Folio, A Journal of Music, Drama, Art and Literature (February, 1884)
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7 al OF MADAME TREBELLI, MRS. LANGT ; Ay OTHERS \\\iss tos aly TRY 4 NY ee . i : L ou Ub Nes 0 | aa MOS PORTRAIT erate CARE OXY vale Wha ON SAA EEK - ie “a 4 re OF Str wey Poy VP) hie ayn a ‘ HAR WY EY \ \Y ¥ \al) Y A JOURNAL OF Qusin, Drona, Art and Jaiteratuye. — WHITE, SMITH & COMPANY. 5 anp 6 WASHINGTON STREET. 516 WASHINGTON STREET, | CHICAGO. — BOSTON. New York: SPEAR & DEHNHOFF, 717 Broadway. New-EnGLAND News Company, 14-20 FRANKLIN STREET. Boston S®. LOUIS BOOK & NEWS CoO. New York: AMERICAN NEWs CoO. St. Louis: WESTERN NEWS CO. Philadelphia: CENTKAL NEWS CO Chicago : @ « Bangor, Me.: L. J. WHEELDEN. Vy London: TRUBNER & CoO., 60 Paternoster Row. ad 4 uy ia oe e wii" (hy aye Copyrighted 1884, by WHITE, SMITH & COMPANY. 5 fi CNY fi TAN agaist eHOU ONG TE Z * 4, ine 4 ntered at Renton Post Office an second-class mail matter. pull i} Pen f A All man Kom : age diane! yi ep fini a Rr SR’ ie SS Bes oS ; fl Pe prev per hee! \ Ne Z BY, [Ps . ie bY) _ coy bl . mer aie . 0 EY
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White, Smith & Co's Editions of Popular Music Are in Demand everywhere. GRANDPA’S RIRTHDAY. BY C. A. WHITE. A httle operetta just suited to the voices of the little people. Price 25 cents. FESTIVAL HYMN. BY C. P. MORRISON. Designed more especially for the use of musical festivals and conventions. Price 30 cents. RED RIDING HOOD’S BY J. ASTOR BROAD. A juvenile operetta, adapted to the voices of the little folks. Full directions for its performance. Price 50 cents. GLORIOUS TIDINGS. BY H. S. PERKINS AND W. W. BENTLEY. A new and brilliant collection of Surnday-school music, new gems, and a few best old favorites. As it is the newest, so it is the best. Price 35 cents. RYDER’S SHORT VOLUNTARIES. FOR PIPE OR CABINET ORGAN. M ritten, arranged and selected from the best authors by T. P. Ryder, formerly organist of Tremont Temple, Boston. It fully meets a greatdemand. Price $1. AMERICAN SINGING-—BOOK. BY SIMEON PEASE CHENEY. More than: 300 pages of sacred and secular music, old and new, selected with care. A unique work. Biographical sketches and compositions of over 40 leading American composers. Price $1. BLAKE’S DOLLAR VIOLIN AND PIANO DUETTS. A neatly gotten up collection of charming melodies, arranged for these two universally used instruments. The violin part may be also used for the cornet. Boards, $:. BLAKE'S DOLLAR INSTRUCT OR FOR THE REED ORGAN. BY C. D. BLAKE. Prepared for self-instruction and for the use of teachers. The recreations are varied in style, and furnish an especially fine as- sortment of marches, etc. Price $1. WRIGHT’S NEW METHOD FOR THE CABINET ORGAN. BY RODNEY P. WRIGHT. New and comprehensive course of instruction, and a complete repertory of gems. The use of stops admirably explained Price $2.50. | ORGANISTS’ JOURNAL AND REVIEW. BY EUGENE THAYER. Thirty differemt pieces ; 180 pages of music; 60 pages of valu- able information 1 tlating to organs,-organ music, programmes, we. Price $3.50. ee RESCUE. WHITE, SMITH & CO THE FAMOUS “= EDITIONS WHITE’S VIOLIN SCHOOL. A concise epitome of the elements of music as adapted to the violin, with more than 130 popular airs. Price 75 cents. WHITE’S DUETTS FOR VIOLIN, OR FLUTE AND PIANO. Delightful arrangements of 48 choicest gems for parlor and drawing-room recreation.. Boards, $2. GEMS OF FOREIGN SONG. A collection of 75 choicest German, French and Italian songs, with foreign words and English translations. Nearly 50 authors represented. Price $2. DOBSON’S STAR. INSTRUCTOR. FOR THE BANJO. With full instructions how to play without taking lessons or learning notes. Any one fancying this instrument should ob- tain this little treatise. Price 25 cents. JOSEPH. BY J. ASTOR BROAD. A bright new cantata, abounding in beautiful melodies. directions for dramatic performances. Price 75 cents. Full TRIAL BY JURY. BY ARTHUR SULLIVAN AND W. S. GILBERT. A novel and original dramatic cantata. A great success every- where. Our edition is perfect and complete. Price 50 cents. THE ECHO. BY LEONARD MARSHALL. A new 200 page collection uf sacred and secular music for choirs, conventions, and singing-sehools. The reputation of the veteran author is a guaranty of its excellence. Price 65 cents. OLD OCEAN, POUND! M A R CS BY - C. A. WHITE! G FOUR OF THE LATEST AND BEST SONGS Z><m THE E- FR MOST POPULAR SONG—WRITER |_ IN AMERICA. Ag SOLD AND SUNG EVERY WHERE. Be lara, the Gypsy. THE DULCET. A NEW COLLECTION OF CHURCH MUSIC For choirs, singing-schools, conventions and associations. By Leonard Marshall ard D. F. Hodges. Price §r. BRO. CHENEY’S COLLECTION OF OLD FOLKS’ CONCERT MUSIC. Fugue tunes, anthems, original pieces, etc. pared for old folks’ concerts. Price 35 cents. RUTH, THE MOABITESS. BY J. ASTOR BROAD. Companion to * Joseph.”? One of the most popular cantatas before the American public. Full direetions for performance. Price 75 cents. GRADED ANTHEMS. BY D. F. HODGES. A thoroughly new collection of anthems, sentences, responses, chants. 160 pages. Choirs will find this an admirable work. Price 75 cents. TEMPERANCE REVIVAL SONGS. BY C. A. WHITE AND J. F. COLES. A collection of about 30 well selected and arranged songs, quartettes, etc., adapted to the use of temperance clubs of all kinds. Boards, 35 cents. Expressly pre- IBLAKE’S NEW METIIOD FOR THE PIANOFORTE. A complete self-instructor. It is always better to have a teach- er, but this concise instructor does a!! a text-book can to supply the place of a teacher. Boards, $1. GOLDEN HAIR AND THE 3 BEARS. BY J. ASTOR BROAD. A charming new operetia, nicely adapted for evening enter- tainments. Easy to perform, and but moderately difficult. Fnll directions for performance Price 75 cents. THE BOSTON CONSERVATORY METHOD FOR THE PIANOFORTE, As TAUGHT AT THE Boston CONSEPVATORY OF MysIc, BY Jurius Esonserc; Direcror. The best teachers admit that by the use of this method they can advance the pupils as fast again as by any other method it use. Plain, simple, meiodious and progressive — either foreign or American fingering. The publishers take great pleasure in it viting the attention of the musical public to their revised and en- larged edition of this justly popular and successful instruction book, which has reached its sixth edition in a period of three years, a fact which speaks volumes in its praise. But, to meet the increasing wants of the student, and to makea more thn oughly complete piano method in every respect, the publishers have employed the services of the original editor, James M. Tra- cy, to revise and enlarge it, !eaving out nothing which a complete instruction book should contain. A careful perusal cf th ‘* method "’ will convince all of the thoroughness with which My Tracy has accomplished his task. Remember that the new ed: tion contains nearly 100 pages more than the old one. Price $2 50 Publishers, Boston and Chicago.
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LGR + ON SG pe e THE GREAT ———— _—_—— — -~— ILLUSTRATED MUSICAL J URNAL 9 F AMERICA. aS
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Pe ee ae ee a ee ~_-- ALL ARTICLES IN THE FOLIO ARE GRIGINAL, AND WRRE WRITTEN EXPRESSLY FOR ITS PAGES, EXCEPT WHERE THE CONTRARY IS STATED IN ESPECIAL CASES. SONNHT.—ADELINA PATTI. O peerless Patti! queen of lyric song, And mistress of the grand dramatic art Appealing to the sympathetic heart And its emotions trooping in a throng At bidding of the poet sweet and strong, Deserting for the nonce each worldly mart, And with ideal heroes taking part In mimic struggles that to gods belong, — Thou art indeed the lyric drama’s queen, Interpreting the histrionic muse With fervor gilded by a Southern sun, And grace that finds expression all serene In Northern manners, atmospheres, and hues! Thy matchless voice once heard, all hearts are won. Boston, DECEMBER 22, 1883. —Bosten Sunday Herald. TARE SEN are este Se, OS SAE ATS HARMONY. The link between man and his Maker is harmony. Throughout the uni- verse the action of this great law tends to reduce all dissonant elements to hiarmonious union, and underlies and controls all other laws, rounding and polishing, as it were, the angles of discord in nature. But in reality there | are no discordant elements in nature; it is because we view the antagonism such antagonism, regarded non-relatively without reference to the remain- der of creation, has the appearance of discord, but when considered as part of the grand whole, fulfilling its appointed work not chaotically, but in an orderly manner, subject to law, it is then perceived te be an agent of har- mony. Oh, that we might soar to the heights of reaiization, and, gazing at the influences everywhere at work, become convinced, that they, although in_ | dividually inharmonious, yet produce in their wonderful coalition sublime harmonization. Teo prone are we to view with grief and dejection the de- vastation of some mighty force, disregarding its relations to the forcial uni- ty, and overlooking the fact that the disaster is a blessing in disguise, brought about to the end that an unknown, harmonious process may be per- fected. Even as the great afflictions of humanity are instrumental in pro- : moting the cause of harmony, so all the little ills of life conduce te the same purpose, but too often our eyes fail in piercing the trouble-mask which divine blessings assume, the reason lying chiefly in eur stubborn will. There is no cloud of misfortune so dense that oppresses or that may oppress mankind, but the eye of Faith can pierce, and see behind the warm, reful- | gent rays of God's love, whose comfort-rays are ever ready to fall through the rift made by the glance of Faith and fill the heart with peace. . In moments when Reason’s wing prevents our soaring to that station where the unity and harmony of things may be comprehended, what a blessing it is that the pinions of Trust can carry us to the desired height, and how incumbent it is upon all thus up-borne to assist in buoying up the souls of those for whose flight the vans of reason have proved feeble and insufficient. As development of the branches of Art was achieved through the opera- tion of the law of harmuny which has ever been the chief actor on the EHARL MARBLE. | | lens and optic nerve correspond to the membrana tympani, harp and audi- VoLtuME XXV. BOSTON, FEBRUARY, 1884. NuMBER 2, stage of civilization, what wonder that the tenth century saw the first crude attempts to crystallize the melodic ferms of music into the harmonic. | Each succeeding century added to the beauty and regularity of the chord- crystals, until at length the crystallization was complete, and musical min- | ers, delving in the mine of sound, brought up the gems, arianging them artistically, and presenting them in beautiful settings of composition to the | admiring art-world. . In examining the structure of a single key, one is surprised at its chord- giving capabilities, but upon reflecting that eleven other keys possess simi- i lar capabilities, and that the chords derived from these sources may be in- ) terwoven to an uniimited extent, surprise deepens to a profound sense of | the possibilities for harmonic wealth. Again, in listening to the characters | of various chords, the effect of their combinations and. manner in which | they may be combined, one is forcibly struck with the means thus present- i ed for the expression of intellect and emotion. | The tone-picture, coniposed by the musician, is as representative of | thought and feelmg as that of color created by the painter. It is singular that the components of music and painting bear te each other so close a re- | semblance, — the blending of hues corresponding to the harmonizing of tones, key digressions, coinciding with color-modulations, and so forth. . | But the explanation, no doubt, may be traced to the similarity existing both in structure and function between the originators of these arts; namely, the eye and ear, for as one is to the sight, so is the other to sound: the iris, tory nerve, the duty of these nerves being the transmission of vibrations to the brain, difference in rapidity of vibration constituting in the first case color, and in the second tone. The eye is an ear of another pattern, and | vice versa. The fact that the curious agreement observable between the producis of pen and brush is mainly due to the coincidence of the organ of sight with that of hearing, is illustrated by the axiom, where similitudé ex- ists between causes, effects must ve similar. It is a grand thought that durivg the lapse of generations and centuries, the senses which act through these organs have originated and developed the arts under consideration, of certain forces that the idea of dissonance is impressed on the mind; | for the energy of the soul is made manifest by this long, tireless ascent from crudity to present perfection. / Its innate power to climb from coarseness to beauty and refinement, is clearly demonstrated. Hereby we also learn that whatever capacity for good is stored in the soul must, of necessity, be culti- vated, since it is the nature of the latter to grow and expand, developing through passing ages all the germs implanted within it, ever out-reaching and utilizing environment for its onward advancement; and were we to continue in this direction of theory we should add, how altogether improk- able it is that this incomprehensible principle which has so enriched itself by inherent energy in all pursuits and professions of life since man was evolved, can cease its upward career at the close of its earthly existence. But let us return after this modulation to our original key and theme, and inquire how intellect and emotion are harmonically expressed. The former is strongly marked in compositions of the fugue class ; it finds a prominent home in thematic development, appears in skillful arrangement of parts in symmetry and design, and in the general plan and treatment of any work, whereas emotions are expressed by the very nature of chords and by their inter-resolution. ‘The diminished triad, dominant seventh, and the suspen- sion, are indicative of unrest, and in certain connections may denote yearn- ing or despair; the interweaving of minor triads with the foregoing chords and secondary sevenths is suggestive of melancholy and sadness, while the prevailing characteristic of major triads is cheerfulness. Time, verbal ac- | companiment, and instrumentation, influence greatly the emotional charac- ter of a piece. . Church music embodies religion, either because the time is slow and the chords impressive, or on account of association of religieus words with the harmonies. Gayety is expressed by a quick movement, and the musical ex- pression of love depends largely upon the accompanying words, The general effect of a chord is produced not only by the kinds of inter-
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62 men sg 2 OE vals that compose it, but by the qualities «f tone employed; thus there is a difference between the character of a dominant seventh struck on the pian- oforte and that of the same chord whose intervals are sounded by a combi- nation of different instruments. Sotunding bodies always separate into seg- ments, thus originating vibrations of several periods at the same time, which vibraticns form harmonies or over-tones, and the blending of these with the fundamental, or the tone given out as a whole, constitutes the quality or clang-tint of the sound. Now the clang-tints of the tones com- posing the chord in the first case are similar, that is, each has the piano quality, whereas in the second case they are dissimilar, having different qualities; hence, while the second chord manifests the nature of the domi- nant seventh, it differs in effect from the first, and as numerous different . effects are obtainable with innumerable chord-formations from the union of various instruments (not to mention those yet to be invented), the facilities for emotional expression are by no means insignificant. This fact is strong- ly apparent with reference to the orchestra, wherein instrumention affords a large field for exhibition of the composer’s skill. Asin all oth r sciences, the principles forming the basis of harmony unite complexity with simplicity, and the musical architect who combines their mastery with the requisite genius is qualified to rear chord-structures whose beauty will have lost none of its opulence when heard on the thither side of time. . What can words do more than outline the meanings conveyed by innu merabie chord-connections, or give to the uninitiated more than a vagne interpretation of the language spoken by the fabric of sich harmonies inter- woven by the artistic form! Only those souls in whom the voice of music awakens sympathetic echoes know the value and realize the importance of our subject, whose capabilities for voicing the intellect and ‘\ighest emotions JENNIE SARGENT. We take great pleasure in recording the continued success of the charm- ing American prima donna, who is now delighting the musical audiences of the old world. Miss Sargent is a native of Newton, Mass. Her musical talent developed very early, and she soon became a great favorite in Boston and the neighboring cities. After completing her education she became a pupil of Lyman W. Wheeler, with whom she studied for five years, and by his advice she sailed for Milan to be under the direction of Sangiovanni and Ronzi, preparatory to her appearance on the lyric stage. Her first profes- sional engagement was with Camilla Urso, the violinist, with whom she gave concerts in the principal Western cities and those of Australia, where she was universally successful. In five months only after she reached Milan the first operatic engagement was offered from Bellaggio, a delightful summer resort on Lake Como, where she sang successfully in ‘‘ Lucia,”’ ‘Linda,’ and ‘‘Sonnambula.’”’? Following that was an engagement at Malta, where she created great enthusiasm, and was the recipient of marked and distinguished attention. A complimentary benefit was tendered her at the close of her engagement by the people of Malta, under the patronage of the Governor and Lady Bortin, and the people of all classes manifested their anxiety, in the language of the Malta Times, ‘‘to do honor to the Queen of Song who had shed so much lustre on the Malta stage.’? Follow- ing this great tribute to the lady and artist, were her successes in Milan, Florence, Perugia, Turin, Ravenna, and tenders of long engagements in Germany, Spain, and Italy. More recently an offer to open the season at the Italiens in Paris was declined, as she had already accepted an engage- ment at Naples, where she is now singing to crowded and fashionable audi- ences at the Theatre Fiorentini. Her Lucia has there created a furore even exceeding the unusual success of her Amina in ‘‘ La Sonnambula.”’ melodically as well as harmonically (and thereby renovating and purifying | She was called before the curtain ten times, and offered an engagement for our lives) rank it among the powerful and beneficial agents for universal! | good. Harmony is.a cause for which many heroic hearts have suffered the mar- tyrdom of poverty, sacrificing life in the struggle with want and prejudice, for the sake of bestowing on the world blessings that can know no end. Harmony 1s one of the sublimest. religions ever preached on earth, and Beethoven, Haydn, Mozart, Wagner, and other great composers are our mu- sical saints and martyrs. Its course is celestial; it breathes of divinity, awakening in mind and heart the noblest thoughts and aspirations. A man may be an atheist, yet if he recognize music as a link of love between the | members of humanity, believing in its upward, refining tendencies, having faith in its efficacy as an influence for human felicity, so sympathizing with it that his soul becomes purified to the extent that he fulfills his duty to him- self and his fellows conscientiously, who dare say that his chance for a heavenly seat is reduced to the minimum of possibility? Not few are the musicians and music lovers who derive more benefit by . listening to or performing the wcrks of the masters than by accompanying a preacher through his fourthlies and fifthlies. Sonatas and symphonies are sermons that often appeal more directly to one’s inner being than the elo- quence of the most noted clergyman. Knowledge of harmony is indispensable to all musically inclined individ- uals, notwithstanding the argument cf those who have no idea of becoming composers, and who maintain that since this science involves composition, _ their understanding of it is unnecessary. Even as the appreciation of a painting is enlarged by cognition of the principles governing its foundation of drawing, so comprehension and enjoyment of a musical work are broad ened with knowledge of the rules that control the basis on which it is built, The instrumentalist and vocalist, if acquainted with the harmonies compos ing their pieces, are enabled to render them more expressively, for chord- and their progressions possess inherent expression which must be felt be fore it can be interpreted. True, one may feel the effect of chord combina- tions without knowing the details of their construction, but familiarity with_ the latter enhances this feeling and increases the expressive power of ama- teur and artist. The soul which adds to this art-knowledge intelligence respecting nature’s grand laws of harmony is uplifted into a higher concep tion of life, becoming capacitated to appreciate the vast and wondrous com position of Creation, enjoying to a fuller extent its sublime music, and re quiiing a keener insight into the character of its almighty Composer. HENRY W. STRATTON. SITET ARR IR Behe Oe Sa eee eee Joe Brown and another fat ** Jummux”’ In the orchard o’erlcaded their stomachs, | When it soon came to pass That with colic, alas! They were throwr, as it were, all ‘‘ kerflummux.”’ 7 | | | | the carnival season at the great San Carlo Theatre by its impressario, who witnessed the performance. oo MARY ANDERSON AN” THE POET LONGFELLOW. Among other distinguished men of letters who gave their suffrages was the poet Longfellow. He greatly admired her acting, and he would try at times to give her good advice, and direct her tastes 1n a proper channel. But infusing culture into Mary Anderson was an Herculean task, indeed. On the stage she was easily a queen; off, she was nothing but a wild colt of a girl, who rolled her handkerchief over ber finger, and who shifted restless- ly from one aaa to another till she had i REARS the whole room. any one. I remember being much struck with this latter characteristic. after her first Boston engagement. Longfellow was spending the evening with her in her box at the opera. ‘Il Trovatore ”’ was being sung. ‘* Don’t you like ‘ Trovatore’?’’ she asked, ruthlessly, of the man who had heard the music for half a century, and represented the culture of cycles. ‘Well, yes; but then,’’ said the poet, ‘*‘ you should see ‘ Don Giovanni’ and the ‘ Nozze of Figaro.’ ”’ ‘* Oh, [ like ‘ Trovatore.’ ”’ The poet looked somewhat amused, I thought, but nothing more, and then relapsed into silence. Next she turned to him and said, — ‘*Won’t you give me a copy of your poems with your name in it?” I fairly shuddered at the indelicacy of the request, but the poet smiled pleasantly, and said, seemingly pleased, — ‘Of course I will!” And the next day, I afterwards learned, he sent her a complete edition of his works, with his autograph on the fly-leaf. Verily, it is a mistake to be fastidious. ‘* Ask and it shall be given, se k and ye shal! find.” As I was leaving the box, Longfellow asked me to share his cab with him, offering to drop me at my rooms. I accepted, of course. As we rattled along over the cobbles we very naturally discussed the Anderson. I haz- arded the remark that she was the nearest approach to the tragedy queen that we had on the stage. ‘*She is a paradox,” said Longfellow; ‘‘ she is at once classic and crude. She has everything to learn in her profession, and she has a spark of the di- | vine affatus — a look of fatalism in her eyes, a plastic spirit in her ges- | tures.?? — New York News. re Heard on State Street. ‘‘ What is the rate of silver today? ’’ — ‘‘ Same as vesterday.’’ — ‘** Do you know what the nitrate of silver will be?’? — And the black look that he received was the answer to his question. It was NA eee eee em Tae ee pels iy ae er Yeh ieee 5 ge es a ae | fa,
