reeds cebacrepaei wer eraees 31 At tite Pert OF Fesul se. ccsisicecisdes cd. Charles E. Pollock. 4 Benny’s Tears are Dried Forever. Words by George Cooper. C. A. White 18 Be Kind to One Amithetecs. o.05 0 6ks ved dives ins: De Faitch. 63 Comfortable Words ......00cicecscccdbessces D F. Hodges. 35 RAINE REOOE a.55 binds dhe0 ed. si ewpecen’s ve0u John McPherson. 33 Evening Prayer........sceseees hearee eae side D. . Hodges. 60 Be PTO, 9.5 6.4.6.0-06. 40 ema detws ce ne eeeees Ailie L. Smith 38 PEGCMING FONR,.060d svecccensecwcccccseepess sageuccs exe sees 27 POI TEV on Fic h Cel vires c ukcaSe viene csee W H Monk. 15 OPN AM TERROR fois s.vc dw o's db bda ds ewer wcakl D. F. Hodges. 5 In the Shadow of the Rock. Words by Ray Palmer. D. F. Hodges. 46 Words by T. J. Lawrence. Charles E Pollock 45 Increase eur Faith. Words by Frances Ridley Havergal. D. F. Hodges. 26 Y ’il ‘arust sm His Piomisse. Jovful Kes. Words by Dr. H. Bonar....... D. F. Hodges. 8 TilwO FOP CNG MII 6 ou Gut kn Fes ben 002.0 d a ono SRN wade ce Mwene 28 Love for Ali-..... 2.0. Pane hints de cba ueeane ee Er er Balfe. 9 Meet me ut she Beautiful Gate. Words by George Cooper. _C. A. White. 42 My Mother Duat....seeseee coeeseceeeeees++D F. Hodges. 32 Wemrer to thd MAGGS ccc crac kc cose cxsience D. F. Hodges. 30 Never Forger txe Dear Ones .....00.eeeeeeee D. F. Hodges. 34 Nearer, my Cou, 40 Thee........ ey erry D F. Hodges. 21 Not Dead, but Sieepeth......... ccenengece -+--C. A. White. 52 Only Remeinbered ............. wake peteeens D. F. Hodges. 12 One of the Sweet old Chapters .............. D. F. Hodges. 16 Over the Starry Way......ccseccesess det coes D. F. Hodges. 17 Our Heavenly Father ........0.sseeceee ---+-D. F. Hodges. 23 Oh! Lead me On. Words by Rev. H. B. Wardwell. - D. F. Hodges. 47 Over the Stars there is Rest. Words by L. C. Elsen. e D. F. Hodges. 50 One Beautiful Night. Words by J. C. Proctor. D. F. Hodges. 58 Sabbath Evening. Words by J. E. Rankin, D. D. Brennie Smith. 61 Songs of Love. Words by J. C. Proctor.....D. F. Hodges. 3 Send for Mother........... Sébedececcene eer Tere Eastburn. 56 Sun beais 4'e os cedegevesscccewcvsncee seccceas D. F. Hodges. 36 A WMD Ube EG x ce isccces ccicns cavetss Arthur Sullivan. 39 The Argel Band. Words by M............ Frank E. Crane. 40 The Angel Presence .......+.ceceeeeeeeeeces D. F. Hodges. 6 The Bible. Words by Mrs. E. C. Ellsworth....... H. V. C. 20 The Call 6f the Angele. coos ces cssnscsosenes D. F. Hodges. 24 The Hand Saul sis s secs caguindeceveaseveusns D. F. Hodges. 62 The Song of the Angels ...........0.eeeeeee: D. F. Hodges. 10 The Unknown Country. Words by Miss Muloch........... 57 T Dibe CORIONIO as dente s sd kctnw ds tees eusdbonchackeae cies 55 ’T would Grieve my Mother so ..........00- D F. Hodges. 11 Walk, Wallk in Love ooss.cccc eves cccscnccccee H. Hampton. 44 When Shall we Meet Again ......seeeeeeeees D. F. Hodges. 29 While the Days are Going By.......-.eeeeees D. F. Hodges. 14 Words of Cheer. Words by William Johnson. D. F. Hodges. 48 Price 15 CENTs. WHitlE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOEF, New York. The Queen’s Lace Handkerchief ‘6 The Queen’s Lace Handkerchief” has been making a sue- cess everywhere. It will be given in Boston early next season. Price, of Opera, Words and Mu- sic Complete, $1. The piano score lately published by White, Smith & Company is a popular one. PRICE 50 CENTS. WHITE, SMITH & CO., BosTON AND CHICAGO. SPEAR & DEH NMOFE, New York. 209 rn Sunday Schools TAKE NOTICE! The following named works have been prepared with great care by the best writers of this class of music in the country, and the publishers have no hesitation in saying that these books have no superior for the purpose for which they are intended ; that is? to make the Sunday school a place in which children will delight - to congregate, and spend an _ hour