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Pr E> dot GY: 63 WOMAN'S WANTS. ‘*Man wants but little here below, Nor wants that little long;”’ A wise man said so long ago, But I’ve a newer song. What woman wants — well, really, now, She wants so very much, To head the list I don’t know how, Or put the fina touch. But first a husband, I suppose, — Who always will be kind, And (never mind how much he knows!) To all her failings blind. And next, I think, she ’d like to own, Upon a han«some street, A stylish mansion of brown st ne, | With outfit all complete. And next a lovely diamond set, Most dazzling to behold; And fill her jewel-cases yet With rubies, pearls and gold. And then she cou'd n’t happy be While walking everywhere; So next she ‘Hl wish, I’m sure you ’Il see, A splendid coach and pair. Then silks and velvets, fans and gloves, — She ’s sure to need them all! A dozen bonnets, — ‘‘ perfect loves,’’ — A costly India shawl. — In short, to let a word contain The substance of a song, She wants as much as she can get, And wants it just as long. MATTIE DYER BRIiTTs. “ FAUST.” ‘* Faust’ was first given at the Theatre Lyrique in Paris, on March 19, 1859. The original cast was: Faust, Barbot; -Mephistopheles, Balangue; Valentin, Regnal; Marguerite, Mme. Carvalho; Siebel, Mile. A. Faivre. The opera then differed considerably from its present shape; spoken dia- logue took the place of the recitative, and several numbers, now familiar, were not included in the - original score. The church scene was given out- side the church. The work was at first received _ with indifference by the public. It was first given at the Opera in 1869, the score having been consid_ erably amplified since the original production. _ Siedel’s song in act four, ‘‘ Quando ate Lieta,”’ was written for Mme. Didiee at the Royal Italian Opera in London, and the duett in the fifth act, ‘< Si, soi tu, io t?amo,”’ was considerably extended, and a whole allegro movement added to it for the same house. But this extension was never in- cluded in the French version of the opera, and tlie duett has always been sung in this country in ‘its original, shorter form. For the German ver- sion, brought out at Berlin, Gounod interpolated some new music into the song of ‘‘ The King of Thule,’’ so that Goethe’s words might be sung en- tire. The favorite ballet music interpolated into Walpurgis Night scene, and now familiar to most concert-goers here, was written for the Theatre de la Monnaie in Brussels; and, in order that the scene might not be too long, Fuust’s bacchanalian song, and the conzluding chorus of witches and ‘surecerers, were cut out. This Walpurgis Night scene, which contains some of the most gorgeous music in the opera, and which has always been gg a cates rt epee cei he ct Et cee = eee ee formances at the Paris Opera, has, we believe, never been given in this country —certainly never in Boston. It was persistently advertised by Leonard Grover when his German company, un- der Carl Anschutz, first came here in 1864 or ’65; but this promise was never fulfilled. At the Paris Opera the church scene is given inside the church, as itis elsewhere in Europe; an arrange- ment very advantageous to the scenic effect, but which introduces a serious inconsistency into the opera. For it is not quite comprehensible how Mephistopheles, who has been unable to stand up before the cross-shaped hilt of Valentine's sword, should suddenly become so impervious to the anti- diabolic power of sacred emblems as to appear to Margaret at the very steps of the altar. — Ex- change. a a ELECTRICITY ON THE STAGE. The atlvantage of electric light over other lights for stage purposes is its intensity, which produces sharp outlines to all shadows, and its perfect simi- larity to sunlight, the most delicate colors being unchanged by its rays. In the ‘‘Prophet’’ the rainbow is most faithfully represented by its aid. In the second part of ‘‘ Faust’? incandescence works a miracle. <A bottle is seen suspended or balanced in the air. Suddenly it becomes dimly illuminated, the light gradually increasing to bril- liancy, and a human figure is seen within the bot tle, which, made of gelatined gauze, is held sus- pended by two iron wires. An opaque band above the neck of the bottle serves to hide the direct rays of the incandescent lamp, while the down- ward reflection lights the figure. This last is of rubber, and a wire attached near the middle serves to render it misshapen. By degrees the wire is slackened, and the figure, through its elasticity, rises and assumes a human form. In the second part of the opera of ‘‘ Faust,’ a mysterious key is rendered red hot, apparently, while in the hand of the actor. This key, which is quite Jarge, is made with a frame of iron wire covered with thin mica painted red, with a trans- parent pigment. In the interior of the key are small platinum wires connecting buttons cf less resistance. Two flexible conducting wires lead from the battery to two disconnected points in the shaft of the key through the platinum. At the proper moment the actor presses the key, closing the circuit and sending the current throngh the fine platinum wires, which by their high resist- ance are thus made luminous, and the whole key seems to become suddenly red hot. In the opera of ‘‘ Der Freischutz’’ a skull rises from the earth and launches fire from the eyes and mouth. ‘To accomplish this, small bundles of wire. are arranged so as to bring them end to end to each other, as if you were to place the brush ends of two brooms together. These are elastic, and only in slight contact. From each of these a wire leads to one termi al of the battery. Now, when the head rises with a tottering motion and ‘‘sol- emnity wags,’’ the motion breaks the contacts, and the escaping sparks scintillate at every break point. ; In the play of the ‘‘ Glass Slipper’’ the incan- descent Jight is used to render the slipper lumin- ous, and the diadem of the Queen of Night, in the ‘** Magic Flute,”’ is lighted in the same manner. So of St. Elmo’s fire in the ‘‘ Phantom Ship,” and the diamond rocks in the same spectacle; and other gems are equally well represented by inclos- one of the most noteworthy features of the per- | ing the lights in mica, glass; cr gelatinized gauze, The star in ‘‘ Faust”? is almost of microscopic dimensions in fact, until illuminated, and the effect produced by a sword combat, where these form the connecting terminals of a heavy battery, is fully as near akin to the marvelous as the spark shower thus produced. — Hachange. _ TO 2 rrr Theodore Thomas’s scheme of a course of or- chestral concerts for young people, at Steinway Hall, New York, has something of the look of a compromise with those amateurs of music who prefer a concert that shall be a mental recreation rather than one that shall present a series of mu- sical problems. The programme of the first con- cert in this course, given last Saturday afternoon, shows that it is possible to find music which may be at once classical and diverting. It included Weber’s overture to “ Preciosa,” the Larghetto from Beethoven’s second symphony, the Scherzo and the ‘‘ Wedding March,’ from Mendelssohn’s music for ‘‘ A Midsummer Night’s Dream,’ a bal- let air from Gluck’s ‘‘Paris aud Helen,’’ the **Waldweben”’ from Wagner’s ‘Siegfried,’ an aria from ‘‘The Magic Flute,’? and an English song. The programme, delightfully suggestive as it is, might still be improved in the matter of lightness, and even an enraged Wagnerite might admit that the selection from ‘‘Siegfried’’ is hardly proper food for young people, assuming that the phrase is intended to refer to youths of either sex who have not attained their majority. And if a purpose of the concerts be to develop a taste for the highest order of music, Haydn and Mozart should be liberally drawn upon. Nor would such a purpose be diverted were bits of dance music by certain Austrians of a later period occasionally introduced. — Boston Transcript. ee ig a ons ts oe ee a HER BEAUTY SPOTS. Like chestnut was her wavy hair, Her face was tinted lie 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 on her cheek she had a mole. — Boston Folio. She had a charming, shell-like ear, And teeth so white — without a speck: But, gracious me! there did appear A great big wen upon her neck! — Jef. Joslyn. Her form was Nature's rarest mould, A splendid contour had her head; Her lips were ripe, so I’ve been told: But, hang it all, her hair was red. — Winston (N. C.) Sentinel. Her instep had a royal arch, Such as a queen might envy so; But oh! your fervor lost its starch When you had seen each corn-cursed toe. pe eRwe CNR TRE SBE. TOS SO Harry Brown and Lillie West have made quite a hit in t'e operetta ‘‘ Mons. Chowfleuri,”’ by Offen- bach. ‘“* Mons. Chowfleuri”’ has bright, sparkling music, and is for six people. The company are on the New-England circuit. ee Hardman, of Hardman piano fame, has an easy name to play on; but those who have tried his pianos think it much €asier to play on then: ~~
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64 ee Music, DRAMA, ART, LITERATUR. EARL MARBLE, EDITOR. BOSTON, MASS., FEBRUARY, 1884. HAvE you subscribed for the Foxio ? ‘‘ JALMA”’ seems to have made as great a suc- cess in Philadelphia as in Boston. 5 ERE a Bice 5 I RIN, SOS RT ae a ‘Tue BREAD-WINNERS,’”’ according to the general verdict, is a book that is not needed. Lotra’s kicks did not sneceed in London. She found that the London theatre-goers could ** kick ”’ also. Patti is said to have a weakness for onions, But this is not what makes her so strong with the American people. ‘ “VHAT THE WHISKEY MEN WAnNrT’”’ is the he ..g of an article in the New-York Sun. Probab'y a clove. Joun A. STEVENS, it is said, lost all his plays in the Windsor-Theatre fire in New York. Now, if his memory would only fa.) him! MATTHEW ARNOLD’S opinion of Emerson was rather derogatory, so to speak; but, oh! if Emer- ’ gon were only alive, and we could have his opin- ion of Matthew Arnold. LILLIAN RUSSELL, who had been engaged for Gilbert and Sullivan’s new opera, was dismissed by D’Oyly Carte just before the production. She threatens legal proceedings. She knows how itis herself now. Harry Brown AND Lity Wrst have been engaged at the Bijou Theatre to appear in “A Trip to Africa.” It was their creations of Loren- zo and Fiametta that gave ‘‘The Mascotte”’ such a boom at the Gaiety Theatre. ‘‘NortH CAROLINA TO NEW ENGLAND”’ is the title of a two-column advertisement in the Globe. We did not read it. as we are mure inter- ested in what the Governor of North Carolina said to the Governor of Sovth Carolina. ‘‘TirrieE Em’iy’’ is being given at the Boston Museum as this issue of the Fouio appears, with a superb cast, embracing the old favorites and the new-acquaintance ones. In looking over the an- nouncement, we cannot resist the conclusion that the casting of each character is ‘‘a hit, a very pal- pable hit.”’ THE Evening Call is a ringing good paper, and is making music in Philadelphia—in more senses than one. It has had a band named after it. Of this band Carl Sentz is the leader. It will thus be ‘seen that both journal and band are guided by Pr Co thee of Irving. Miss Davenport has been courageous enough to surround herself with an excellent com- pany, and she is reaping the financial benefits everywhere. ‘‘ Fedora” will be seen here at the Park Theatre the last week in April. has. RA alle Steak A RE a ! ‘*A GLASS OF FASHION,’’? with Sara Jewett, Herbert Kelcey, Lewis Morrison, and other well- known favorites, was beautifully staged and de- lightfully played at the Globe Theatre during the week beginning January 13. Miss Jewett gave us her most popular acting since ‘‘ The Banker’s Daughter’’ days, and Mr. Morrison’s villain was the most artistic characterization he has ever es- sayed in Boston. a ‘*PRINCESS IDA”’ is underlined for production at the Boston Museum on February 11, and prep- arations about the establishment are all looking toward that event. The costumes will be bril- liant, notably so those of the amazons; and the splendor that will rule in the palace court of King Hildebrand wi'l be dazzling. It will be re- membered that it was at this theatre that ‘** Pina- fore’’ received its first American representation, and its snecess will undoubtedly be followed by that of ‘* Prineess Ida.”’ ——$ $9 THE METROPOLITAN OPERA HOUSE, it is stat- ed in New York, will next season be in the hands of Manager Gye of London. A Herald despatch says that ‘‘ Mapleson and Gye will avoid competi- tion by arranging their dates for mutual benefit. Mr. Gye is reported to have secured Albani and Sembrich for his prima donnas, and Ravelli and Mierzwinski as his tenors. Colonel Maplesonjis credited with having secured Patti and Gerster for another season.’’ We are glad that the opera war will not be renewed, as it can but be disas- trous all around, as we slated last month. PA RIES SSR TREY REESE oS IPS be COLONEL MAPLESON’S opera company, with Patti, Gerster, and fair support, was unfortunate in its just-before-Christmas date at the Globe, when people were distracted with more trivial matters than grand cpera. Patti was as magnet- ic and artistic as ever, and Gerster’s voice as clear and charming. Lillian Norton sang Marguerite superbly, her phrasing being perfect, though her acting had the fault of being pitched on the start- ing key throughout. Mephistopheles has never been acted or sung better in Boston than by Cher- bini. ia Be Someta SMa TL FE ic Mr. AND Mrs. N. C. Goopwin have been seen at the Park Theatre recently in *‘ The Member from Slocum”? and ‘‘ Hobbies.”” The former piece has an anti-climax if it has anything beyond inaninity; but it affords Mr. Goodwin many chances for fine comedy acting, which he avails himself of artisticaliy; and with an anti-mother- in-law climax, and a relegation to its proper place of the woman’s-right’s impertinence, the piece would be above the average. The burlesque on ‘*The Bells’’ is clever, and Mr. Goodwin’s imita- tions are A 1 and yard wide. BPNEEAS MOAT aan Mes eee See “THe BEGGAR STUDENT,” whieh has occu- sense, though Foster does get a good deal of his | pied the stage of the Bijou Theatre since Decem- delicious nonsense in the paper. FANNY DAVENPORT, in ‘“‘ Fedora,’’? continues to be the dramatic sensation of the day. In New- ’ York City ‘“‘ Fedora’? held its own against the dual operatic magnets, and the illustrious advent ber 11, and consequently is in its seventh week as this issue of the FuLio appears, has proved to be as popular as its strongest friends predicted. It is full of color and action, its last act going off with especial snap, its music is pleasing, and its dia- | legue above that of the general run of operas of this class. We gave the cast in the last issue, 7 which has remained, in its principal features, the same; though Harry Brown takes the part of Har- ry Allen as Ollendorf at the beginning of the sev- | enth week. Georgine von Januschowsky has be-— come an established favorite, her Laura being frank and honest, while the snpport has been good — in all particulars. er ABBEY’S OPERA SEASON was a great triumph. It is hardly necessary to go into detailed descrip-— tion and comment at this late day. Generaliza- tion is sufficient. Christine Nilsson showed that | she still retains a strong hold upon the ‘hearts of | the people. Her finest appearance was in ‘* Gio- conda.”’ Her strength and decision of character — fit the interpretation of sucha role better than the more ethereal ones of Marguerite and Mignon. Madame Sembrich made ax ins:antaneous hit, and captured the critical as well as the popular ap-_ plause. Her finest acting was seen in ‘‘ Camille,” where it was simply superb, and her most artistie singing was heard in ‘ Lucia.’”?’ We know of no — other singer but Patti who could equal her here, and of course -he is hardly that artist's equal yet. | Stagno made a great hit in ‘‘ Martha,’ though on previous appearances he had: not pleased altogeth- er, the Boston climate being averse to his best ex- pression. Arrangements have been made for a— return of Mr. Abbey’s company for a fortnight late in February, when among the operas given will be Ambroise Thomas's ‘‘ Amleto,’’ and Gou- nod’s beautiful ‘* Romeo e Giulietta,’’ and-possi- bly ‘‘ Lakme,’’ Leo Delibe’s opera, with Mozart’s ** Marriage of Figaro,’”’ and ‘‘ Don Giovanni.”’ is ete aoe MERIT does not always succeed in a race with sensational mediocrity. lf it did, we might con-— sider the millennium as near at hand, and have no cause to wonder at the prosperity of dramatic ap- 7 peals to very ordinary people with sluggish intel — lects if not base passions, and the out-at-elbows condition of other plays which bid for the culti-— vated, without forgetting a good share of health- ful excitement and concentrated interest. We are constrained to make these remarks in view of the adverse fate that overtook ‘‘ The Rector,”’ recent- ly played — and played superbly — at the Boston | Museum. It was an idyl, and, dealing with very ordinary people for the greater part, gave a beau-— tifully perfect picture of life in an English village, which was seasoned with a story that invited but did not pall the taste. It reflects no eredit on Boston audiences that the play was withdrawn after being given two weeks; for it was some- thing that should have kept the stage for months, — as indeed it did in London. Similar remarks might be made about ‘‘ The Romance of a Poor 4 Young Man,” lately revived for a few performan- 4 ces, contemporary with its presentation at Wal- lack’s Theatre. This play was one of E. L. | Davenport’s favorites when he had the Howard Atheneum twenty years or more ago, and where he appeared to such acceptance in the part of Manuel. But the patronage bestowed on this play, presented in Manager Field’s best manner, with beautiful scenery and a superb cast, did not justify a longer presentation, ‘‘ more ’s the pity.” No reason can be given for stage tailures or suc cesses, In these cases, the interest of the people did not get aroused, and that was all there was to it. Those who saw the plays were delighted, and those who did not see them do not know how much they missed. .
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¢ ib t £ > only will describe it. ‘ment was seen in its highest phase of manifesta- _ Liny Lanerry, whose portrait we give above, will begin an engageme t of a week at the Globe Theatre on January 28, in ‘‘ A Wife’s Peril,’’ in which she recently appeared in New York, gaining the following decided compliment in the Tribune from William Winter, one of the severest critics in the metropolis: ‘‘ Mrs. Langtry’s dresses were of asplendor rarely seen, and her presence in the third act was assuredly that of extraordinary beauty. She has much yet to acquire in the art of acting; but she has already effected an improve- “ment that should encourage redoubled study and effort, and that shows her to be a positive value in the world of theatrical art.”’ — 2 “A Trip TO AFRICA,’ Von Suppe’s latest ‘comic opera, that has repeated its European suc- ‘cess at the Thalia Theatre in New York, in the original German, will be the next attraction at the Bijou Theatre, and will be placed on the stage, as ‘soon as “ The Beggar Student’ ceases to draw ‘erowded houses, with all the wealth of color in scenery and costume that such an opera demands. ~The cast has not been completed yet; but it is set- tled that Georgine von Januschowsky will be the Titania, May Silvey the Buccametta, W. H. Fes- ‘senden the Miradillo, Gustave Kammerlee the | Pericles, Emma C. Tuttle the Sebil, and other characters by well-known members of the compa- ) ny. It will undoubtedly be the most brilliant suc- cess since last year’s famous run of “ Iolanthe.’’ oo OUR CORDIAL THANKS are returned to friends of the Foiio everywhere for the handsome way in which they are sending in names. have been added to our list since the last issue, and still they come. without the Foxro, the circulation and popularity of which place it at the head of all bona-jide mu- Thousands No one can afford to be eal papers for the people. —————_—_— Tue IrvING SEASON at the Boston Theatre was a series of constant delights. Superlatives The art of stage manage- tion. Ellen Terry deserves the warmest. encomi- ums that have been lavished upon her. RegeeL Bias Pender = Mev ewe te enna ““CoNFUSION’’ made such a hit at the Globe that it has been brought back for another week, and is being given as this issue of the Fouto ap- pears. It is a bright affair, with popular features, and is admirably played by Henry E. Dixey, Sadie Martinot, and others. 2 ‘““THe RAJAH,’’ the great Madison-Square suc- cess, is the attractio: at the Park Theatre as this issue of the Fo.io appears, and it is hardly neces- wa 5 ee 65 a sary to say that the houses are packed to see the | Rev. C. H. Dunton, president; R J. Humphrey, strong play. Gus WILLIAMS has been playing to packed houses at the Howard Atheneum. Variety —- and good variety —will rule for the next two weeks, and then Callendar’s Minstrel’s appear for a week, —_———— Izv IS RUMORED that a celebrated American dramatist is engaged upon a comic opera on Ten- nyson’s poem of ‘‘The Princess,’’ shortly to be produced at one of our Roston theatres. BE TORRER ON WROe Bo WER MANAGER AMBERG, of the Thalia Theatre, pro- nounces ‘“‘A Trip to Africa’? to be superior to ‘*The Beggar Student.”’ His opinion seems to be shared by every one who has heard it. ————$—$—$—$——______.¢ MY HEART IS THINE, SWEET VALEN- TINE. O sweet! wilt thou Forever be my Valentine? Sweetheart, my chaste and ardent vow Is thine alone, yes, dear one, only thine. Thine eyes are like the stars at night, Thy skin is soft and pure and white As winter's sheen of drifted snow, And all that sort of thing, you know, While round your cherry lips, Where oft play merry quips, I wait the smiling sign That, in thy glee, Thou ’lt ever be My Valen- tine! ee AUXILIARY NOTES. Frank N. Scott is at the Grond Opera House, Cincinnati, with Manager R. E. J. Miles. Freund’s Weekly refers to Solomon, the com- poser, as ‘‘that asinine parody on his Biblical namesake.,”’ George E. Whiting has been giving a successful series of organ recitals at Tremont Temple. The closing one was given January 8. Signor Farini, during a recent visit to New York, was the recipient of a magnificent service of silver from the Bachelor Club. The Boston Oratorio Society are rehearsing Max Bruch’s ‘‘ Fair Ellen,’’ Hiller’s ‘‘ A Song of Victo- ry,’ and Gounod’s ‘*‘ St. Cecilia Mass.”’ Conried & Amberg, of the New-York Thalia Theatre, will soon put a company on the road in an English version of ‘‘ A Trip to Africa,” which has had such a success in New York in German. Carlotta Patti has lately re-appeared with con- siderable success in England. Sheand De Munck, the violoncellist, will make an American tour dur- ing the spring and summer, under Max Stra- kosch’s management. K. H. Bailey, since his removal to: Boston last fall, has been engaged as organist and director of the music in the Dearborn-Street Church, and ow- ing to his enterprise and good taste, the church now has one of the best quartettes of any in the city. It is stated that Signor Farini has received flat- tering offers to go to New York, though they have not as yet been accepted. We understand that he is loth to leave Boston, where he has had such suc- cess in teaching, and hope that he may consent to remain. Among his recent pupils who have been heard from are Addie C. Reed, who has made a great success in San Francisco; Marie C. Strong, who has enthusiastic audiences in oratorio and concert in Toronto and elsewhere in Canada; and Madame Selika, whose vocal triumphs in London have been chronicled of late. The Poultney Philharmonic Society at their meeting on Saturday evening, December 1, voted to make the temporary society as organized, Octo- ber 24, a permanent organization under the above name. It was also voted to add to the list of offi- cers a recording secretary. The officers pow are corresponding secretary; Mellie Stoddard, record-_ ing secretary; M. J. Horton. treasurer; executive committees Rev. C. H. Dunton, R. J. Aumphrey, M. J. Horton, F. M. Rood, Charles Ripley; direct- or, R. J. Humphrey; pianist, Mamie Ripley. The society has now about sixty members, and meet for practice weekly, every Wednesday evening, at Goodrich Hall. They are now at work on Hay- den’s oratorio of ‘* The Creation,’’ which is to be given in convention at this place February 5, 6, 7, and 8. The solo talent engaged for the occasion -stands in the first rank among the true artists of the country; and the occasion undoubtedly will be one long to be remembered. Soprano solo, Mrs. Parker Leach; tenor solo, George W. Want; basso solo, D. M. Babcock; pianist, Martha Dana Shep- ard; and for conductor, the eminent composer and director, Dr. W. O. Perkins. — Poultney Journal. At a recent concert given in Hamilton, Ontario, Marie C. Strong, last season a pupil of Signor Farini, appeared and sang the recitative of ‘* Ec- comielfine,’”’ and the cavatina of ‘‘Ah, quel giorne,”’ from Rossini, and Michael Watson’s ‘Only the Sound of a Voice.’’ The Evening Times speaks of her thus: ‘‘ Miss Strong’s two solos were perhaps the principal features of the concert. This young lady scored a complete suc- cess on this her first appearance at 2 public con- cert in Hamilton. Thouga evidently nervous, she did not lose control of her voice, and the full, rich and yet flexible contralto was heard to advantage in her first selection. The difficult embellish- ments that were attempted, which would try a voice trained to the utmost limit, were given with- out much apparent effort, and so clearly that the listeners lost but few of the notes in the rapid runs. Miss Strong’s voice is not only naturally ric and powerful, but is well trained. Already she sings like an artist, and will no doubt go on improving her vocalism while she develops her voice still further. In response to a hearty encore to her first number, Miss Strong gave an aria from ‘Ii Trovatore’ in the same artistic manner that she had shown in the first selection.’’ 2 NILSSON’S GIOCONDA DRESS. Christine Nilsson, in a recent interview with a reporter of the Philadelphia Call, spoke of her dress in ‘‘ Gioconda,’’ which had been criticised as too magnificent for a street singer, as follows: “The critics are wrong, mon ami. Gioconda is not a common street singer. She is a gyp-y queen ruling over a s'rong band of Venetian outlaws. She has the command of plenty of money; other- wise, how could she obtain admission into the palace? The dress to which objection perhaps is taken is the one Givconda wears when she appears in the palace to warn Laura of her danger. That is perfectly correct. The gypsy not only attires herself in the rich robes of a court lady, but man- ages also to introduce several of her band into the palace disguised as gallants. A mistake of the stage management, by the way, is that the chorus, that is, the palace guests, are not all masked.”’ The following is a description of this dress: The upper skirt is of old gold satin cut in the style of the renaissance, with a long train, and looped on one side with a large rosette. The underskirt is of blue brocaded velvet, embroidered with silver aud pearls, and lined with cloth of silver. The bodice is of old gold satin, with Medicis collar of worked silver wire. The front of the corsage is of cloth of silver, with silver embroidery, and rare pearl buttons. The sleeves are of §blue brocade velvet, with puffings of white crepe. The weight of the dress is many pounds. Worth made it for the small charge of three thousand frances. OO BOSTON BILL-OF-FARE. What to me are heavenly pleasures, That from earth my fancy weans? What care I for worldly treasures? Bring along some pork and beans. — Chicago Daily Sun. Now remove the empty dishes, And come back upon the fly, Giving heed to all my wishes, For I want a piece of pie.
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66 AN ENGAGEMENT. Along the beach one even, A mile or so from Lynn, — The stars were bright in Heaven, Ashore white surge was driven - With merry clash and din, — They sauntered on unheeding All save themselves, alone, She his expression reading, And he her pity pleading In love’s fond undertone. At last she coyly answers, *‘ Don’t trifie, sir, with me, I saw you at the Lancers’, Among the giddy dancers Who clung to Minnie Lee.”’ ‘6 Well, I’ve paid some attention To Minnie, as you say; But with no such intention As you would have me mention, — She ’s my cousin, by the way.”’ ‘* Ah! that alters the complexion Of the matter very much; And I think, upon reflection, You-showed taste in your selection Of a partner for the Dutch — You know I meant the German — Is she cousin, honor bright? ”’ ‘¢1 ’m as earnest as a sermon ! Now won’t you, dear Miss Hermann, Give away your heart tonight? ”’ So it was the old, old story; To his pleas she ne’er replied, But she leaned her head in glory On his bosom while the hoary, Crimpling billows broke and sighed. Slowly backward home they wended, — Still the moon refulgence shed; But their hearts in one were pidnded: And by joy they ’!] be attended, There ’s no doubt, when they are wed. LEON MEAD. TEES AEE Nite S Sali al ROGER EMINENT AMERICAN MUSICIANS. GEORGE FREDERICK BRISTOW. Mr. Bristow was born in Brooklyn, N. Y., De- cember 19, 1825, and is therefore one of the oldest of our native-born musicians. He took up the study of musie, under the care of a competent teacher, at the age of five years. His progress was very rapid, and when eleven he became violin- ist in the orchestra of the Olympic Theatre, then under the leadership of George Loder, one of the foremost conductors of his day. ‘This position he held for many seasons, profiting by every opportu- nity of gaining knowledge and experience. When the New-York Philharmonic Society was organ- ized, April 5, 1842, he entered the orchestra as violinist, and has labored in that capacity ever since. He is probably the only one of the original mem ers who has continued with the society down to the present. In 1839, being then fourteen years old, Mr. Bris- tow first appeared before the public as a compos- er. Three years later his first overture (Op. 3) was performed by the Philharmonic Society, and, although it lacked maturity and fixedness of style, it drew attention upon the young musician, and showed his familiarity with the orchestra. His next composition of importance was a symphony in E flat (Op. 10), written in 1845, which was both Warmly and critically commended, and established ; FOTO. his reputation as a composer of merit. In 1849 he wrote the orchestral score to George H. Curtis’ cantata of ‘‘ Elentheria,”’ performed at the Taber- nacle, New York. The first of Mr. Bristow’s works to gain for it- self an extended reputation was his romantic opera of *‘ Rip Van Winkle”’ (Op. 22), libretto by J. H. Wainwright. It .was first produced at Nib- lo’s Garden, New York, September 27, 1855, by the Pyne-Harrison English Opera Company, and created a furure, receiving thirty consecutive per- formances. It is purely American in subject and mode of treatment, and may properly be consid- ered the first successful native opera. Several of the numbers became general favorites, but, not- withstanding its popularity, the work was never printed in complete form, and hence is not easily accessible. Under the patronage of H. L. Stuart, it was translated into Italian, and was on the eve of a revival, with new scenery, costumes, and ap- pointments, and Clara Louise Kellogg as the hero- ine, when the Academy of Music was destroyed by fire in 1865. Possessing many beauties and at- tractions, it is a work which our impresarii should not allow to fall into utter oblivion. Having succeeded in the highest form of secular -mnusic, Mr. Bristow now attempted tkat of sacred music with no less success. His oratorio of ‘* Praise to God”? (Op. 82) was thrice performed, the third time at the Brooklyn Academy of Mu- sic, by the New York Harmonic Society, of which he was conductor. The net proceeds, which amounted to two thousand dollars, were turned over to the Old Ladies’ Home, the composer re- ceiving twenty-five dollars for his services. Upon the two previous performances he lost near- ly two hundred dollars. The favor with which the work was received, however, must have been highly gratifying to him, and in a measure com- pensative for the years of labor expended thereon. A decided advancement over all his previous works is easily noticeable. Greater breadth and brilliancy of treatment is combined with especial- ly fine instrumentation. The vocal parts are bet- ter worked out, and their arrangement exhibits more maturity. The oratorio is the grandest of all musical com- positions, — grand because of its divine themes and noble, elevated simplicity, which have charmed and drawn forth the best efforts of some of the greatest masters. Mr. Bristow’s one production in this line would have perpetuated his name and marked him as a musician of more than ordinary ability. It was, however, not only equaled but surpassed by the oratorio of ‘‘ Daniel’? (Op. 42), first performed under the composer’s own direc- tion at Steinway Hall, December 30, 1867, by the Mendelssohn Union. Mme. Parepa-Rosa sang the leading role, ably seconded by the choral and or- chestral forces. Seldom has an American work created such an interest in advance of its produc- tion, or achieved such a permanent success. Both the critics ani people were unanimous in its praise, and it has now taken its place in the classical lit- erature of music. Mr. Bristow meanwhile demonstrated his mas- terly ability in a third great line of composition, —that of the symphony. His Op. 10 (E flat), 24 (D minor), 26 (F sharp, minor), aud 50 (E minor, ** Arcadian’’), form a quartette of splendid and enduring works, which will rank with the best of their kind. The latter was originally written as an introduction to the cantata of ‘‘ The Pioneer, or Westward Ho!” of the first half of which it is descriptive It was performed at the Academy of Music, New York, February 14, 1874, by the Philharmonic Society, and is one of the compos- er’s best productions. With the symphonies must be ranked the overtures, Op. 3 (E flat), 30 (‘* Win- ter’s Tale’’), 33 (‘*Columbus’’), and 47 (‘‘ Great Republic’’), which show how thoroughly Mr. Bristow understands the capabilities and complex- ion of the orchestra, Among Mr. Bristow’s larger works not already mentioned are two cantatas, ‘*‘ The Picneer’”’ (Op. 49), and ‘‘No More”? (Op. 52), a mass in C (solo, chorus, and organ), and a collection of church music. The libretto of the first mentioned cantata was written by Henry C. Watson, found- er, and for a long time editor, of the American Art Journal, and was intended for William Vin-° cent Wallace. Much of the music was sketched out by that composer, but upon his death it was _ turned over to Mr. Bristow, whose completion of the wor’ will undoubtedly add to his reputation. The balance of his works consist of numerous piano, organ, and violin pieces, of various kinds; two quartettes for violins, viola, and violoncello (Op. land 2); several sentences, anthems, and services for the church (which are highly esteemed by the choirs throughout the United States); and miscellaneous vocal and instrumental cowposi- tions. The list, exclusive of many unfinished sketches, runs up to Op. 638, the last work being the mass previously mentioned, and covers a peri- od of nearly forty years.. Thus it will be seen that Mr. Bristow is not in any sense a prolific composer. ‘This, however, is not owing to a lack of musical inspiration, but to the number of his. duties, and the fact that each production is writ- ten with the greatest care and fully matured before being submitted to the public. A large propor- tion of his works still remain in manuscript, else his fame wculd be more extended than itis. He is now ehgaged upon two operas, two oratorios, and one symphony, which will undoubtedly be the crowning works of his life. Mr. Bristow is no! only a composer, butin every way an accomplished musician. In New York he is well known as a violinist, his performances in that capacity being of high artistic order, and as an organist he is no less skillful. He is also a good choral drill master, an excellent conductor, and an experienced and sound teacher. He leads an active and studious but rather retired life, mixing little in society, and rarely ever appearing before the public except in a professional capacity. Fame seems to have little attraction for him, for he certainly employs none of the usual methods to obtain it. It is gratifying to know, however, that his labors in behalf of art are gradually gaining the recognition which they richly deserve. His home for many years has been in an humble cot- tage in Morrisania, where much of his time is spent, and where his productions are patiently elaborated. If there is any such thing as a mu- sical trait of physiognomy, he certainly lacks it, but any one would admire the portrait of the man. Possessed of sound common sense, sterling integ-_ rity, and rare musical talents, Mr. Bristow is one of the art’s best representatives. F. O. JONES. So - A pianoforte maker named Hardman Long since, ’t is reported, debarred man From makivg a better Piano for getter. Just try it: yLu ’ll find ’t is the card, man. ee oe ee eee ee ee ee ee ee, ee ee a a
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NOBLER THAN ALL. The glittering, golden sunbeams Dance o’er old Ocean’s breast, While scarlet clouds are blazing Away in the fiery west. The song-bird’s shrill soprano Rings out above the breeze, Whilst lazy, lingering vapors Float o’er the sun-flushed seas. But we may dream of vernal groves And orient skies of blue, | Of the wine-red tint of sunset, Soca With its deep, deep crimson hue, Of bright Aurora’s russet robes — But dreams will never do; We must by actions prove ourselves To God and country true. ‘Ve may have brave aspirings For the chivalrous and grand; With bold, ambitious longings, To be heroes in the land; But yet one hone*t action In response to Duty’s call, Despite all empty vaporings, Proves nobler far than all! THOMAS J. MCGEOGHEGAN. O_o WASHINGTON NOTES. The parlor concert given recently at Castle Stew- art, on Dupont Circle, was heartily appreciated by a brilliant audience, among them the President, General and Mrs. Sheridan, the chief justices and their wives, and several of the diplomatic corps. ‘Mrs. Justice Miller, a charming lady, is the presi- dent of the Blue Anchor Society of Washington, who gave this elegant entertainment at the resi- dence of Mrs. Senator Stewart, formerly of Ne- vada. Th ‘‘Castle,’? so termed, is a copy of.a baronial castle in Devonshire. A wide hall, with winding stairs into a tall turret, and the walls of the ball-room — in fact, nearly every room — is covered with rare old. pictures in Florentine frames, two grand pianos, and in many ways it is one of the most desirable residences in the country. Mrs. Stewart is the daughter of the late Governor Foote, of Miss.ssippi, and in her black velvet train, her winning face and white hair, she looked like a picture herself. The programme was one of ten numbers, and with the encores came up to twenty, wvich were finely rendered for amateurs. Mrs. Bruxton and Miss Nogineras, sopranos; Mr. King, the tenor of Dr. Armitage’s church in New York; and Mr. Reed, a brother-in-law of Senator Gulee, basso, sang Costa’s ‘‘ Ecco, quel fiero instante,’’ with fine effect, their echoes filling the magnificent ball-room with waves of harmory. Mr. King also sang a romanza from “ Mignon,” with ‘‘ Robin Adair’’ for.an encore. Two octettes were played by Mesdames Knox and Pearson, and the Misses Gilbert and Miller, the latter being a beautiful brunette, and a daughter of Justice Miller. There nas not been so brilliant a gathering for years at the Capital as this concert in support of that noble charity for assisting shipwrecked sea- men at life-giving stations. Mrs. Langtry has been at Ford's Opera House this week, playing to good houses. She dined with Senator Bayard in the Senate restaurant, and is admired as much as ever for her sinuous grace, FOLIO. 67 and her clear elocution in repeating her lines; but | Rosalie A. Trenchery. She was assisted by Mrs. she has not improved her dramatic qualities one | C. W. Mosher, Mrs. R. C. Outcault, Mrs. J. G. atom after a year of hard labor. Barrett is as much a favorite as ever, especially | 8. 8. Mansfield, and others. MciIntire, the Misses Clara and Hattie Funk, Miss Professor Schindel- in ** Richelieu” and ‘‘ Fran‘esca da Rimini;’’ in | meisser, pianist and violinist of Lincoln, and Mr. the latter he is not excelled by any American | C. Y. Lucas, baritone, of Chicago, took prominent actor living. N. 8. o-taseaatvocnmenmsngenaniees cineca aes H. 8. Perkins, of this city, is the owner of an ‘** auto-photo-musico’’ album, which is probably the most valuable of anything of its kind in exist- ence. It has taken about ten years to collect it, and the possessor is justly proud of it. Among the numerous collection are the following musical celebrities, with a phrase of original music accom- panying many of the composers: Auber, Rossini, Gounod, Carl Rosa, Ferdinand Heller, Sir Julius Benedict, Sir Arthur Sullivan, Alberto Randeg- gar, John Hullah, Sir Michael Costa, Dr. G. A. Macfarren, Alboni, Trebelli-Bettini, Jenny Lind, Christine Nilsson, Clara Louise Kellogg, Marie Roze, Sangiovanni, Sims Reeves, Wilhelm Ganz,. Charles Halle, Salvini, Adelina Patti, Wortel, Zucchi, Gottschalk, Manuel Garcia, Annie Louise Carey, Luigi Arditti, Nelson Varley, Dudley Buck, Adelaide Philtips, Theodore Thomas, Carl Zer- rabn, Rudersdorff, Ole Bull, Capoul, Zelda Seguin, Essipoff, Pappenheim, Wilbelmj, Remenyi, Ger- ster, Campanini, Gallassi, Carl Formes, Peschka Leutner, Del Puente, Minnie Hauk, and Materna, with many others, foreign and domestic. Nearly all of the autographs and photographs were pre- sented in person to Mr. Perkins. — Chicago Indi- cator. EEE STS RS A NOTES FROM THE WEST. Mr. A. Wooky, Galesburg, Ill., made many fam- ilies happy by supplying fine pianos and organs for holiday presents this year. J. H. Rheim, Ottumwa, Iowa, is doing a fine business in the Chicago Cottage Organ, and gives large orders for the ‘*‘ Boston Conservatory Meth- od,’’ which is the principal book in use among the teachers of that city. Mr. G. M. Barnes, of Tecumseh, Neb., has gone out of the sheet music and small musical merchan™ dise trade, and now only handles pianos and or- gans. He is a clever gentleman, a hard worker, and we wish him success, and thank him for past favors. Townsend, Sandifer & Eaton, Tecumseh, Neb., are successors to G. M. Barnes in the publication and small goods trade of that city, and are a very enterprising firm. They will continue to run White, Smith & Company’s publications. J. D. Lindsly, Hiawatha, Kansas, received spe_ cial orders for fine instruments for Christmas presents. Mr. Lindsly is assisted in his business by Mr. Buck, a practical man of long experience, and a very genial gentleman besides. John Scribner, formerly with White, Smith & Company’s Chicago house, is now with Carl Hoff- man, Leavenworth, Kan. Both of these gentle- men are to be congratulated, Mr. Scribner in se- curing a position in a house like Mr. Hoffman’s, and Mr. Hoffman in having the services of one so capable and pleasing as Johnny Scribner. Mr. E. A. Church, one of the proprietors of the Lincoln Opera House, Lincoln, Neb., fully appre- ciates the wants of the amusement-loving public of that city, and only leases his house to first- class entertainments, which insures him good re- turns, and satisfaction to his patrons. A recent concert was given in Lincoln, Neb., by parts, while the Arion Glee Club, of Lincoln, rendered some beautiful selections, and Lydia Bell, who is a favorite elocutionist throughout the West, appeared in her happiest vein, and all ac- quitted themselves with merit, and to the entire satisfaction of the large and appreciative audience. Miss Trenchery is daughter of that veteran dealer and musician, E. Trenchery, of Aiton, Ill., and is a credit to her parents, and Lincoln has just cause to be proud of this gifted young lady and musi- cian, and the liberal patronage she receives is suf- ficient proof of her success as a teacher. Messrs. Girke & Kittle, of York, Neb., did a large business in toys and holiday goods during Christmas week. They are also selling a good many Chicago Cottage Organs.. Fred Girke is one of the best posted men in musical merchandise in the West, and this firm is bound to do a large business. Helen R. Porter, Janesville, Wis., is a very prominent music teacher of that city, and is meet- ing with excellent success, both in vocal as well as instrumental music. Miss Porter is very populsr outside of her musical accomplishments. The business of the Weber branch house in Chicago is reported to have been very prosperous during the last few months, All the music studios in Weber Music Hall aretaken. Among the occu- pants George Sweet is the latest and most impor- tant acquisition. The other well-known teachers - having studios in this building are Prof. Liebling, W. S. B. Mathews, Amy Fay, N. Ledochowski, Mme. Rice, Prof Ruff, Mrs. Cole, Mrs. Stiles, Mr. Roelling, 8S. H. Pratt, Prof. W. C. E. Seeboeck, Mr Levett, Mr. Angelo De Prosse, and others. Mr. D. T. Bradford, Atchisen, Kan., feels good over his holiday trade. He deserves the patronage that his long experience and fair dealing brings him. Weber Pianos and Chicago Cottage Organs ~ figured largely among the Christmas presents — bought of him, and White, Smith & Company’s publications. David O. Calder, Salt Lake, Utah, is sending in very large orders to White, Smith & Company for books and sheet music, which shows business is good. Keep it up, friend Calder, we will try and keep you go‘ng. . George R. Burse, Jr,, who as been a student in Paris for the past five years, will visit his home in Kansas City this winter, and then will go to Boston, where he has contracted to execute some fine paintings for a wealthy and prominent family of the hub. This young and talented artist gives ©: great promise for the future, as he has already made for himself an enviable reputation abroad. a Mendelssohn’s ‘‘ Walpurgis Night” and Bruch’s ‘‘wair Ellen’? will be produced by the Chora, . Union‘ of Fall River in March, under the direc- tion of H. J. Bennett. aks The Evansville ‘Ind.) Philharmonic Society, aided by the Terre Haute Oratorio Society, gave . Mendelssohn’s “St. Paul’ at the former city on December 21, with acknowledged success. _ A complimentary concert to F. W. Griffin, by pupils, assisted by Lizzie L. Maldt, reader, Clara. F. Line, soprano, and R. Gordon Brown, violin, : was given at Social Hall, Malden, on January 3.