in singing the beautiful melo- dies and hymns contained in these pages. THE SHINING STRAND. By D. F. Hodges. Sixty, four pages of new and sparkling music. Price fifteen cents, $10 per hundred. BOUNDLESS LOVE. By D. F. Hodges. A new collec. tion of hymns and tunes for use in prayer meetings, Sunday- schools, and the home circle. Price 15 cents. THE WATCHWORD. By J. Astor Broad. Contains one hundred and sixty pages. Already a very popular book. Price thirty-five cents, $30 per hundred. MURRAY’S SONGS FOR SUNDAY SCHOOLS. By James R. Murray. One hundred and sixty pages of the best of words and music. Price thirty-five cents, $30 per hundred. BUDS OF PROMISE. By H. F. Wight. One hundred and forty-four pages neatly bound Especially adapted to the Sunday-school and home circle. Price thirty-five cents, $30 per hundred. GLORIOUS TIDINGS. H.S. Perkins and W. W. Bently. The reputation of the authors is sufficient guaranty of the excek lence of this work. Immensely popular already. Priee thirty: five cents, $30 per hundred. Superintendents and Sunday-school teachers should send fot specimen copies of one or more of these .00ks, and be convinced that they are indeed the most practical and desirable books. pub. lished for the use cf Sunday schools. WHITE, SMITH & CO, Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New Yors. The School Wreath. Designed for Mixed and Boys’ Grammar and High Schools, academies, singing schools, and the home circle. Attractive in appearance, bound in convenient form, and priated from gvod, clear type. THE FIRST EDITION was entirely exhausted in less than a month after publication. A NEW AND ENLARGED EDITION has just been issued, containing two hundred and eight pages. TEACHERS WHO WISH a first-class school song book, embracing a systematie and thor ’ ough elementary course, as valuable not only for what it con- tams, but as well for what is omitted: Plenty of material in the form of solfeggios, melodies, and exercises, progressively arranged in all the minor and major keys; Plenty of popular and pleasing songs, duetts, tries, choruses, and so forth; Plenty of devotional pieces of the highest order of excellence, —will be amply repaid py an examination and use of the *¢ School Wreath.” It is also a valuable work for singing-schools, and aduit classes. One teacher writes, “I am using two hundred comes of the ‘School Wreatt ‘nthe \. M. C. A. singing class.’’ Retail price, sevez:y-five cents; introduction sixty cents. Sample copies sent to teachers aad school officers postpaid, on receipt of introduction price. Address the publishers, Boston or Chicago, or the authoy Washington University, St. Louis, Mo. WHITE, SMITH & CO., BosTtTOoN AND CHICAGO. SPEAR & DEH NMOEE, New Yor

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210 we 2 Oe Ete SB GRE LF SUCCESS PERFECTION ATTAINED AT LAST! The “ | Cl cod, rs Ee Sr Hii 1 inal Hu uo ET at Ee ae ee ee ESTABLISHED 1842. a2 is ie al So f ee a ) , Mi AG i 1) deli fi; : er uM : | } : (esbetey vn vy, w mes MICU = — Sj ieee a Mf tL I shih by So satisfactory have the Hardman Upright Pianos proven that they have been selected by the Guion ard National line of steam: rs, and are the ONLY AMERICAN PIANOS used on the European Steamship Lincs, being on the steamers Alaska. Arizona, Wyoming, Nevada, Spain, Wisconsin, Abyssinia, and Oregon. Of all the severe tests fur a piano, what can be more tryin; tha: constant!y changing ocean cir? It seems to us that if a pi ano will stand ia tune and du i's duty on board one of these, c in fact, any steamship, it will stand anywhere, and under almos any circumstances. What the people wancis a piano, sq :arc « upright, that will not get out of order every change of weath er temperature; and in the “ Hardman’’ they have found the very thing. SET IE BE TON 9 30 tie’ at ys tH Tes ros Hi i U —_ ul li B B : Galinity} ‘ i Mit We “ihe M4 = Wile ail Hiv I Hil 4 ca i ‘ PO RR ~W | wey 3 \ i me ' — ee = —— Hi os i ea H yy i NATIONAL LINE oF STEAMSHIPS, } No. 69 BroApway, New York, FEBRUARY 2, 1883. Messrs. Hardman, Dowling & Peck: Gentlemen, — Your pianos on the steamers of our lise are giving great satisfaction, ard I am free to say that I have never sen anv other es ithstand the constantly changing temperature of our ocean. cannot recommend them too hizhly. Very truly yours, Antonis §. LAck The following is a very valuable tes imonial from agnoted pro- fessor and one high in authority on musical matters in Pitt:- Surgh, Pa: — One of the oldest and most reliable piano tuners and dealers in Boston (at »n¢ time agent for the ‘‘ Hardman’? piano) expresses himself as follows: — Boston, Apriz 14, 1882. To Messrs Hardman & Co., New York: Gentiemen,—1 f Messvs. White, Smith & Co. for the agents of your Piar.osin Bosten Wihso prominent a firm, and so accomplished a pianist as Mr. Chorles D. Blake, who represents the Pia’ o department, sccess is ccr tain. desire to con+vratulate you i1 th=sel ction I have been a dealer in Pianos in Borton ju t thirty years and ought to know a good Piano when I see and hear one. Ten years ago I selected a Hardman Square Piaro for my own par- lor and family use. Two years ago I made a chinge, but only from the square to an upri~ht Piano, and I unhesitatingly proe nounce this same Hardman Upright Piso the best instrumert I have ever seen or used, and I wou!d not part with it fort vie? the amount it cost, for the reason that it suits m>, and, being satisfied, it is not fir sale evenatapremiv>m. W hivg¢ you every success, I am yours truly, W. K. BaTCHELDER. 595 WASHINGTON STREET, BosTon. The following will be a>preciited f om one of the most popu- lar and videly known men of our time, Mon, C. Densmore Wy’ man, vice-president of the Central Park, North and East Rivei Railroad Company : — CENTRAL Park, Nortu AnD EAst River R R. Co TENTH AVENUF §°*D AND 54TH STREET, New YurK, Ap.il 1g, 1883. G. Hilton Scribner, Pre-idert C. De-smore Wyma, Vic P esid nt Messrs. Hardmam, Dewling & Peck: Dear Strs;— The Piano (Cabinet Grand): f which I becam» the f rtunate posscss- or by purcharce f- m you about a year ago, has, si-ce 1's adve: t, been a sourc: of deichtiim magnificert instrument. Artistically judged it combines more cxcellences than any othrr instrument of which I arm aware. Specially do I mention its strencth end brilliancy, united witha purity and d«licacy of tone thit modulates its fo~ce t» the re- quirements cf parlor music most beautifully. For the middle register in particular its mellow richness is all that cou'd be ask- ed. I beg to extend my congratulations upo1 the production of such an instrument, and [ tru t i‘s merits wil continue to in- g friends. *hone, and has proven itseifa crease its present wide circle of lovers and admit? Very tru'y yours, (signed) C. Densmore Wyman. We hope those ef our r-aders, cr their friends, who contem- plate buying or exchanginyz a piano, will write us for catalogue and prices. Charles D Blake, the popular composer and nian- ist, has the entire charge of our piano department, and wil be happy to show to a'l interested, the varius styles of the “ Harc man °*’ and other pianos we may h .ve in stock. After a careful trialof the Hardman Pianos, it is with pieas ure that I offer my opinion of them. They possess many god qualities, among them a reliable and responsive action, general excellence of workmanship, and a tone at once sonorous and. sweet. In short, the Pianos are both refined and artistic toa high degree S [rssexu. Professor of Music Pittsburgh Female Co lege, and Organist of Trinity Ch..rch. # (cs? Pianos sold on casy payments. (a Agents wanted in all parts of New England. WHITE, SMITH & CO., General Agents, 516 Washington Street........ BOSTON, MASS.