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68 THE WINTER KING. The Winter King, with freezing breath, And stern and wrinkled brow, And blasting winds, and rashing storms, Comes in his anger now! His ehilly breath and frosty hands Have stopped the streamlet’s flow; And hills and vales, and meadow lands, Are covered deep with snow. Now sadly sigh the barren trees, Encrusted o’er with ice; The frost sprites come on every breeze, To carve with gnaint device; _ The landseape, too, is charged amain, As though some wizzard’s wand, Had, waved above earth’s broad domain, Turned al} to fairy land. O Winter King! thy reign is ill! Look now, the sumbre sun, Dipping behind you western bill, Shrouds earth in elouds of dun; _And yet, O Winter, charms I see In thee, despite thy greeting; Thy glad, jong merry nights, give me, With true hearts fondly beating. And though the summer hours have died, And autumn’s joys are flown, We ’1l close about the warm fireside — Be merry with our own! For this blest hope to us is given — Bright days wii} soon appear, And Winter’s dreary reign be o’er, When golden S;:ring is bere! — Luther G. Riggs, in Chicago Telegram. RR EER ae Ss Be IRISH MUSIC—‘* ROBIN ADAIR.” Chief Justice Charles P. Daly read a paper re- cently before the New York Historica) Society, taking for his subject, ‘Song, and Song Writing.” At the close of his discourse he read as follows: — ** The Irish had produced some of the loveliest songs that ever were sung. A great composer once visited the land, and, hearing the early Irish airs, said, sadly, that they were the songs of a people who had lost their liberties. In ‘ Robin Adair’ an Irishman had produced the most popu- lar air of the century. The song had a pathetic love story in its origin, and the hero of it really lived. He was Dr. Robin Adair, physician to George III.”’ The air known as ‘Robin Adair” is neither more nor less than the grand old Iris air, ‘‘ Ai- leen Aroon,’”? commonly sung in Ireland before the name of a Brunswicker was ¢ en heard of in England. The same air has been used to the words of the beautiful song ‘‘ Soggarth Aroon.”’ Ireland is one of the few countries in the world that ever possessed a distinct school of music. Until recent years Germany could scarcely be said to have a school of music. Italy and France have distinct schools, and some think that Spain is en- titled to that pre-eminence ; if so, it is chiefly of the troubadour order. England never had aschov] music, neither has America. Scotland made some approach in this direction; but the majority of Scottish airs are well known to be the work of Irish composers, or they were boldly appropriated, that is, stolen, ‘ike ‘‘ Robin Adair,” from the Irish. Scoitish dance music, while semi-barbarous in character, is national, at least that class of it known as the “ strathspey.”’ We have heard, time out of mind, about that great composer who visited Ireland, and who, hearing the plaintive music of the country, de- clared, sadly, that the songs were those of a peo- ple who had Jost their liberties. He must have beerra bright genius if he ever had an existence. Zo this day a rollicking, devil may-care Irish jig LLG LOLA CL Le COLO LLL ONL LLL EL LODE OLLIE LE NELLY LORE ELL L OCLC LD OCR EL LLL LEE LOLI LEE OEE LED LLEE Pao te ENTE tna ETE etna n ran tenelte~rn peer nema Eat te: has such an abandon of mirth-provoking fun about it, such life and gayety, that no free people on the earth has anything to match it. Neither is it wanting in poetie grace, for it is full of it, but not to the eyes of unskilled judges. The war songs of Ireland are enough to rouse a nation to the enthusiasm of victory. Was there ever a quickstep heard on this planet to equal ‘‘ Garryown to Glory,” or ‘St. Patrick’s Day’’? True, those airs would never do for the phiegmatic Dutchman, or the beef ankled Saxon; but for the dainty foot of an Irishman, witha tight bit of brawn and muscle above it, these airs make the blood dance through the cockles of his heart like the inspiritinyg breeze from an Irish hill- side at early morn. The early Irish musical scale was without the fourth and the seventh of the present diatonic scale, and compositions based on this rule gave a wonderful] plaintiveness to the airs. They were exceedingly well adapted for the harp. A charac- teristic of Irish music was the unexpected intro- duction of B flat in pieces set in the major scale, which gave a melancholy tone to the musie, enough to bring a tear to the eye. Examples of this are to be found in the ‘‘ Exile of Erin,” (Savourneen Dheelish), and ‘‘ Silent, O Moyle.”’ The great beauty of Moore’s Melodies is to be found not more in the words, although they are matchless, than in the taste and judgment that wedded the immortal lines to equally immortal music. Some people think that the music and the words of the melodies are of equal age, but the Irish people never make this mistake. They know that the age of the music to which the melodies are wedded is probably unknown. Certainly it is of an ancient date, at least, most of the airs. It is a fact to be regretted that in America the glorious music of Ireland does not occupy the position its worth entitles it to occupy, especially in the family circle. The gimerack airs of opera bouffe and the variety show take its place in cer- tain circles, while in more ambitious places the mad thunder-storms of orchestration by Wagner are idolized by those who are scarcely fit to dis- cern the difference between the notes of a black- bird and the noise of a cart-wheel. This want of good taste is partly to be attribut- ed to the ‘‘music’”’ of that class of vulgar songs or bailads known as the ‘‘Come all ye,” which predominates among certain rustic classes, and which became a sort of substitute for trne Irish music after the suppression of the bards by the sallow-visaged Queen Bess. It must have been these ‘‘Cume all ye’s”’ that Chief Justice Daly’s traveling composer heard during his visits to [reland. — Catholic Herald. fant en iaiadet ote IE ET AE The St. Lawrence International Musical Union holds its fifth annual musical festival under the direction of Carl Zerrahn, commencing Tuesday, January 22, 1884, and closing Friday evening of the same week, with the following soloists: Bessie C. Hamlin, soprano; Alta Pease, contralto; the Schubert Male Quartette {William Willis Clark, 1st tenor; L. H. Chubbuck, 2d tenor; A. B. Hitchcock, baritone; and D. M. Babcock, basso); and Martha Dana Shepard, pianist; H. G. Blais- dell’s orchestra, of Concord, N. H., is also an at- traction. Three miscellaneous concerts will be given, and Max Bruch’s ‘ Fair Ellen,’’ and Rossi- ris “*Stabat Mater,’ will be the attractions on the remaining evenings. rr Annie Pixley wants to appear in London. a TT ‘PRINCESS IDA.” The new Gilbert and Sullivan opera was pro- duced at the London Savoy Theatre on January 5. The following despatch appeared in the New-York Flerald the next day: — Despite the organized claque, Gilbert and Sullivan’s new work, ** Princess Ida,” failed to please at the Savoy Theatre. That portion of the audience which was not hired to applaud, was amazed to find that Mr. Gilbert had re produced his old Olympic burlesque, adding nothing but a few patter songs of the regular burlesque type. All the originality of * Patience’ and ‘ Pina- fore” had vanished. Dreary puns were as abundant as in the Gaiety extravaganza. Even Sullivan’s music nodded, and, though the score showed great scholarship, it is quite urfitted to a play of a light order. ‘here were two rattling military pieces, one antique ballad, and ore ciassical parody. The rest was emptiness. Mr. D’Oyly Carte is master of the ‘puff preliminary.’” Through the press he had raised expectations that the audience would be unusually brilliant. As a matter of fact. nob« dy of high distinction was present. Nor was the mounting or per- formance of the play werthy of the theatre In the final scene the electric light shone brilliantly on.the glittering mail of the girl graduates, but the court costumes in the prologue were as ordinary as the caps and gowns of the girls in the first act. George Grossmith in the small part of King Gama had no op- portuny to display his vein of peculiar humor. Leonora Kraham sang well, but was physically ui firted for the part of Princess Ida, which was originally destired for Lihtian Russeli. Miss Brandram was excellent as Lady Blanche, though her metaphysi- cal conceits were lost on the audience. But the hit of the play was made by the three knights in ar- mor, Arac, Guron, and Scynthius, who brought down the house with their song ruaning ; — Fora month to dwell In a dungeon ceil, Growing thin ard wizen In a solitary prison, Is_a poor lookout For a fellow stout W ho is longing for the rattle Of a complicated battle — For the rum-tum-tum Of the military drum, And the guns that go boom! boom! Cuorvus.— Boom! boom! boom! boom! Rum-tummy-tummy-tun, ° Boom! boom! boom! boom! boom! boom! This refined song is a fair specimen of the humor of the latest Gilbertian effusion. he respect due to its music helped to save the piece from utter collapse.’ The author ard compeser vere summoned before the curtain without enthusiasm. Their vro- ductions are in London a species of cult, but in ,America ** Princess Ida’’ would probably be summarily damred. The despatch of the Boston Hera’d took a very different view of the work and the result. We give’,this opinion below, that our readers may judge for themselves — if they can. ; Gilbert and Sullivan’s new opera, ‘‘ Princess Ida,’”’ was pro- duced tonight for the first time on any stage, before an aristo- cratic and critical audience which thronged the Savoy Theatre in every part. The work scored an unmistakable success, and the most favorable judgment was expressed on all hands. The hbretto is declared to be the cleverest that Gilbert has ever writ- ten for a piece of this character. He hae deftly seized u>o0n all the points of Tennyson’s poem ( ** The Princess’’), from which 1t was possible to extract humor, but he has treat«d them with so much delicacy that it is next to impossible for the laureate to take exceptions to this travesty of his masterpicece. Mereover, Mr. Gilbert has touched upon the pathos of the poem only with a reverent hand. The music is a distinct departure in quaiity from tha of any of the ‘* Princess Ida’s’’ predecessors, although it is characterized by Sir Arthur’s usual methods. ‘the comic humor of some of the musica! effects 1s very delightful, while the melodies are charming, and likely to prove as *“*catchy” as any in the earlier operas by the same composei. The orchestration is quite elaborate, and is pronounced by musicians tu b= excep- tiovally fine. Sir Arthur conducted the performaner, ani, with Mr. Gilbert and Mr. D’Oyly Carte, was called bef re the cur- tain and received with appreciative enthusiasm = ‘I he c. mpany did’ full justice to the opera, and all the parts were ably sus- tained. ‘he scenery was exquisite. ** Jones, old boy,’’ saidfRobinson, as he met the latter on the street, ‘‘I was just coming to see you, and spend a quiet hour with you. It is all din and drum at my house. Since my daught-r ‘came out,’ the house is always full of company, and she is at the piano all the time ”’ ‘* Why don’t you remonstrate wiih her? ”’ ‘‘T do. But remonstrances have no effect.’’ ‘* Nor command? ”’ ‘*She don’t take kindly to thos», either. much of ler mother’s spirit, you see.”’ ‘‘There is one way of effectually stopping it, though.’’ ‘*How? Tell me, and be forever blessed.’’ ‘* Why, marry her off She ’ll never touch the piano again.”’ phe : *: Gvod scheme!’ Too
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nv te Po. PCO. GEORGE H. TYLER. George H. Tyler, whose portrait we give above, and who would be recognized anywhere by the appellation of ‘‘ Genial George,’’ so full is he of hearty good-fellowship, his decided business quali- fications never interfering at all with his uniform courtesy to all with whom he is brought in con- tact, is one of the best known and most popular men in the profession, whether the locality be Boston, New York, or Philadelphia. , Mr. Tyler’s success in dramatic matters has been very decided since he made his debut as the Earl of Rochester in ‘*‘ Charles II.’’ at the Boston Museum in 1859, on the occasion of a benefit to the veteran known for many years as ‘‘ Old Spear.”” vor two years afterward, Mr. Tyler played in traveling companies through the coun- try, when the Rebellion broke out, and he joined the First Massachusetts Infantry, serving his country until the surrender of Lee, when he again entered the theatrical world, in which he has since been a well-known manager and di- rector. Among the more notable companies which owe a considerable portion of their success to his man- agement are Laura Keene’s New-York Comedy Company, Mrs. John Wood's London Burlesque Company, George I. Fox’s original Humpty- Dumpty Troupe, and the Maffitt and Bartholo- mew, Maffitt and Frazer, and Lotta combinations. In 1871 he became manager of Laura Keene’s Chestnut-Street Theatre, Philadelphia, continu- ing there for two years; and in 1872, 1873, and 1874, he occupied the position of manager of the Olympic Theatre, New York City. In 1875, 1876, and 1877, he was employed in positions of trust by Henry E. Abbey, and in the season of 1877 and 1878, assumed the business management of the Gaiety Theatre in this city, and old theatre-goers will acknowledge these sea- sons as the most prosperous ones in the short life of that house of amusements. During the sea- sons of 1878-9 1879-80, and 1880-81, he renewed his relations with Manager Abbey, and took the man- agement of the Park Theatre in this city. In the spring of 1882 he became convinced that a theatre for light opera, judiciously managed and generously caparisoned, would be successfu!, and he at once entered into negotiations with Fred Vokes, of the Vokes Family, when a lease of the Gaiety Theatre was secured, and work was begun at once. Before the work was completed, Mr. 2 ——— Vokes retired, and a stock company was organized, the larger interest being taken by the Messrs. Hastings. The work was at last completed, and on December 11, 1882, the theatre was thrown open, with ‘‘Iolanthe’’ as the attraction. The horse-shoe gallery and horse-shoe curtain seemed to add their good luck to Manager Tyler’s excel- lent business management, and success was at onee secured, the opera running, as will be remem- bered, for over four months. Last May Mr. Ty- ler disposed of his interest to the Messrs. Has- tings; but his vi.orous management and stern dis- cipline seemed called for, and he is again in man- agement, while the theatre has taken a renewed lease of life and popularity with ‘‘ The Beggar Student,’ Milloecker’s beautiful opera, which is soon to be followed by Vor Suppe’s latest success of ‘‘ A Trip to Africa.” Se AES PR SE” ie OR eee WASHINGTON NOTES. WASHINGTON, D, C., JAN. 10, 184. The studios of Andrews, the court painter, Meline and Foshberg, were draped very handsome- ly for an art reception last night at Corcoran Building; wax candles, flowers, and music lent their charms to the already pretty rooms, so that the pictures representing the genius and hard work of their owners, were very favorably com- mented on by a host of visitors. Andrews showed several exquisite panels, a fine portrait of Ex-Sen- ator ‘Vindom, and other minor studies. Fosberg exhibited his ‘*‘ Thanksgiving,’’ and ‘‘ Scenes on the Upper Potomac,’’ Meline some tolerably exe- cuted landscapes and panels of flowers. There is considerable excitement in the musical world over the approaching concert to be given January 16, by Bertie Crawford, a Washington debutante. Among other pretty things she will sing ‘‘ Tripping Through the Lane,’’ the verse written by French, and music by J. L. Gilbert. Madame Logan has not had a more promising pu- pil in this city, and five hundred tickets sold gives a foregone success to the concert. Milloecker’s *‘ Beggar Student,”’ at Ford’s Opera House, on account of the severe cold weather, has not been patronized as it deserved. The scenery, dresses, and so forth, were beautiful, and the act- ing of Miss May, as Symon, the student, was well done. N. 8. ee MODJESKA’S OPINION OF PATTI AND NILSSON. An exchange prints the following interview with Madame Modjeska, regarding Patti and Nilssun. ‘*Which do you like better?’’ asked Dickey. “Oh, Patti, by all means. She is the greatest artist of all.’’ _** But Nilsson has more heart,’’ said I; ‘‘ and her ballad singing can move a multitude, where Patti’s best efforts would pass unheeded.”’ ‘* That is not art,’’? replied Madame; ‘“‘ and it is Patti’s art which charms. I heard her in London from a seat high ap, and, while all the other voices seemed to come from the singers’ throats, Patti’s came down from above like an angel’s voice. That is heaven;’’ and she threw herself back in her chair with the abandon of an artist enraptured over a fancy beyond materialization. ‘Patti can’t sing ‘ Home, Sweet Home,’ ”’ said I, ‘and to an American no air is more touching — no music sweeter.”’ ‘*No,”’? replied she, ‘f but Patti is not to blame for that She never had a home-— she does n’t know what it is; and how couid she put into her | song the expression of an experience she never had? ”’ ‘*Is n’t the highest art,’’ said Dickey, ‘‘ the art which is made up of art and sentiment? ”’ ‘*T think not,’’ replied the countess, ‘‘ Senti- ment is from the heart, and is not apt to color the reason by feeling. Art as art is to be jueged crit- ically by received standards of the best taste and judgment, in all ages, and while sentiment may beautify itin certain ways, it really does not make it better art, if I may so speak.’’ ‘Tl like Nilsson very much,’’ remarked the count, ‘‘and I can understand why Americans ad- mire her as they do. Patti is an Italian, her mu- sic is of the South, and she is popular beyond all others in her own land. Pattiis full of passion of the stronger sort, and she appeals to the warm blood of the southern Jatitude. Nilsson is of the north, full of feeling, — passion we may eal] it, — but it is the quiet, persuasive passion of home and family, and when she sings the tender ballads of love and home among you northern people, she at once finds audiences who appreciate and love her. I hardly think it is fair to judge them together, as there is so much more than mere art judgment can comprehend and decide upon,” iaetarnlT ReMi Ta eS PEN Te iL. W. Ballard, of Lewiston, Me., conducted a very successful musical convention in December last, at Swanton, Vt.. Although we have had eon- ventions here many times, this one is said to be the best we ever had. The chorus numbered eighty, and the vocal solo work was given by local talent, and others from St. Albans, Highgate, Fairfax, Vt., and Bedford, Que. Besides the usual drill in church music, the class rehearsed sacred and secular choruses, and. presented at the con- certs, besides a short miscellaneous programme, Thomas’s secular cantata, “The Pienic,’? and “The Ninety-first Psalm,’ the musie composed and arranged for solos, duetts, quartetts and echo- ruses, with piano and orchestral accompaniment. The best of feeling prevailed through the entire convention, and the committee, singers, and pub- lic, were very enthusiastic in praise of Mr. Bal- lard’s compositions, which included the ‘* Psalm”? aud the church music. The ‘‘ Psalm’ is in man- uscript, but it is hoped that it may be published, so that many societies and conventions may avail themselves of its use. Mr. Ballard was a stranger in Swanton, but made hosts of friends, and had applications for other conventions while here, and no doubt that next season will find him in this vicinity several times. At the last concert, Rev. Mr. Babbitt, pa8tor of the Congregational church at Swanton, read some very flattering resolutions complimentary to the director, which were unanimously passed by the chorus immediately rising to their feet, while the audience applauded. ; Mr. Ballard had a small orchestra, selected from his own musicians, of Lewiston, which rendered valuable aid. SCRIBE. Oo Jennie Vornholz, soprano, from Cincinnati, and Delia Davis, contralto, from Grand Rapids, Michi- gan, both of whom are fine singe-s, and who are pursuing their musical studies in this city, have lately accepted positiens in the choir of the Dear- born-Street Church, of which E. H. Bailey is the director. OO Salvini begius his London engagement at Covent — Garden, March 1. cz
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70 EO GOD'S GIFTS. ComPosED FOR THE ANNUAL HArvEsT CoNCERT.OF THE WARREN-AVENUE Baptist Socigry. Dear, loving friends, within these walls We ’re gathered here tonight. To worship God and bless his name, — To work for Christian right. From year to year unceasingiy He cares for you and me, With love so kind and merciful, So boundless, rich and free. Through every sphere and walk of life, From cot to palace dome, Where’er we turn, the gifts of God With lavish hands are strewn. The precious stones from mother earth, The gold and silver bright; The ripening grain, the choicest fruits, Are His by heavenly right. And all these blessings manifold With sweet accord are given, To cheer our humble effortS here, — To make of earth a heaven. He gave His own beloveég son, A ransom richly blest, To call the wanderer home again, From sin to heavenly rest. If you are blest, my dearest friends, Above your fellow-man, Remember him with kindly heart, With open, outstretched hand; Fur dou’t you know the Bible says, As unto others given Will be allotted unto you By God, in earth and he: ven? So from your substance give a part, However small it be; ; We ask the boon in Jesus’ name, Who suffered on the tree. The gift will cheer some aching heart, Grown faint through sore distress, And bring to you that peace of mind Which all do not possess. GEORGE H. Rowe. Scenes os LETTER FROM MR PETERSILEA. Beriin, GERMANY, NOVEMBER 21, 1883 _ Epiror Fouio: Dear Sir, — In accordance with your desire that I should occasionally contribute something from this side of the water for the en- tertainment or instruction of many of your read- ers who are not familiar with Europe and its many advantages and disadvantages, I will try to give you a short account of our experience from the time we sailed from New York, September 6. Our party consists of eight persons: namely, my- self: and Mrs. Petersilea and ber mother, Mrs. Kennedy, and five of my most talented pupils, whose names I will also mention, as they are not altogether unknown in musical circles. Miss Webster, of Manchester, N. H.; Miss Gilbreth, of - Boston, Mass.; Miss Howard, of Richmond, Ind. ; Mr. Pottgieser, of St. Paul, Minn.; and Master Milo Benedict, of Boston. Our passage across the Atlantic was remarkably smooth, with the ex- ception of the fifth and sixth days, which were ex- tremely unpleasant and rough. The life on board of an ocean steamer becomes very monotonous after the first two or three days, especially if many of the passengers are troubled with that most dis- snes nnn ne POS. tressing malady — sea-sickness. tunately very prevalent among the ladies on board, particularly during the two stormy days already mentioned. In order to do something for the gen- eral entertainment I arranged a concert, with the assistance of my pupils, which was given for the benefit of the widows and orphans of. sailors. This institution, which is supported, I believe, en- tirely by voluntary contributions, is called the Liv'rpoo! fund for the support of the destitute families of sailors who lose their lives while at sea. The concert proved to be musically and financially a success, and quite a sum was raised. It may not be in good taste for one passenger to criticize the conduct of the male portion of his fellow-passengers, but I must offer my protest against the drinking and gambling which is going on from early in the morning until late in the night upon ocean steamers in general. I have crossed the Atlantic several times, and each time been very much shocked at exhibitions of both of these deplorable vices. Some time there will be a steamer lost by fire occasioned by somebody smoking in his statercom after going to bed. The example set by men, who consider themselves gentlemen, to boys and young men going to Eu- rope for study or pleasure, is certainly a most dan- gerous one. We arrived at last safely at Liverpool, and pro- cured through tickets to London. On the way we stopped at Chester and Stratford-on-Avon, the home of Shakspere. Much might be written de- scriptive of the different objects of interest that doubtless would interest many of your readers who have,not been over the same ground,.but as I de ire to proceed as rapidly as possible so that my future letters may contain more pertaining to the subject of musc, I will say that we arrived in London at a time when there was nothing, in a musical way, going on, and we therefore devoted our stay of ten days entirely to sight-seeing and shopping. Among other objects of interest we saw the house at Chelsea in which Thomas Car- lyle spent forty years of his life, and died. I pre- sume you may not be aware that my father, who was an ardent admirer of Carlyle, named me in honor of the great writer, and it was alw ys my ambition to see him personally and tell him so. This privilege, unfortunately, owing to his death, has been denied me; but nevertheless it has af- forded me niuch satisfaction to see the house in which so many years of his life were spent, and to imagine him present and laboring over his philo- sophical and metaphysical works. The house at present is unoccupied, and is for sale. I think it would be a fine investment for some one to pur- chase it and allow visitors to inspect it for a cer- tain consideration, as is the case with the home cf Shakspere at Stratford-on-Avon. Upon arriving at Paris we were advised to go to the Pension of Madame Feron, 58 Rue de Mathu- rin. I have given the address of this house, as it may be of use to some of your readers who con- template going to Paris at any time. I do not recommend the house we stopped at in London for the reason that it would be difficult to find a place where the accommodations were so poor, considering the price paid. My wife and I were very much disappointed in Paris this time, having visited it a number of years ago when everything was gay and bright, and the city much better lighted than it is at the present time. There seems to be a recklessness about the people, and a want of civili'y that is tctally at variance with the This was tunfor- proverbial politeness of the French nation. Every time you engage a carriage you may depend, with absolute certainty, upon an altercation with the driver. No matter what one pays over and above the regular price established by law the amount is never satisfactory. This system which prevails in Europe, of being obliged to pay right and left small amounts varying from five to twenty-five cents, is excessively annoying to travelers, and let us hope and pray that it may never be established in our country as it is here. Even in the principal hotels the servants pay the hotels in which they are employed a certain sum of money every month for the privilege of being in the house and taking their chances of getting all they ca. out of the traveling public. I know this to be true, as I re- ceived the information from the head servant in the hotel we are now stopping at. We remained in Paris several weeks, and then proceeded on our journey, stopping at Brussels, so celebrated for its elegant lace manufactories; Antwerp for its mag- nificent paintings and churches; Cologne for its Cathedral and the church of the ten thousand vir- gins. The walls of this church are literally lined with human bones, supposed to be the remains of the unfortunate victims of the religious wars. There is one painting of Rubens at Antwerp which is peculiarly interesting on account of an incident connected with it. Rubens was asked to make a large painting of the birth of our Saviour. He did so, and when he pronounced it finished a priest remarked that there was no don- key in the stable. The great painter, indignant at having any suggestion made to him, then added a life-sized picture of the priest at the right of the manger in place of the donkey. CARLYLE PETERSILEA. eS THE HARDMAN UPRIGHT PIANO. Never before in the history of the piano tradein _ the East has an instrument sprung into such great popularity in so short a time as has the Hard- man Upright Piano. Not that we mean that the Hardman is a new make of piano, as the business was established by the elder Hugh Hardman in 1842, this firm making the first upright pianos ever manufactured in America; but the instru- ment never had a proper introduction into New England until White, Smith & Company took the agency last January, since which time the enter- prising house have established agencies in all the large cities and towns, and made the name Hard- man a household word. Any one looking for the very best upright piano should not fail to send for eatalogue and price, which will be found reasona- ble, considering the fine quality of the goods. i THE UNKNOWN VOICE. Soft on the air, like echo rare, The music of a voice is trilled; Its tones condole, my heart console, Until my dream with bliss is filled. Ah, song so sweet! O voice complete! Thy touches trembling like some strain Whose measured joy 1s calming ’ploy, To light the shadowed heart again. Then stilled the song. Alone ’mid throng Of moving multitydes I grope, To find the voice whose heart’s rejoice Enlivened my sad life — to hope. H. 8. Kevier.
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Peete PC: 7 i ss hte “J —_ <= LE TLE Zanes sagan ess << 3 tie Ph —— A model woman —a poser. An eat man — an alderman. A tight fit — Delirium tremens. Woman’s rites — taking the veil. A Jersey waste — Mrs. Langtry’s. Al! colonels are not what they are eracked up to be. A. ‘‘frame of mind’? — the frame around a portrait of Daniel Webster. ** Words that burn ’’ — those in love-letters that are thrown into the fire. A woman who bleaches her hair generally has a bleached soul to begin with. ““That ’s about the cheese,’”’ said the lover of Limburger, as he caught the fragrance. It does n't pay to swap shoes with a Chicago man. much to boot. Was Samson the first actor on the world’s great stage who ‘“ brought down the house’’? Eli Perkins considers Apollo a striking figure. Apollo struck the liar. Why do people talk about ‘‘ bitter tears’?? Doubtless it is a matter of taste; but they are salt. Patti’s boudoir car cost.sixty-three thousand dollars. boude-war on low salaries. ‘‘There is no time like the old time’’ — excepting in those longitudes where no change was required. Because the lightning runs down the lightning-rod is no sign the rod is not what it is cracked up to be. ‘*My wife had fits,’’ is the heading of an advertisement in a daily paper. Had a good dressmaker, probably. Maud Granger is now playing ‘‘ Her Second Love ’”’ in St. Louis. — [Ez- change,| What! only her second? The most level-headed thing we know of is a drum. — [Lowell Courier. | And yet some one is always )eating it. The maiden’s pin-nickle—A_ five-cent breast-pin. —|[The Hatchet.] Should think she would get piqued at such an item. ‘ It takes a roystering crowd to create a great clam-or. [P°S. It is neces- sary to buy valves to let off the gas from such effort. | The St. Louis Magazine, in a fashion article, speaks of a Mother Hubbard gown as ‘‘a symphony in gray.’’ Would n't it seem funny in blue? Will. somebody please invent a sewing machine that will hemisphere. — | Newman Independent.| The one that will take a stitch in time ought to do it. There is no truth in the report that when a Chicago girl wishes to try her roller skates it takes two hired men to roll her skates out upon the side- walk. It is a brave girl who can go to sleep before looking under the bed. Per contra, it is often a brave man who can go to sleep after he has looked un- der it. That was a very bad little girl who excused an ugly horse by saying she wondered tha more horses were not bad, as they always had a dam fora mother. Ruth: If you think a baritone is bare o’ tone, just wait till you hear George Stewart of the Germania Band play a solo on one, and change your mind. 3 The reason that a sporting-man, who is devoted to the rod and line, does not usually follow the ‘‘ straight and narrow way,’’ may be because his life is full of angles. Talk about ironing prisoners! Would n’t it be a good plan to wash some of them first? — [Boston Star.} And hang them ont? But this is sadirony, if it is a ‘“‘ gallus”? joke. ** Fish out of Water’’ is the heading to an article in anexchange. Thun- der! How do people expect to catch anything when Mhey fish out of water? Are they after flying fish? Several new tanneries are to be erected in Chicago this year. The reasons are obvious. —|St. Louis Magazine.| It is appropriate indeed that such business ventures should be on foot. A Whitehall baker has composed a piece of vocal music. It begins with dough. —| Whitehall Times.| Which is followed by raise, of course, — He always has too Yes, we have heard that This would seem to | Vaterloo Observer.| Is n’t this rather light? However, it is not fa- | fetched. | A forest of fossil trees has recently been discovered under one of the avenues in Washington. — | Exchange.] But there are a great many fossils in Washington not yet underground. If you meet a particularly large and savage Thomas cat, do not attempt to felis pulse. —|Fouio | But paws till he is felin good. — [Framingham Tribune.| Or he may paws to your sorrow. : Anexchange speaks of ‘‘ Limburger by the ton.’? We have frequently seen Limburger by the Teuton. — [Norristown Herald.| The Herald was very un-four-ton-ate —if within smelling distance. ; A scientist says ‘‘the reason kissing is so pleasant is beeause the teeth, jawbones and lips are full of nerves, and when the lips meet an electric cur- rent is generated.’’ Nonsense! it is because you like the girl. Marble, old boy, would it be correct to call a theatre a supe-house? — | Kunkel's Musical Reriew.| Possihlv. if they were playing a spooney piece. We are willing to make this suggestion simply to help a Foulon a bit. It is alleged that Miss Will marred Mr. Shall in Michigan the other day. If that is so they not only may, but can or must. At any rate they would or should. — | Lowell Courier.| Horrible thought! may be they have! Wendell Phillips gives six cents every day to an organ grinder. With Mr. P' illips money is no object where music is concerned. — | Philadelphia | Evening Call.| Nor, evidently is music any object where money is con- | cerned. An exchange says that ‘‘ a reward is to be offered for a young man in so- ciety who has any brains.’’ The money is safe, unless some young man with enough brains to see his opportunity goes into society Jong enough to gobble the cash. Gail Hamilton has been writing several articles on ‘‘ The Day of Judg- ment’”’ for the North-American Review. Gail is popularly supposed to be coeval with the creation, and we thiuk it rather stretching things to reach to the day of judgment’ Richmond Baton has inscribed a song to the medical students. It is called ‘‘ Some bodies coming.’’ I presume we will only have ‘* snatches ”’ of it.—|Yonkers Statesman.] Of course it is only natural that people would be rather “‘ stiff ’’ about it. Anna Dickinson seems determined to try lecturing again. Why in the world does n’t this young person settle down and make a crazy quilt? — | Kansas City Times.| Or attempt to make a quilt crazy? She is apt to make everything crazy she monkeys with. Senior Alley <vears glasses, as most elderly respectable gentlemen do. Some one called him the four-eyed man, when the Junior said, ‘*’Fore I’d stand that, dad’? — But the Junior went out of the house in a hurry, and did not dare to return for several hours. ‘* Where are you going?”’ asked Junior Alley of a friend whom he saw rushing toward the wharf, with a carpet-bag in his hand. ‘‘I am going on a sailing vessel to Vera Cruz,’’ was the reply. ‘‘ By Jove!’’ exclaimed the Junior, ‘* that is the very cruise I should like.”’ ** The frigid exhibitions of Sir John Frost have habilitated the lordly Hud- son in a glistening and impervious coat of mail,’’ is the way in which the Elevated Railway Journal puts it. Such airs as there great corporations give themselves! This is elevated language with a vengeance. A popular fish in the winter season — the skate. — [Goverreur Herald. ] A fish to go with the skate —a good stout sole. —|Richmond Baton.| The sole is the proper place for a skate. — [Elevated Railway Journal.| But some souls will never have a skate — unless they reform while in the body. Francis E. Gunn, common vagabond, four montis in the House of Indus- try. —|Police Report.| Probably Gunn got ‘‘cocked’’ too often. — [Com- mercial Bulletin.| Very natural, then, that he should at last get ‘‘ fired.’’ —|Fouio.] Was it a breach of the piece? — | Framingham Tribune. | his he only kicked a little. To the ‘‘ horrors of 1883’? must be added the two or three hundred Bert sand oguinettes said to have been manufactured during the year. They are to this country what the earthquakes are to Java— only a little less suddi n in their effects, perhaps. —| Norristown Herald.| What is an orguinette, | pray? Have you heard or gi’n it a trial, that you should blow on it thus? 2 send a letter now you want 2 listen to this sonnet, 2 write it plain, and then to put a 2 cent stamp upon it. — | Cincinnati Merchant Traveler. | 4, if you don’t these rules observe, 4tuitous you ’Il rue it. 4eign your letter to the mails, 4 **dead’’ will be tacked to it.
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72 MADAME TREBELLI. The distinguished vocalist whose portrait w have the pleasure of giving with this month’s Fouio, has long enjoyed unbounded popularity among English musicians and amateurs. She was born at Paris, and her musical education commenced at an early age. It was originally intended that she should be a pianist, and it was by mere chance that she was led Lo become a vocalist. One morning, while sitting alone in the music-room of M. Wartel, the celebrated Parisian singing-master, — teacher of Christine Ni:sson, and other famous artists, — she amused herself by singing some airs which she had learned while playing the pianoforte accompaniments. She was over- heard by Wartel, who made her sing ascale, and then said to her, “ You have no voice at present, but if you will work hard under my instructions, I will make a voice for you.’”? He kept his word, and it was in a compara- tively short space of time that the young student's voice was ‘‘ made,”’ and she astonished and delighted the wusical world by the pure and silvery quality of vocal tune with which she executed the most difficult florid mu- ‘sic. she was soon engaged as prima donna contralto at Her Majesty’s Opera, London, where she has occupied so prominent a position ever since that her career is familiar to the public. Most of her life, since she became an operatic artist, has been spent in England. On the provincial tours of Her Majesty’s Opera Company she has been a conspicuous “*star,”’ and has gained thousands of admirers in every part of the United Kingdom. At niany of the provincial musical festivals she has been a leading attraction, | and she has, on several occasions, been the first interpreter of contralto parts in important musical works by English cemposers. Being an accom- plished linguist, she sings with equal facility in French, English, and Ital- ian. At St. Petersburg, Berlin, Vienna, and other continental cities, she is as popular as in England, and three years back she made a professional tour which partook of the character of a triumphal procession, through Sweden a. d Norway, in which countries she became so popular that when she paid them a second visit in the following year, the ordinary concert rooms were too small to hold the applicants for tickets, and many of her concerts were given in churches. Madame Trebelli’s voice may properly be designated as a mezzo-soprano, but she sings with ease the lowest notes of the contralto register. The quality of tone which she produces is remarkable for its purity and fresh- ness; her intonation is absolutely faultless, and she is a mistress of vocali- zation. As an actress she exercises a remarkable fascination over her audi- ence, and is equally successful in comedy and tragedy. To mention the roles in which she has been successful, would be to « numerate all tle lead- ing coutralto parts in the modern operatic repertoire. She made a great suceess in the role of Carmen in Bizet’s opera of that name, at the Boston Theatre, during the recent appearance there of Henry E. Abbey’s Opera Company, her acting being sprightly and graceful, her vcice showing great cultivation, and her interpretation of the role accenting the volatile and more pleasing features. The part was originally written for, and ‘‘ created ”’ by, a mezzo-soprano, — Madame Galli Marie. Madame Trebelli as Carmen made a decided success. Her acting was bright and life-like, and whenever she came on the stage ste seemed to bring sunshine with her. Sh SES iad pa ae ei Moral suasion has been found to work beautifully in a Chicago school. When the boys are bad, the teacher, an extremcly sour old maid, talks to them of their sins, and then kisses them. They reform on the spot. — | Philadelphia Evening Call.| On the spot on which they are kissed? She does n’t kiss them on the mouth then, probably, because we should think it would be the spot where they would swear. Oo There is a young woman named Dickins n, Who behaves like the very old Nick and son. She cantered a-straddle Through the West in a saddle, And that ’s what ’s the matter with Dickinson. LST S Seana Ie Ee ae Fa Aun amateur organist who broke down in playing the oratorio of ‘‘The Messiah,’’ said, ‘‘ I find the music is a little too hard for me to Handel. — { Pretzel’s Weekly.] He was afterwards found Haydn behind the organ. — | Richmond Baton.] And was beaten till he had a broken Bach. ESI 2S Se or ae ee An eastern exchange informs us that “‘ only about one half the people of Chicago are natives.’’ The rest of them are men, women, and children. — | Chicago Telegram.| Where does Mrs. O Leary’s cow come in? ee se ee ee: ee ee Se ee —_———$$ -A man who makes wooden Indians fur tobaconists’ signs advertises them at ‘‘ Lo figures.”’ | PD t1e2 i revelry that we know of. — Chicago Teleyram. | WALTER EMERSON. We are pleased to give herewith a portrait of Walter Emerson, whose cornet-playing has been so popular a feature of our summer resorts for the past two seasons, and who is at present on a prosperous concert tour through the West. STORY OF MARIO. Christine Nilsson told the following story to a reporter of the Philadelphia Call at a re-ent interview : — ‘We were great friends,’? said Madame Nilsson. amused me very much on one occasion. Let me see; it was in 1867. I was Mademoiselle in those days. Well, it was at a reception given by the Duch- ess of Buccleugh, in that delightful old house of hers on Whitehe!l Gar- cens. The old Duchess of Cambridge was there — the mother of his pres- ent Royal Highness — and Signor Mario and I were among the guests. The princess was fond of Mario, and asked him to sing the duett in the third aet of ‘Faust’ with me. Of course a request from a royal highness is a com- mand, and both of us at once walked to the piano. I was delighted to sing with Mario, and I turned my face to him in expectation. He was frowning with vexation, and feeling in all his pockets. ‘* * Mais —my lorgnette, my eyeglass,’ he exclaimed; I cannot sing wifout my eyeglass.’ *** But my dear Signor Mario,’ I cried, in surprise, ‘ surely you do not re- quire any glass to sing music which you must know by heart. You have sung it a hundred times!’ “** Yes, but Ido not know it, nevairetheless. Peste! I left him in the paletot of yesterday. We must sing, but you must assist my memory. I can do nothing wif a piano. I remember very well on the stage. There is the conductor with his arm in motion. That aids me. So does the boom! boom! of the big fiddle, and the gabble of the prompter. Come, let us begin.’ **We sang,’’ continned Madame Nilsson, ‘‘ but I had to prompt him with music and words all the way through the duett. Poor Mario! He was so true and generous, He gave away everything, and died without a penny.’’ ap SEE A a LSP RPC Th ATi. ss MR A CR AEE es _ Alaska has been reveling in a voleano. It is the best place for voleanic Is n't the above a wrong s‘atement? Is n't it ube volcano that has been reveling ia Alaska? ** He astonished and ‘where he is got?