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The Latest - THE BEGGAR STUDENT.— Mittocker. Opera Comique in Three Acts, as performed at the Casino, New York, by the MeCaull Comic Opera Company. FRAPS CIN REDBNS oiig o ahead F aide Searmk e Os AI RAN One PGCE Oe ie 1 00 PINE SESE PIRI gT ONO vir wl Savy ASA ol tg Qvertiire for Piane ovis cetacean As da ARR EE eh ae ae TRE CT Grand Potpourri. Blake ........ Rig ce deuce ane ParecT BA ahiG cod baa THE PRETTY CANTINEER. — Pranqverte. A late opera by the author of ‘*Cbimes of Normandy.’’ MOCHA IBOORG. rod og caaels aap ok Se ang MMe eee E IN AGL Re Rane eat oth Libretto (dialogue), Stage Business, Costumes, and so forth ...... Grand: Potpourri for Piano. Blakes ois ys eee a 27 Se eee GYP, JUNIOR. —D. F. Hopes. Libretto by Earl Marble. An Operetta for Private Theatricals, Sunday-Schools, Fes- . tivals, and so forth. Meeting with great success ...........6.606- THE BERRY PICKERS. — FE. H. Batrey. Libret- to by W. II. Putnam. Operetta for young people. Suitable for Church Festivals, Concerts, and so forth. Tas been performed from mnanuscript, and met with success. Just out. Words, Music and Dialogue; Complete: is cs ak ees pale cas et wk be om meet GOLDEN TAIR AND THE TIIREE BEARS. Operetta. By J. Astor Broad. Suitable for Children or Young Peoples’ Musical Entertainments. One cf Mr. Broad’s last works. GRANDPA’S BIRTHDAY. —C. A. Wurre. Oper- etta for Schools, Festivals, Sunday-Schools, and so forth, for chil- dren, and can be used with one adult — Grandpa or Grandma. One of the most successful operettas ever published or performed. RUTH, THE MOABITESS. — Sacred Cantata. By J. Astor Broad. This has had an unprecedented sate, and is new and fresh to those who have not examined this masterpiece of Can- CRC WOT ia sc be oa Wied Cncticced Loblaw cease ACS adhau ath KM bie & eae ee abl ore JOSEPII.— Canfata. By J. Astor Broad. His latest published work, and one that recommends itself on exam- ination. Like ‘* Ruth,’’ it las had a large sale, and is a standard RIRODE: CAN mbes gcse lean eastern eR ad os AN s Sees seks Me RN. KE. PORTER.—Leo RK. Lewis. Libretto by Mrs. A. G. Lewis. An Operetta specially designed for Sunday- Schools, Young Peoples’ Unions, Dramatic Cluts, and so forth... tar ACTING EDITIONS, WITH BOTH MUSIC AND DIALOGUE. (= Sent postpaid to any address on receipt of price. WHITE, SMITH & COMPANY, Publishers, 5 axnp 6 WASHINGTON STREET, CHICAGO. / | SPEAR & DEHNHOFF, New York. I. L. A. BRODERSEN & CO., San Francisco. — Dperas, Onerettas, and Cantatas! The Famous Stone Editions! THE BEST! Tee NEATEST! “THe CoE ArPES 75 15. =I or 75 75