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OFFICIAL BULLETIN. The new ‘“‘Casino’’ collection will contain por- traits of several celebrities. Send to White, Smith & Company for a cata- logue of their operas, operettas, and cantatas. Portraits of Whitney, Carleton, Trebelli, and Scalchi will illustrate the new bock of *‘ Glean- ings.”’ ‘*The Harvest of Minstrel Songs”? will contain fine portraits of Birch, Bachus, Nei’ Bryant, Billy Morris, and others. The McKeesport (Pa.) Society will soon give the opera of ‘‘ The Black Mantles,’’ under tbe musical direction of H. 8S. Jaycox. The violin pupils of the Boston Conservatory of Music will have a recital at the Meionaon on Sat- urday, January 26, at three o’clock. ‘(My Wild Love,”’ sung in the opera of ‘‘ The Beggar Student ’”’ at the Bijou Theatre, is having a.decided success, it being demanded at every per- formance. The Rossini Concert Company of Brooklyn are concertizing with much success. Lena Bungert is making a great specialty of C. A. White’s song of ‘* Marguerite.”’ The sale of ‘‘The Bijou Collection’? and the Floral Offering’’ in one week was something pro- digious, one dealer alone ordering four thousand copies of each. Miss Herrick, whose address is 17 Milford Street, has recently begun teaching on the piano, and is having good success with several pupils, and has time for two or three more. ‘* David and Saul,”’ by J. Astor Broad, left just com pleted at his death, is now under way, and we hope, ere long, to give this great werk, the effort of his life, to the musical public. ‘Just for Fun, or an Innocent Flirtation,”’ words by Earl Marble, and music by E. H. Bailey, is a new song of the serio-comic order, which is destined undoubtedly to make a hit. William Gooch has recently compiled an ‘‘Album for the Violin and Piano,’”’ which is avaiable also for flute or cornet and piano, and which contains a selection of popular airs. Price $1. Lena Bungert, of Brooklyn, N. Y., is singing C. A. White’s ‘‘Evangeline’’ with great success. She sang it at her concert, January 23, in Brook- lyn, where it was received enthusiastically. ‘** Patience Grand March,’’ composed by William Dressler, and dedicated to the New-York Amateur Cuurch Choir Company, for four hands on the piano, is published by White, Smith & Company. C. A. White, the senior partner of the firm of White, Smith & Company, and his son, D. L. White, are in Chicago, whither they went on the 12th, looking after the growing Western interest of the house. ‘‘The Beggar Student” is catching the public ear, and is selling better than ever. Once heard, you wish to hear it again. We publish full opera, $1; Gems, 25 cts.; Piano Score, 50 cts. Mailed postpaid. Libretto, 10 cts. Walter Emerson’s ‘‘ Cornet Solos’’ have been issued in a neat and an attractive form, at a reduc- tion from former prices. They are published in two volumes, one with the cornet solos alone, and the other with cornet and piano parts together. The Philadelphia Musical Society are using the only American edition printed from cut-plates by stone process of ‘‘ The Crusaders,’’ by Gade, and ‘“*The Song of. Victory,” by Hiller, which publi- —_——_-—_—_--————— ee SEE ee ee ee eee nr — PP Roe cd CD. cations are for sale at W. H. Boner & Co.’s mu sic store in Philadelphia. W. H. Putnam, A. M., the author of the libre-t to of E H. Bailey’s operetta of ‘‘ The Berry Pick- ers,” is spending the winter at Maitland. Florida. He is engaged on a new work for which Mr. Bai ley will furnish the music. Helen EH. H. Carter has returned from an ex- tended concert tour through the West, and will locate permanently in Boston as a concert singer and teacher of vocal music. Mrs. Carter is a pleasing singer and competent teacher. Her ad- dress is 74 Waltham Street, Boston. Send for ‘I ’m Leaving now the Old Folks,”’ s-ng and chorus, by C. A. White, with lithograph title-page. Price 40 cents. ‘‘Bue Home Early To- night, My Boy, or Mother's Request,’’ by Dan Lewis, song and chorus, is having a great run. Price 35 cents. C. C. Case, of Akron, Ohio, conducted four day musical conventions in October in Canton. Ohio, Berlin Heights, Ohio, Adison, Michigan, Novem- ber, Finulay, N. Y., and Detroit, Michigan. He gives a war-song concert in December with his choir of one hunéred voices, at which George F. Root will assist. Walter Emerson’s solos, recently published by White, Smith & Company, were arranged espe- cially for and performed by Walter Emerson, with Gilmore’s Band, throngh England, Ireland, Scot- land, Holland, Belgium, France, Germany, atd throughout. the United States and Canada. There is a great demand for them. -_ White, Smith & Company have just published a grand potpourri de concert,—a medley of the principal airs from ‘‘The Beggar Student,” for violin and piano, the violin part arranged by Wil- liam Gooch, and the piano part by C. D. Blake. Price, $1.25. They have also published a pot- pourri of airs from the same opera for violin solo by William Gooch, for 35 cents. The popular Fall-River Line is running with such large passenger lists that the Providence and Bristol have been kept on, and will continue to run through the winter. They are splendidly heated and ventilated, and as much comfort can be taken in their cabins as in the parlors of our best hotels. Tickets and staterooms can be ob- tained of L. H. Palmer, Old State House. Among the gems of ‘‘ A Trip to Africa,’’ which is said to be Von Suppe’s masterpiece, are the ‘‘ Bed- ouin Chorus,’’ the ‘‘ Flower Duett,’’ and a patter song, which White, Smith & Company are issuing as fast as they can be got ready. A translation and adaptation of the entire work is in hand by Emil Schwab, and will be ready, complete, by the time the opera is staged at the Bijou Theatre. ‘‘Harvest of Minstrel Songs,’ containing the latest and old and familiar minstrel songs, with beautiful colored lithograph title-page, uniform with ‘‘The Bijou Collection,” is ready. Price, paper, 50 cents; halt cloth, $1. ‘‘ Gleanings,” baritone, bass, and contralto songs, uniform with ‘Floral Offering,’ also ready. Paper, 50 cents; half cloth, $1. ‘‘The Casino” will soon follow. A superb series. They have recently been enjoying, at New Ross, Indiana, a two weeks’ musical convention, led by Thomas W. Hubbard, of New York, with fifty- two pupils. At the closing concert our well-known contributor, Mattie Dyer Britts, was invited to assist with several pieces, and she had a chorus of six little girls and six little boys sing a couple of songs from ‘‘ Gyp, Junior,’ the last one of which, 73 ‘*So Early in the Morning,” had to be repeated, it geve such delight to the large audience. George C. Dobson’s ‘‘ New, Easy Method for the Banjo,’’ will supersede any previous si le method for the banjo, as it is not an instructory by music, but the open and closed note. . The dullest student can learn the banjo by this method in a surprisingly short space of time. It is an elegantly bound book of 72 pages. It is in press, and will be out in a few days. Price $1. Sent postpaid on receipt of price. EK. H. Bailey, the popular composer, whose songs are sung everywhere, and whose operetta of ‘‘ The Berry Pickers’’ bids fair to become one of the best-known affairs of the day, has an an-— them book in press by White, Smith & Company, to which brief reference has been made before, and which will be issued shortly. The exact title has not be: n settled on as yet, but it will be decid- ed soon, as a great many calls and orders have been received for it. His previous work of ‘ Bai- ley's Sacred Music,”’ issued years ago, has long en- joyed deserved popularity, and compet“nt judges pronounce this one to be a decided improvement upon that. Madame Valda, formerly Miss Wheelock, of Boston, recently made her debut in ‘‘Ernani,” in Paris, singing the roleof Elvira. <A Herald letter says, ‘“‘ There was a most brilliant and fashionable aulience. Among those present were the Duc and Duchesse de la Rochefoucauld, the Princess de Sagan, the Duc de Morny, Prince d’ Arenberg, Baron Alphonse de Rothschild, the Duc de Gram- mont, and Mrs. McKay. The toilettes were su- perb, as usual, at the Theatre Italien. Mme. Val- da was considerably applauded when singing ‘Turto e la Notta.’ She has a good voice, and gives promise for the future. She learned the role of Elvira in ten days. Her dresses, which were after the model of Sarah Bernhardt, in the drama of ‘Ernani,’ were excellent. Her ecs- tume of lavendar silk, slashed with pale roses, and her bridal dress ef cream-colored satin, with seed pearls, reflected great credit on the art of her dressmaker.” Signor Farini has been so busy teaching of late, that he has had no time until recently to re-organ- ize his Chamber Opera Company for this season. Everything, however, is now complete, ard during the latter part of February and first week in March, concerts will be given in New Bedford, Plymouth, Brockton, Lowell, and other cities, as well as in Quincy and other towns near Boston. Addie C. Reed, who has recently had a great and flattering success in San Francisco and elsewhere through the West, will be the soprano of the com- pany; Emma Bassett, mezzo-soprano; Miss Leon- ard, contralto; Mr. Winter, basso cantante; M. Venerian, tenor robusto; Signor Farini, baritone; and Howard M. Dow, pianist. The second act of ‘I Puritani,’”’ and parts of ‘‘ Traviata,” “Tt Tro- vatore,” and ‘‘ Martha,’’ will be given, and, in addition, a variety of concert selections. This will make ave y desirable offering, and one that cannot fail to please the music-lovers in the cities and towns where the entertainment will be given. Miss Reed’s clear and pleasing soprano voice is said to have gained much during the past season, and those who heard her last year, while she was still a pupil of Signor Farini, will be glad to know of its continued growth and added expression, while the remainder of the people are the Signor’s present pupils, and will doubtless reflect great credit upon his merits as a vocal teacher, | *
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74 FOkKIO. ROMANCE OF A BAD YOUNG MAN. [S nc From “ Peck’s Bap Boy.” Worps sy CHARLES F. Prpcin. Music sy CHARLES D. Brake. CopyrIGHTED AND PUBLISHED By WHITE, SMITH & ComPANY.] First we see a loving grouplet Sitting round the teething child; Then a case of wicked crouplet _ Drives the weeping parents wild. Saved, he rolls his little hooplet, And his hair is dressed in curls, Then he sits upon the stooplet Teasing all the little girls. CHORUS. Grouplet crouplet, hooplet, stooplet, Teasing all the little girls. Then he takes his little booklet, And he dips in learning’s pool, When not fishing in the brooklet, — Which he much prefers to school. There he baits his little hooklet, To the fish he throws a fly ; Then the boys get up a cooklet, And to broil their victims try. School he quits and seeks a shoplet Where he toils for three a week ; But he likes a horse and hoplet, And his pocket-book will leak. Thinks he ‘11 jump to reach the toplet, And he robs the village bank ; Ile is caught, but gives the droplet To the law-and-order crank. Now we see another grouplet Gathered in a prison cell ; And another case of crouplet Pardon only cureth well. Round his neck they put a looplet, In the air his body whirls ; And no more he ’I] block the stooplet Courting all the pretty girls. > CHICAGO MELANGE. The Boston Ideal English Opera Company gave “‘ Girofle-Girofla” here for the first time, I believe, and it proved to be a drawing card. The Ideals showed a commendable degree of aptitude in presenting this brilliant French opera so well when only a very few weeks had been given to its preparation, Miss E. H. Ober, the manager, travels with her company. She has exhibit- ed much skill in keeping her troupe de force intact so long, and in meeting the demands of the musical and opera-going public, as well as the com- mendation of the well-disposed critic. True, there are short-comings, un- der-doings, and perhaps over-doings, but that may be said of every company of mortals, including the great Italian Opera Company. Some of our local critics exhibited a degree of spleen and invective which I was sorry to see, as it was not warranted by facts. As a whole, the Ideals never have done better work in Chicago. The season was successful. The fact is, the en- tire company is made up of cultivated ladies and gentlemen, in the truest sense, which includes, not only the principals, but the chorus. They all have had a good, liberal education, and are refined off the stage, as well as when before the footlights. W. C. E. Seeboeck, one of our best pianists, recently gave a recital in Weber Hall, assisted by Emma Heckle, one of our best and most reliable vocalists. The many friends of Jennie Twitchell-Kempton, in Boston and the East, where she was the reigning contralto for many years, will be glad to learn that the lady is making herself useful in Chicago. She has been giving suc- cessful svirees lately. Annie Sherman, pupil of Christine Rounseville, recently gave a piano recital at the Palmer House, assisted by Mary P. Hendrick, vocalist; Hattie A. Moore, pianist; and H. Schoenfeld, director. Harrison M. Wild, pupil of H. Clarence Eddy, has given a series of excel- lent organ recitals at Trinity Church. This young man exhibits marked tulent as un organist, both church and concert. He will make his mark. eo: eesti hse een thts i nt dasha The Heimendahl Orchestra gave a Symphony concert under the auspices of the Beethoven Society, of which it is now an integral part, at Central Music Hall, December 5, assisted by Herr Edmund Neupert, the famous Scandinavian pianist. Interest centred in the virtuoso, who proved him- self to be an artist of the first rank. He was heard in two recitals to excel- lent advantage, December 7 and 8, at Weber Hall. He excels in the pvetic, melodic, and cantabile style of compositions, and exhibits considerable force. He touches up brilliant passages and cadenz%s in a pleasing manner. The Apollo Club gave its first concert January 4. Haydn’s “Creation”? was the work. Theodore Thomas conducted, with an orchestra of sixty. The soloists were Eugenie Pappenhei.a, Theodore J. Toedt, and Franz Rem- mertz, with H. Clarence Eddy, organist. The Eichberg String Quartette appeared at a concert in the First M. E. Church course of entertainments December 8, and met with great favor. The young ladies are graceful and musical, and Go credit to Maestro Eich- berg, their teacher. S. G. Pratt gave a soiree, consisting of his own works, at Weber Hall, De- cember 1, assisted by Dora Henninges. The Press Club gave a reception to the Boston Ideals Saturday evening, December I, in the club rooms. It was a very pleasant occasion, — social, merry, and musical. Those who wish to see a clean, well-kept store, in which is kept (for a chort time only) a large assortment of elegantly-bound volumes — stacks of them — of stan“ard classical and modern musical works, will please step into White, Smith & Company’s, 5 and 6 Washington Street, Chicago, which is ably presided over by Manager John Himelman. We expect to see the musical fur fly during the week that Mapleson is at MeVicker’s, and Abbey at Haverly’ s. ‘* Look out for squalls about this time.’? Those not already insured against accidents had better attend to it. December 21, at the four hundred and twenty-sixth entertainment of the Hershey Music School, Eleanor Smith, a pupil of the school, from Evanston, Ill., and student of Frederick G. Gleason, in composition, gave, and per- sonally directed, an original composition, cantata, ‘‘ The Golden Asp,” cor solos and chorus, with piano and organ accompaniment. Without attempt- ing any analysis of the work, I will say that it gave evidence of good histri- onic talent and commendable application. The students of this school have developed considerable talent in musical composition. The miscellanevus part of the evening’s programme brought .orward considerable advauced vocal and instrumental talent. It was especially interesting. Christine Rounseville gave a pleasing and meritorious soiree with her piano- forte pupils at the Palmer House, on the evening of Vecember 21. | The Apollo Club, about two hundred strong (ladies and gentlemen), gave Handel’s ‘‘ Messiah,’’ December 28, for its Christmas contribution. The solos were taken by Medora Henson, soprano; May Phoenix, contralto; Charles H. Knorr, tenor; and W. H. Clark, basso. The choral numbers were creditably done, but the orchestral part was disjointed, which marred the performance. Mr. Tomlins, the conductor, did not hold the elements with a sure hand. 3 The new West side Standard Theatre was opened to the public Monday evening, December 31, the Fay Templeton Comic Opera Company cecupy- ing the boards with “‘ Girofle-Girofla.”. The audience was large, and evi- dently well pleased. This theatre will seat sixteen hundred, and is one of the best arranged for seating accommodations, and is one of the most at- tractive in internal decorations of any in Chicago. It is managed by Messrs. Whitney and Dyer, the former well known as the owner of Whit- ney’s Opera House, of Detroit. The very cold weather is upon us, and I shiver. God bless the man who first invented fires. I learn, just as I send off these notes, that there has been a grand musi- cal enterprise projected by prominent musical and music-trade men, repre- senting several of the largest cities of the country, and that the complete arrangements to carry it into successful operation will soon be perfected. I am not prepared, at this writing, to give full details, but understand that it comprehends a grand musical festival excursion to California to start the latter part of April, and to consume two months in the round trip, going by the Southern route through New Mexico, Arizona, and Southern California, to San Francisco, visiting all of the principal places of interest, and return- ing by the Certral Pacific, visiting Salt Lake City, and the wonderful scen- ery of Colorado. The number is to be limited, and each member of the party will have the full benefit of the mo-t favorable excursion rates. Bos- ton, New York, and Chicago are to be the starting points. Offices will soon be opened in the Eastern cities, where all needed information can be ob- tained, and applicants booked for the excursion, This is the first enterprise of the kind ever inaugurated, and it will command general attention from i] inusical people and their friends, H. S. PERKINS,
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ie SE Se NDE 75 Pe Conkle bG). Boston, Mass., FEBRUARY, 1884. The Folio 1s the only musical journal in America which gives a full-page lithograph portrait with each number. pia cte Ye meee POST-FREE: 18 se ngrie WMBADOT ....--- ccccccess Sdccccccssecsccscees cents. akan! MSO TAMSIOM.. 6... 5 v0ch 060k0-cdsndedscoed ses *& 1.60. A Musical Premium free to every eC 9 Payments for the FoLio when sent by mail should be made in Money-orders, Bank-checks or Drafts. HEN NEITHER OF THESE CAN BE PROCURED, send the money in a registered letter. All postmasters are required to register letters whenever request~ ed to do 80. Always give the name of the Post-Office to which your paper is sent. Your name cannot be found on our books Lone otha is is done. The date a ainst your name on the margin of your ny or on the weer that of the number with which the old subscrip- tion expires. All matters pertaining to the business of the Foro should be addressed to the publ‘{#ers; to the editorial department, to EARL MARBLE, Editor. OFFICIAL BULLETIN. *¢ The Cavalier’s Farewell’’ is ‘‘ catching on.”’ H J. Tinkham, of Taunton, Mass., telegraphed us that the Hardman Pianos are all sold. The maker of the Hardman Piano is a Hard- man to beat in turning out a first-class instrument. A musical society of Fall River is to give ‘* Fair Ellen,’”’ by Max Bruch, with H. J. Bennett as con- ductor, soon. ** The Choir Favorite,” by Leonard Marshall, is the leading anthem book of the season. ‘It is praised by everybody. E. Bb. Robinson, of Portland, Me., writes us that the Hardman Piano has made a. decided sen- sation in musical circles in that city. ‘* Olayton’s Grand March,”’ by C. D. Blake, is, without doubt, the most popular and best selling march for piano in the market today. Societies who wish to do Stearns’ ‘‘ Mass in D,”’ can have the use of the orchestral parts by apply- ing to White, Smith & Company. Sunday-schools, festivals, and children’s socie- ties, can have the use of orchestral parts to ‘‘Grandpa’s Birthday,’’ an old-established fayor- ite. David C. Calder, of Salt Lake City, has recently established his musical warerooms in more com- modious quarters at 45 and 47 First South Street, W. H. 8S. Perkins has ready the manuscript for an anthem book, which White, Smith & Company will publish at once. Particulars in next number of FoLto. - ‘©A Trip to Africa,’ by Von Suppe, has met with a decided success at the Thalia Theatre, New York. White, Smith & Company will probably publish the opera. White, Smith & Company have in press, and nearly ready, ‘‘ Arban’s Cornet Method,” the author’s only genuine abridged edition. Engraved and printed from stone, $1.75. ‘‘ Waiting ’Mid the Pansies,’’ a song and chorus of the popular style, is being sung much in public among minstrel companies, and always pleases. It is one of C. D. Blake’s latest and best. A correspondent writes that ‘‘ Leonard Marshall hit the nail on the head when he prepared ‘ The Choir Favorite.’ It is the best little anthem book I have ever seen for choirs and musical associa- tions.”’ Teachers will do well to examine Jungmann’s set of easy piano pieces for little hands, suitable to be given during the third or fourth quarter, enti- tled *‘ Flower Stories.’’. There are six in the set, and the price of each is 30 cents. Musical societies are looking up Max Bruch’s oratorio of ‘‘ Arminius,’? which had such a suc- cess abroad, and at the Handel and Haydn Festi- val. Itis to be sung in Baltimore and Philadel- phia soon. White, Smith & Company have in press Gou- nod’s ‘*‘ Masse Solennelle”’ (St. Cecilia), accom- paniment arranged by Joseph Barnby. This is the only edition printeu from stone that is pub- lished. Directors of musical societies, large and small, should ask their dealer to show them ‘‘ The Cru- saders,’”’ by Gade, and ‘‘ Song of Victory,’ by Heller; each 80 cents. trade. E. H. Bailey is prepared to furnish a company to give his operetta, ‘‘ The Berry Pickers.” It is soon to be givenin Union Hall, Boston. It has already been presented in several cities and towns with great success. Catholic choirs will please notice that we have ‘published ‘‘Tu est Petrus,’? music by Lavallee, with Latin and English words, — English words by L. C. Elson, —cuitable for any denomination. The words are not sectarian. Send for C. A. White’s latest song, ‘‘ Old Ocean, Bound.’’ The very name will enrapture the lover of nature and the sea. It is for bass voices, and, as one of Mr. White’s more serious and dignified efforts, will add much to his already world-wide reputation. Charles D. Blake has been turning his attention to the composition of classical songs of late with marked success. For example, examine his ‘* Cav- alier’s Farewell,’ ‘‘ Longest Way Round,”’ ‘‘ Who Knows’’? ** Jerry and I,”’ and others. Musical societies, musical clubs, conventions, and musical gatherings generally, will please ex- amine our beautiful edition of ‘‘ Fair Ellen,’’ by Max Bruch, Op. 24, printed from engraved plates by the stone lithographic process. The retail price is 50 cents. H. S. Perkins, of Chicago, will conduct the an- nual convention of the Wayne County Musical Association at Richmond, Ind., January 8-11. Anna Newton of Chicago, soprano; Emma Pat- terson, soprano; Mira T. Ross of Winchester, contralto; and Otto A. Schmidts’ orchestra of Richmond, will assist. M. M. Blum, of Blum’s orchestra, San Francis- co, is doing an immense business for parties, wed dings, and sv forth. -He seems to be the leading spirit in orchestral music on the Pacific slope. We notice his programmes contain all new Eastern music nearly as soon as they reach him. He is keen and quick to make a point by giving the pub- lic the latest and best music. The singing-school teachers and conveuation leaders all over the country are using H. S. Per- kins’s great book, ‘* The Climax,’’ and pronoun- cing it the best and most complete in all of its six departments of any sim‘lar work before the pub- lic. We hear good words for it from all parts of the country, and many Canadian teachers are using it. We would say a word to our dealers and the trade who were disappointed ai not receiving the full number of ‘‘ The Bijou Collection ” and ‘The Floral Offering ’’ that were so generously ordered during holiday week, they must pardon us, as our extensive printing establisnment was unable to keep up with the orders for these justly popular volumes, even by running night and day for some> time before Christmas week. Peck’s Bad Boy songs are being sung by Atkin- Liberal discount to the | son’s Comedy Company, playing ‘‘ Peck’s Boy” on the New-England Circuit. The follow- ing are the titles of the songs: ‘‘ Peck’s Bad Boy,” ‘‘ Rooster and the Hen,” and ‘‘ Romance of a Bad Young Man.”’ They are written by Charles F. Pidgin, and “omposed by C. D. Blake. These- songs are published by White, Smith & Company, and are for sale at all music stores. The demand for “The Bijou Collection ” of piano music and ‘‘ The Floral Offering”? vocal mu- sic has not abated. These are really model col- lections, and the music in the former (240 pages) cannot be found in any other collection for the money. Price, paper, 50 cents; half cloth, $1. Liberal discount to the trade. ‘‘ The Floral Offer- ing’’ (vocal music, 240 pages) is culled from the finést English songs, and printed from stone by our lithographic process. Never before have two collections been in such demand. Having purchased the plates and copyright of ‘Walter Emerson’s Solos for Cornet,’”? also his “Cornet and Piano Duetts,’”’ we are prepared to furnish cornet-players, teachers, and tte trade gen- erally, with the above books. The price of the book of ‘‘Cornet Solos,” bound i> boards, is $1.50. The book of “‘ Cornet Solos,” with piano accompaniment, bound in boards, $2. Sent post- p°id on receipt of price. These works are acknow]- edged to be the best hooks of their kind for e- rnet and piano ever published. The elegant illustrated title pages, in fifteen colors each, of “‘The Floral Offering” and “ Bi- jou Collection,’ were done in our own establish- ment, the only music firm in America doing col- ored work in their own establishment. These two titles are only two of the many that White. Smith & Company have done and are doing. ‘The Bi- jou Gavotte,” by Carl Riche, is in press, and will be handsomely illustrated. ‘‘ Marguerite,” by C. A. White, is another of the fine titles done by this house; also ‘‘ Fedora Waltzes,’’ by Bucalossi. The second part of Tracy’s ‘‘ Universal Studies” has just been published by White, Smith & Com- pany. They are gotten up in the same general style of excellence, and present the same neat ap- pearance as volume one. This second part is a continuation of about the some kind of difficulty in matter, and will be found quite as interesting and educational in treatment as the first part of Mr. Tracy’s most excellent studies. With the third part soon to be published, these studies will form a series of graded musical, educational study, not surpassed by any similar work before . the public. The first volume has met with a large sale, becoming at once popular, and we predict a like result for the second part now out. They are highly endorsed. Trv them. Bad Our publishers have in press a new anthem book, by H. 8S. Perkins, which they intend to have ready as early as the coming April It will be the best effort of this prolific eomposer and successful editor of many popular music books. Some of Mr. Perkins’s books have over-reached the large sale of two hundred thousand copies. fis: two class, choir, and convention books — ** The Model Class,’”’ and “ The Climax,’’ —the latter new this season, have met with a large sale, and been re- © ceived by teachers and the musical public gener- ally, with unexceptional favor. We feel safe to prognosticate that this coming anthem book will, in every respect, be a model work, and fully meet the wants of choirs throughout the conntry. Send for specimen pages, and sixty cents for sam- ple copy.
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76 Pitre. MONTHLY BULLETIN OF NEW MUSIC. lA Fine Concert and ‘ieaching Melody. ISSUED TO DATE OF JAN. 15, 1884. Evangeline.......... edenebe eeesiece ieekded .«-C, A. White. Soprano or tenor in BJ. Companion song to ‘* Marguer- ite.’’ Dedicated to Josephine Logan. With pictured title-page. The Cavalier’s Farewell....+-eeessseeeses for bass or contralto in Dé. 2. ee Pr Words by Lindsay Leanox. I Told You So Oa es e 6-4 eee © emai’ Aor prea ae. @ bot Mora. Words by Edward Oxenford. The Nightless Land ........... e cocbeveseoeeCiro Pinsuti Words by H. L. D’Arcy Jaxone. My Wild Love .... ..... with great success in ‘‘ The Beggar Student.” Good-by, Loved Oues......++seseees male voicesin F. Beautiful colored title. G.ing to Market ..........06 ceseceecesecees Louis Diehl. Ballad. Words by Harold Wynn. The Longest Way Round .......+.. seeeeesesC, D. Blake. Ballad. Words by Josephine Pollard. Old Ocean, Pound..........+. secceccccsessel. A. White, Song for bass, baritone, or contralto. NS ee Pe Sebi weer casdcctn Ds DMs. A beautifu. song When the Pansies Come Again ......++000+--C. D. Blake. Contralto in £4. Concert waltz song. BP COtiti o.0. 6 6:dc'5 evens oa'e sein Song. Words by Hugh Conway. Romance of a Bad Young Man.... eeecees Sketches. Alice, Ill Come to Thee....2...-.2025 sees J. L Gilbert. Words by Herbert M. Sylvester. Companion song to ** Alice, Where art Theu ?”’ Be Home Early Tonight, my Dear Boy, or Mother's Re- QUESE Ls esice ce sccecccces EPL Vat ack cstewe «+. Dan Lewis. eeeeeee ye D. Blake. A Sailor and his Lass ............-.. Words by F. Swift. INSTRUMENTAL. Fif y Selected Studies............-+ seseeee J. B. Cramer. Kdition with German and English annotations. tematically arranged, and the fingering and marks of execution revised, with instructive notes by Hans von Bulow. Part LII. Waiter Emerson’s Solos for Cornet and Piano. Nazareth (Gounod). arranged by J. B. Claus.......... Non e ver (Tito Mattei), arranged by Emerson........ Inflammatus (from ‘“‘Stabat Mater’’), arranged by ORR ids 5 EIR nial vin 6 + hos ETM E bien» oho weeds WY AINE soo scnac cons ose cesnas hbnea es Fred ter Linden. The lost Chord (Sullivan), arranged by Emerson....... These are the most popular solos published for cornet, or cornet and piano. Pubilshed formerly by Whipple. Our new and handsome edition published from engraved plates, and printed by our beautiful lith- ograph process. People will please take notice, and order White, Smith & Company’s latest edition. Marguerite Waltz...-......seeees .«++»Caroline Lowthian. A'so arranged for cornet and piano......... nas See wes The Cracker Polka ..........08. --.+-Alexandre Gabrielle. Beautiful title in gold and colors. RE PRE onc cab cenccnsesnes soveeeee. Josef Meissler. Thine Alone .......0.seeee- So ved busdecets Josef Meissler. ‘I’ wo beautiful waltzes by this popular composer Lutermezzo et Valse Lente ......sseeeececees Leo Delibes. In the ballet music from ‘‘ Sylvia’? series. Arranged for piano from orchestral score by James M. Tracy. Six Duos pour deux Violins ........sesseeeeee J. Pleyel. O>, 4. Inthe beautiful Ejition White-Smith. Mi: uet eeececese esses e@ eee eveseesee From *‘ Don Giovanni.’’ As danced at all the fashiona- ble parties. Arranged by C. D. Blake. The Elf’s Waltzes. Op. 66..-++00+ eee _«+-»George Fox. Fedora Valse ......--.- i OS a Sree er P. Bucalessi As played to great acceptance by the Boston Museum orchestra. 2 ...C. D. Blake. Words by Earl Marble. For tenor or soprano in E, and oseeeeee . heodore Bowheur. seeeseeee eeeAdolph Neuendorf. -Vords by Emil Schwab. Sung by W. H. Fessenden seeseeesC, A. White. Quartette. For mixed voices in D. Also arranged for ..+-Frederick H. Cowen. -»--C. D. Blake. Peck’s Bad Boy......++.seeeeeseeeeee Spe ae C. D. Blake. The Rooster and the Hen......-eeceeeeceess C. D. Blake. Words by Charles F. Pidgin. As sung by Peck’s bad boy in Pidgin’s dramatic version of Peck’s Bad Boy 60 50 3 wm 35 35 50 TO A. S. Alice, I ’ll come to Thee. SONG. COMPANION TO “ALICE, WHERE ART THOU?” Worps B: HERBERT M. SYLVESTER. But in love’s bright spring time Now thou art all to me. Like watch fires that burn bright, Ard shine out o’er the sea, ‘Thy heart answers my heart, And lights the world for me. As watch fires that burn bright And shine out ©’er the sea, — I ask no greater blessing Than that thou wert with me. O Alice, my darling, With eyes full of starshine, Oh, art thou yet keeping Thy promises to me? The summer may hasten, And autumn brown the lea, Ere birds hush their sweet songs, Darling, I ’1l come to thee. Ere birds hush their sweet songs, ' Or autumn browns the lea, Thy dear face mine shall greet, — Alice, I ’Il come to thee. When orchards are flinging Their bloom through the sunlight, And meadows are ringing With brook-songs clear ard bright, When soft winds are biowing, And bright mists haunt the sea, When softer skies beckon, Alice, I 'll come to thee. When softer skies beckon, And light mists haunt the sea, With hope’s sweet fruition, Alice, 1 ’ll come to thee. WEHTE, SMETR & CO., Publishers. © WHITE: E£91 Fico 2 SMITH. 50 HYMNS AND TUNES. Arranged for the Girls’ Hizh School of Beston, and adapted to general school and home use. By Julins Eichberg, teacher of music in the Boston High Schools. Paper, 30 cents; boards, 40 cents. THE CHAMPION. Sacred and secular musical collection, by Leonard Marshal's for singing-schools, conventions, academies, choirs, and so forth The work is full and complete, yet compact, all useless materia being rejected. Price 75 cents. THE PROGRESSIVE SINGER, OR BUDS AND BLOSSOMS. This work contains a newly systematized method for schoo classes of all grades, together with a large list of songs and rec reations of unquestioned excellence. By W. Williams, a practi- tical teacher. Price 25 cents. - HARMONY LESSONS BY MAIL. SIMPLE AND THOROUGH. The Bulling Method of Harmony, taught orally or by mail, is distinctly original, and contains the essence of all the best books published. (4 Send 15 cents in stamps for Instrvctive Pamphlet on Mu- sical Culture, ‘ How to Study; Howto Teach.” Circulars, terms, etc., free. GEORGE TT. BULLING, ' 15 East 14th Street, New York, N. Y. MISS HERRICK, teacher of piano. Terms reasonable. Address care of 17 Miiford Street, Boston, Mass. Great Success in German, Italian, and English | A Trip to Africa (DIE AFRIKAREISE). Comic OPERA IN THREE ACTS. BY FRANZ VON SUPPE, PUBLISHED WITH BOTH GERMAN AND EnNG- LISH TEXT. ENGLISH TRANSLATION AND ADAPTA- TION BY EMIL SCHWAB. Vocal Score, $1; Gems, 25c. INSTRUMENTAL MUSIC. JUST PUB- LISHED. Piano Score, 50c.; Oriental Polka Mazurka, 4(c.; Gavotte du Pacha, 40c.; Trip to Africa Polka, 40c. WHITE, SMITH & CO., PUBLISHERS, BOS’ON AND CHICAGO. SPEAR & DEHNHOFF nh Ut at NEw York. W. H. BONER & CO., PHILADELPHIA. MARTEN Brotaers, New York. When used upon an ordinary kerosene lamp increases its light more than fourfold, making it Superior to the best ~ Gaslight. It saves your eyesight, as the light produced is steady, and ap- proaches nearly to daylight in softness and power. Sample sent postpaid on re- ceipt of one dollar. Wanted. Send for circular. Alta Manufacturing Company, 175 WAS.INGTON STREET, BosToN. New York and New England Railroad FOR PHILADELPHIA, BALTIMORE, AND WASHINGTON. The favorite line, with Pullman cars, around New York City Agents without change, via transfer steamer Maryland, connecting with through trains for the South axd West. ‘Trains leave Boston at 6.30 P. M. daily and Sundays.
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17 Ao De OR LS RRR ARN Sah fa Bs Os : i @ neni ° ei ae aes S , SZ lie ) ti rt : ee ae om : in My 3 ; ip AL * @ 4 eS ae ll re ag . “| 22 a cf i a m= & o aT | = She SAR er SS * ome Is We FOLIO. dear ... true SONG & CHORUS is one whose smile nyfriendsareours When lifeis strewn withflowrs How oft they leave us when the clouds ap- And ev’ry hope de- ride, A MOTHER IS THE BEST FRIEND AFTER ALL. sd Sag a ot a a) ww) Ss se an 5 — i ev do = pe a ' E Ee: | oe 5 er iS oe ay oH es © ti _ A= ee n a 5 til 53. ss ® : Ae fe Cen ra || > © = wt & ‘ = : A o oS : s & FE: ES 3 ep Sra x. * S. Spey Ss Ze as 5 4 hon ® Oo ° F Ee Be ih By PAS = Meo _ ff wa 6? ied | he: fara Copyright, 1883, by White, Smith & Co.
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Go When De wc fall 2:.%5 2.2 fall .. ey - er-more what-eer sun-ny smiles up - on your path - way i Oe Eee Se 2 in youth, She cheers us Her an-gels from a - bove, childhood and 78 _ cal lgere tre ; f lite (ste — ih. we a e Nh 3 @ 5) pes faq fag h oa ilk 22 | . = 4 an « a « ‘ =| “es ° ab vs 4m. pad - o © wet 7 a li 40 yo ~ th P| | aw - sm. y oO j A) i Pra hh ce % ¥ | an II ll a=) be ea OQ ab = H+ ane 7 4 pai | HL 2 2 « a — a wren) - vet | au i I o ng @ im vr 2 2 M S 4 | = ¢ © 7 ’ = oe ~ o.. @ a | SCS, RE ee eT gone beyond your sight This truth wellreada-right, BREE AEE peer lookthe world a-round,Thistruthis ev - er found, eM SY eT On I = a a ° eS w o | | a Bg y ale S =< be oA i Tey a g
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73 Youll | Youll When Summer friends depart ra 1 owe son cm ——s er = il. Bis etn ee ya after 2 — Pe 4 after all. all nanan: Pee all fo a ee oe | | O = — \ "y Li HH Pale ar . Si if ° : ee ih Oo =) ; = a as | -* es he Ces 4 Oo | BS | » ; ro ery >, i Mil & } ofa T | =] Ss Saez yes,oft re-call, of childhood oft re - call.yesoft re-call, When Summer friends depart hap-py days i Or ed ———J rall. the best friend af-ter I : lh : ! t pion ak oe a ~ © © pS hie it Pe aL a of : | — . 7 « 6 ® ® I ¢ il | = on La am. | a P) ; oi | o © ie 3 | S ih I = ons © ma AL | 2 eS. 43 ‘ : S 5 > > <_ Oo ~~ bo , ; wh iam y oa ‘ig i. ni <, *.s a 9 ‘a TNS) sass fes2 ee ‘ .
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— OUR SAVIOUR. | SACRED DUETT. FOR SOPRANO.AND ALTO. OR TENOR AND BASS. Words and Music by C.A.WHITE. author ot ((Ducett for Tenor and Bass.) | Introduction. | Hope Beyond Andante. V had en eres ee ca Ras Solo for Alto Baritone or Bass. Andante. a ae ery 2 ALY See 2 SS) NE BES PS * RS EE A eo @g)i | @° aig .¢« ’ ED SRe | SET eS TGR LONE: WE « TS AERES CEA ARE AT URS FS ERY RE A » ae GI SiS, RIS UES ES, tT /..V4) sae TREES” VERGE SRR oar Fn: RTO | eR MR. iS i A he RN CO 72 eS AOC bas FEE a eed “ae Soke WARS y GR Z e Py * ’ EE SE RE ‘ . ject- ed. And des - pis - ed *‘, Still the cross he bore to the end. etl hil Ps ak lili Copyright mdccclxxix by White,Smith and Co.