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Standard Collection of the Finest Books ever Published FOR AMUSEMENT AND INSTRUCTION. THE BOSTON CONSERVATORY METHOD FOR THE PIANO. As taught | J UHLAU’S SONATINEN. Edition Peters. A fine edition. ........-eeeseeecceecees 50 gets ae habe cals of Music, Julius Eichberg, director, THES or ecently revised and enlarged. Its superiority consists in its general arrange- ‘ ment and its plan of progressive exercises and pieces expressly adapted to meet the QCHUMANN’S ALBUM. Classical music for ab oicanasee on the pianoforte. Beautiful wants of beginners, young or old, American or foreign fingering -...+.+..+% inleaeceh es $2.50 | Pia FEET ASA ars a Ree ORR UA ERs D8 heh GN Bok ENTER ORO Nee e Cbd cea Weta des gtneen 50 HE PETERSILEA SYSTEM FOR THE PIANOFORTE. The /atest or posthu- ° OLD-TIME. FAVORITES. A collection of old and familiar tunes and melodies from mous edition, “Ae recently placed before the public, ie yralign large a gi a all cuuntries. Easily arranged for piano or cabinet organ. Boards...-.seeeeeeseeeees 1.25 revisions, thereby rendering this work more unquestionably than ever one of the ablest . ; systems of instruction ever prepared for the use of teachers ard students. This meth- bh ae ge cha ogee att ra ears ben Tae aoe ‘en Mair lne ee od, the resuit of thirty years of special study, 1s an _ epitome of the whole science of music, and cannot fail to interest the progressive musician. A candid examination is published, and contains more good music, larger variety, and is withal more plainly all that is needed. Sent post-paid on receipt of price by the publishers. Price, post- arranged than any sietilay WOrk. «Foo soe eisiee ees once woes Weise ST ede c's ee STO. foe 2.50 fope, Hosrds $2. 5o, GIN sci sate ee es scce Eve dameldewh sb aclbne Voss euhbia Sak sree bs we eh 3 00 | SONGS OF ENGLAND. Acompanion to onr Cluster of Eng’ish Songs,’’ which has : 66 “win F) . ne > a GEMS OF THE WALTZ. Themost povular waltzes of Strauss, Waldteufel, Lamothe, ) pa oie tee, . ” cept i ae ica BR ge hy ais, Ieee eee Faust, Resch, Thorne, Blake, Zikoff, D’ Albett; aiid 0 forth 0.6. .tscccncecceasecccs 2.00 | tae Peraticge ine eB inlap i Aha ed Sake sar eed He pte at dies ORGAN sapiens tea ‘pie the new and standard melodies are contained in this volume, BORIS Cabs shivecndoedencess Sowe's.sin Oe db Tabs iS MabAsy Cate Ran wkd dence eRe CRE 2.00 property arranged for the organ ...... ee wee cccsce © 06 6is'e.b-0'h 078 6.010 0d bd ere e wee SECA Misia Unrivaled in Material, Construction, Design, and Finish! pa Perfect in Volume, Quality, and Sweetness of Tone ! ges> Unexcelled in Original Inventions and Variety of Expression! THEY Ee=ZCEHI., ALL, OTHERS | | | For every grade of use and luxury, every variety of convenience and taste, every condition of life and circumstances, | ; finds its representative among the host of New, Original, and Elegant Designs. PRICES FROM $50 TO $3,000! ges Equitable prices. Installment rents. Catalogues and Testimonials mailed free. NEW-ENGLAND ORGAN COMPANY, Marble Building, 12:7 and 1299 Washington Street, BOSTON, MASS.