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DUETT. ts Ni ae sh eS a SOC AR! SOAR SINT I TANTS | — | 27: “TS MERA EE h CA OS eM BY —-. ee <6)—_—<_ RA EE ee ce _ dolcterHie SR Gt eS Je Pe, ee ES 2 Soe CED oh cmmers Sas: % Sy 2 ae ‘ \ ? - rr ‘
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PAO fe oo an ne aR oe Re A aha cS LS etn Sah. “Rade aie Oo 2 RPE AIP. RSME Pa SE ek fee SE RCSRCEONES © RRA <7 Mew sraeate ROTC! Soe re ee oN ERE shine on those He suf-fered for, RGR | Seas ea ‘ Ras ez AEE COTA: OS C 7. RMSE ERE ho pA RT © fan SE FUE a Sear a. LAP” SEE COERIE SRE CNTY AES AY A SESEORY » GE HE” F APO G ESS PY _ - SS ME ES MR eS 6 eo eae What means that voice that bids a-rise, Out from the Tomb, up to the skies, The | rit. fempo (EE ITS ET TT OE SRR. TE EAS Ose. <a: Ae 7 ae See Ps eg i! ‘s a SSS eaeee we © GS SAMRAT & Pad ORR Ge Tat EOE ER Ee WY Fathers voice now bids thee, come, For earth no lon-ger is thy home, then a- y } } 4
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ae & Ske © SS } 83 . —— ee CS aa” ae SS \ tae ; 3 S/S ee FERS Laa AN ITS (DG 2ST EWA SIRS ST Sa eR ok , ee SiS SE 6 ee ee ee 2 eee ( (ir Soprano uses small notes Alto will do the same. )), es DUET T. Dey z Se, ae gee Sooo _.__ a 2 a RS pe ye ee 0 SRE a aor SS con, RRS MERE Oe ME Rea R SiS Se | a ee ae Pst J tas yi wa wins. a a eA De aR ig A SE Sat EE OP SES _
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ee ee eee wee 1 | i ® % thy wis-dom May us in 2 s ! Sr AE | ‘€ ily i z ti Ut © a. 0 3 HE Le aa ft : it ‘ HL ne | 0g nes clh Ht ht | ela Le he Le $4
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ae TE Oy Soe Be LITTLE MAY'S DREAM. NOCTURNE. $ EDMARD M.READ. Andante con espress. a! BEB? oe ee snciingetl { Ree Vv, weet RE GE ETS eR § eae ans al z r\ Se * See ’ 2, ce fa ANA p, wedi CZ Bet P| a’ ree Ts ER AON NR HE Po? aa SO GF Asbu i= ae TSE DRS RE PT att LY ee RRS OE? ND eee SE eee ea NR PE ee? RE Vie SE ee. RTE “WA 0, (ee ee ee eee a a eee eee SG ACESS) ..cee STARE! RRS WSF ERE ce AEE EE Copyright mdceclxxx by White,Smith and Coe
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PG Pee: 86 § | Bee i wl} fh 4ndante at¥ettnoso. ns tae et ae ETRE RE TTY 52: Ph meoke ame “Se Yemen MES EAS & -g- - 1 A ERS, SSRI OAS Foe : € PSE. <2 Sew. aE fe SSS a Se” SE Ais Se SB OER OE Rs 9 Re 0 SE Ail cai ( Ul 2 +) i ci 4 if Lil mh uf It Het AL
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87 FOLIO. ¢ N s ul Tempo primo. (Reg ee ee ee — ee Fie SEARS FEN Che SS IE NS SPLAT SOR eS we | 71O--- SRC SS RR 5 © 2 ere | | | —— ee ee ee ee ee ee Fe ptt edin \ ea ae owe ae ee a ee ERI ORS SE ee cee ML ST) ine . > :
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88 : POL ro. THE “BLUE BIRD™ TRANSCRIPTION, SONG sy RYAN. | ; TRANSGRIPTION syG.D.WILSON. OP: 34. “Tam so blithe and vlad to day! At morn IT heard the blue bird sing! The. blue bird warbling soul of Spring’, The prophet of the early May! ” | Allegro Moderato. 84... hr: i ~ De o- hee : @&. >. hae m/ es ee ee vy. 7 ES as ae Deca asta o me ) # OT Aat Aula SS ae Py AARP! ee eee pH) BE eee | je i f aay r ps AA EE PLA APRS: EN SP RT 8 PR MBER I PO OM me PY eos : ae a A TE ‘SORPTARERA r PERT BER RE ee Ar 3 Fed 2 Ae igh 22 te ae Se eee ee oo /' €/Y¢ aa” 2&4 AS Gera oO Jie O@ S/F gg 1! a ee fie ES Meltle Bese, ae ff 9, a ene oa / a EW ta a eT SF EOE OG A ONT oe WS: SAN Se Yaa | i Sacuewe: ware Nay a ol 7 ee ef. _ £77 2. 2... St Lee fo ee ee : a : Ped. _ * Ped. * : b Pods et a. * | Ped. % . Beg. * ee is as i a ER ERS OES aS eRe See TENE SE SREY) CLM Oe EEE 2 LEMS ewan he: iE ee mee }: 6 FG {CRA ae EG MY 2 me “ee wea =o po HO oe ee ee -“sF o se 7 6 | . ee 3 2 Copyright midccclIxxx by White,Smith and Co.
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89 FOLIO. ree f - # ght ‘ Ea Se SR eGR eSB PRE 9 eee ad RS SR te I Oe LP SE RE ER] AE SU Or" SAY SS 2 ne SER Bes J TL 2 BL a A eR REA gva m ‘ se _ ee
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90
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FOL TO. OL i ee eR nS a .. 4 AGPrrne rr BS 4S beer ee ee : TE A S| Ss oS TI ERE 80 SE es Fs ym TR, RS Ve: REA RES — es Ls NLS SE a: GASES Re E \ iA TES SRLS i 2 ee ee ee I a * AY DiS. CR. kt”. HORUS See GR Te. 2. BR. iP eS TAS ES ee y y 4 f | — aa 7 SR VaR RIG aS MENS 68 NM oA AW ES PUT GS ENE fe os ES 2 gee i i Zo ae a2 7, & 2 “ af 4 12 # wt 6 — ae ee é A\& & 4 Deu Gis © cc aaa mo waa ee ( Se 1 aise SEED 22 CEE Sascbcancninthatiicns, atte Ae ek hgied Se a
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ie oes FOLIO. THE OLD OAKEN BUCKET. VIOLIN AND PIANO. J. WALCOT. CON ESPRESSIONE. a _- FF -—_. -——___ —-- ——_- &- ———- ro VIOLIN. 5 — Qe Cle Se = * _ a SRC BE AEH = a pa Ft : . piece rameaes ND GR TIT UE petra Oe LL ee : — id | 3 = nd Md , Entered, according to Act ef Congress, in the year 1875, by WHITE, SMITH & CO., tm the Office of the Librariap of Congress at Washingtom
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7 hi 7 ; i ne rit tal lll : ( Mg ST | 4 Aa te TOT Tir 3 ret bel deltiif fa arate é | Ty Git: BATT qual | INNS ae il a || ; my rua All | TT]. * TAD WNL é i 46! sity aka Pe ai + el] UN wT SE TT =a Hi) BE Th ae ye [itl ogee trea TVS) pail 29 ie a / Th RR THT Sst st Psa 5 (ite Sy (Weta ois Ooi HI ssl] TN wlll]. te ST eco (Liste | [pine quis me OR MUL Ul ce lite ga) Mies it WS agin Ra a theese] UGS) i) HEY cetyl SH] ML SL || | TaTTe. 1es aie AL TTT®@ A ie tS ri ba ||| ie Hd) t}) fet OO SER, at ll on th ost | Wes Sty Te Ml ral rk ! i ed rH Fi atl is i an TT] ml oi] ays Ath | | Ait ne gg mit 4 3 ll 1 ai| | * rl] “it aE? iy Tn] BRP ae aT att = | . i wit | ee j 3 a : we RR Dt A : ° all 1H All int wl ‘im MT Ul A dll sa és ES LI TR Hl nl ce ed ot NL SH a . eee el aut EN | ma} ke Sal all | | |
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183 = S ~~ $8 § : .s) =) 3 S° ay
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a oe a eee eet eo
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96 THE CAVA VALIER’S FAREWELL. ‘The following are ‘the words (written by Earl Marble) of Charles D. Blake's latest song, “ The Cavaliers Fare- vel,” just issued by White, Smith & Company, and already in great demand : — Farewell! I leave thee for dear Palestine ! Loving and tender thy arms I resign. Sweetest and fairest, I bid thee adieu — Off for the wars with the infidel crew. Dearest of all, love, thou art to me! Fleetest of all, love, moments with thee ! Farewell! my duty now calls me away : Helmet and buckler invite to the fray. What care I for danger? what care I for pain? My country; my kindred, invaded and slain, Call loudly for warriors, for knights o’er the plain! Farewell, my loved one. Fare thee well! We may not meet again. Farewell! our holy religion in thrall Languishes, pleading the Crusader’s call ; Dearest and fairest, my duty is clear: Down with the Moor and the Saracen’s sneer. After the war cloud thither is sent, After the vile Moor’s fury is spent, Then will my love, dear, recall me to you, Far from battle raging with infidel crew. When high o’er the crescent the cross shall be seen, And mountain and valley again are serene, _ My horse shall turn homeward, my beart once again Seek thee, O loved one! now farewell ! Pray God we meet again. Ses PUBLISHED: MORE OF OUR BEAUTIFUL STONE WORK. Pleyel’s Six Easy and ca" eat ge Duetts for two Violins. Op. 48... ey ee ea Arban’s Cornet Method . a Abridged by the author. . 50 « «A QO The only authors’ genuine edition on engraved plates. Superior to all others. 3 Messe Solennelle (St. Cecilia). Gounod . . ........ = «80 Tu est Petrus. Calixa Lavallee .... oe Offertory for soprano, bass and chorus. Latin and English words for Catholie:service, and suitable for any denomination. words by L.'C. Elson. tifully gotten up. Oratorio societies, choruses, and musical bodies generally, who contemplate giving any of the old standard works, or who are in search of something new, will do well to correspond with us before sending elsewhere, as we are continually preparing and issuing new standard works. (Ge To any society who Soe already selected any foreign work of which they are going to use large numbers, or who are in search of standard works or novelties, we should be pleased ‘to near from, as we think that we can produce and-furnish them cheaper than they can be imported. All correspondence on the above will receive a prompt reply. WHITE, SMITH & CO., Publishers, Boston and Chicago . SPEAR & DEHNHOFF, New York. This work is a copyright edition, and beau- English | FP CRB. | THE CLIMAX. — The Great Singing School, Choir, and Conven- tion Book for 1884. BY H. S. PERKINS. Most CoMPLETE IN ALL OF ITS six DEPARTMENTS. The Largest and Cheapest Book im the Market. 272 pages. Price $1. Per dozen, $7.50. A sample copy mailed for examination for 60 cents. gas> All Teachers, Choristers, and Convention Conduct- ors are delighted with it. (From W. A. Smith, Perry Co., Pa.) I have examined H. S. Perkins’s book among other late works, and have decided in favor of ** The Climax.” (From Washington Elliott, San Francisco, Cal.) ‘The Climax” is good and pleasing, and first-class in all of its depart- ments. (From Sidney Holmes, Grafton. V..) I am sure that I like the arrangement of ‘* The Climax.’’ Iam also sure that. I can interest a class with it. There is certainly a good variety in the various departments. I like a plain, common sense way of explanation of rules, scales, and so forth, such as will help the teacher if he has any tact. ‘¢ The Climax ”’ has all of — helps. (From A. J. Gutterson, Owatonna, Minn.) I have a copy of H. S. Perkins’ Se Climax,” and regard it as a very good book indeed. The subject matter is well arranged and divided. The new music appears to be universally good, and with the fine standard selec- tions makes it an excellent book. (From George D. Herrick, Muskegon, Mich.) I give “The Climax” my unqualified indorsement. ‘The Elementary Department is complete and practical, and the contents throughout are ex- cellent. (From M. C. Merritt, Ontario, Canada.) - I like “The Climax” very much. Send me fifty copies for my first — school of the season. (From W. L. Fitch, Portiand, Me.) 1 have examined W. H. Perkins’s ‘‘ Climax,’’ and, like all other works of his, I find to be very excellent indeed. (From D. E. Jones, Manchester, N. H.) ‘The Climax’’ is a most excellent work. It is happily adapted to the wants of singing-schools, church choirs, and so forth. (From G. M. Cole, Richmond, Indiana. ) I like ‘‘ The Climax ’”’ very much, (From John McPherson, Belle Rive, Illinois. ) I consider ‘*‘ The*Climax’’ ahead of any of Mr. Perkins’s previous valu- able works. (From R. K. Higgins, Kansas City, Mo.) I wish to say to you that I think ‘‘ The Climax” far superior to any of Mr. Perkins’s similar works, although they have been very popular and sat- isfactory, and I have used them with great satisfaction in my class and in- stitute work. I expect to use ‘‘ The Climax”’ in my classes this season. (From M. V. Zimmerman, Saybrook, Ifinois. ) I have Mr. Perkins’s ‘‘ Climax.”” In my judgment it is the neatest, best arranged, and most complete of all of the editor's class and convention books; and I know of nothing better before the public. (From W. F. Heath, Fort Wayne, Indiana. ) Messrs. WuiTE, Smiru, & Co.: Gentlemen, —I have carefully exam- ined ‘‘ The Climax,” H. S. Perkins’s last book, recently issued by you, and T think it a most useful and excellent work. It contains jusi the material needed for elevated classes, institutes, anc conventions, which, in this country, cover a large and important field of musical instruction, culture, and general progress. I think that Mr. Perkins has reached one grand cli- max this time, not only in name, but in fact. ee (From O. W. Fox, Topeka, Kansas.) 2 I want ‘* The Climax” at once for one of my city schools. It fills the re- quirements. : (From Mrs. V. K. Logan, Oskaloosa, Iowa ) My college vocal classes are delighted with ‘ The Climax.”’ I shall also use it in my city adult classes, : (From W. B. Griffin, Sangamon Co. Ill. ) ; I Lave examined Perkins’s singing book, ‘* The Climax,”’ and think itis the book for class and convention work. I shall use it. _| WHITE, SMITH & CO., Publishers, Boston and Chicago. SPEAR & DEINHOFYF, New York.
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OLD OCEAN, POUND!|NEW MUSIC BOOKS.) f@% A GRAND SONG Pst lO: The Bijou Collection. (a> Two hundred and forty pages of superb For Bass, Baritone, or Contralto music, beautifully printed and elegantly bound, By C. A. White, America’s Favorite Song- Writer. Oid ccean, pound on the rock-bound shore, The sands they are fine, yet you pound them more, Not even in sleep does thy pounding cease, Nor Father’s care can the dead release. Pound! pound! pound! pound! Waves of ocean, pound. Oh! I have hoped in vain That he would come again ; But, alas! that cannot be, — Forever gone from me, Yes. forever lost to me, For he sleeps beneath the sea. The ship was struck by a tidal wave, That sent all on board to a watery grave ; Not one of them left the tale to tell. O God, -til] thou doest all things well. Pound! pound! pound! pound! Mighty ocean, pound! Long years of hope and fear, No words my heart to cheer ; Though I seek on earth in vain, We shall meet in heaven again. PRICE 40 CENTS. White, Smith & Co., Publishers, Boston AND CHICAGO. SPEAR & DEHNHAOFF, New York. ESTABLISHED FAVORITES T. P. RYDER. BIRD SONGS. x. Bobolink’s Song. 3 Robin’s Song. 2. Canary’s Song. 4. Cuckoo’s Song. 5 _ . Whip. poor-will’s Song. Price of each 40 cents. The above are elegantly illustrated with five birds (colored by hand), representing the various species of birds mentioned in the title The pieces are easy and instructive, and greatly admired by both teachers and pupils. Sent by mail on receipt of price. FLORAL CLUSTER. A set of easy recreations, with beautiful lithograph title. Blush-Rose Polka.........- 35 Fuchsia Mazurka...........35 Forget-Me- Not Waltz...... 35 Red Pine March............ 35 Whi'e rink Redowa .«...... 35 Honeysuckle Schottische....35 Lily-Bud Barcarolle........ 35 White-Rose Nocturne....... 35 | Verbena Galop. .......-...- 35 Moss-Rose March .........- Mr. T. P Ryder has achieved great success in the composition of easy teaching pieces, and the above set will be found fully equal to anything he has ever written in this line. Copies mailed to any address upon receipt of price. : MORNING GLORIES. A set of six easy and progressive pieces for the pianoforte, carefully fingered, and especially adapted for the requirements of beginners 1. Alic- March. 4 Emma Schottische. 2.” Etta March. 5. Annie Redowa, 3. Fannie Polka. 6 Katie Mazurka. Price of each 30 cents. Any of the above mailed to any address on receipt of price. Standard Compositions. Forest Nymph. Valse Brillante. Op 107 .....-...seeecees 75 Ever Longing. Mazurka Sentimentale. Op. 109 .......... As B'ooming Meadow. Redowa Caprice. Op. r1o........ e008 65 Warbling of Birds. Mazurka Elegante. Op 113... ...... 75 Annie Laurie. Fantasie de Concert. Op. 112............- 65 La Gondola. Barcarolle. Op. 102.......0..ceeceeeccevcces 60 Bonnie Doon. Transcription. Op. 105 .....-+--.eeeseeeeee 65 America’ Grande Fantasie de Concert Op 106 .......... 75 Mr. Ryder is well known as one of the most popular teachers and pianists in Boston, and his compositions have taken high rank and become very popular among the best teachers of the country. Each and every one of the above mentioned pieces we can conscientiously recommend. Send for them and you will not be disappointed. Sent by mail on receipt of price. Address all orders to WHITE, SMITH & CO, BOSTON AND CHICAGO. SPEAR & DEHNHROFF, New York. for one fifth the usual price. Contains the best selection of piano music by the best composers of Europe and America. No collection can be more beautiful or desirable than this book. The title is illustrated with a small bunch of pansies, printed in ten colors. Nothing like it before ever offered to the public for the price. BORE erik aR Ores aS BUS UTE WI Rast COUN. 2 ooo s n> The Floral Offering. Ia Two hundred and forty pages of Superb Music, beautifully printed and elegantly bound, for one fifth the usual price. A vocal selection of the very best songs from the pens of the best authors of Europe and America. The title is adorned with a beautiful vase of flow- ers, making it the most desirable music book ever offered to the public for the price: . ee Sade aE RES A Gas OEE Lo hi gk A 50 Mss 5:¢00's<nta hs de Kah ds ASC RLPOES- 1 00 Look! Just think of the price of this elegant book. ta ~The postage on these books will be ex- tra; on the paper editions, 16 cents; on the cloth editions, 20 cents. : WHITE. SMITH & CO., Pablishers, Roston and Chicago. SPEAR & DEHNHOFE, New York. DR. EDWARD COG SINS, DENTIST, 130 TREMONT STREE®, Boston, cor. WINTER. Jan3m Dooley Paper Cutter, Manufactured by THE ATLANTIC WORKS, EAST BOSTON, MASS. {<e""" Send for circular and prices. Nov—ry CURTIS & WHELD, COSTUMERS, And Dealers in Theatrical Goods, S EXayward Place, BOSTON. AT HER ART SCHOOL, 145 Tremont Street, Boston. Easy Methods of Drawing, Painting, and Music. Landscape, portrait, architectural, or mechani- cal drawing, taught successfully in from three to five lessons. Pictures copied to order. Painting on photographs, maps, engravings, glass, china, or crystal, by the ROMAN ART PROCESS. Something entirely new in this country. Pa- tented January 16, 1883. Taught in one lesson. THE LATEST WONDER. Burnett’s Figurative Music. A new, simple method, enables any one from six to sixty years of age to play at sight on the piano, organ, or melo- deon. Published in book form. Contains full! in- structions, exercises for self practice. and twelve beautiful tunes. Price one dollar, sent by mail. Teachers and agents wanted in the above methods. Send stamp for circulars, or call at the studio. Visitors’ hours from two to five P. M. febmar. Boston Conservatory of Music. 154 TREMONT STREET, BOSTON, MASS. ESTABLISHED 1867. The Most Thoroughly Equipped School PIANO, VIOLIN, ORGAN, and VOICE, IN THIS COUNTRY. ; Over Nineteen Thousand Pupils Educated ! Special attention to Technical Proficiency. The VIOLIN SCHOOL of Mr. Eichberg STANDS ALONE AS THE ONLY ONE IN AMERICA. For particulars, apply to JULIUS. ELICHBERG. augry THE PETERSILEA Academy of Music, ELOCUTION and LANGUAGES 281 CotumBus AvenuE, BOSTON, MASS. ESTABLISWED EIN 1870. The Piano School of Arhevies: The only School in the world where the Piano isa specialty, and where a definite and scientific system is pursued from the - beginning to the most advanced grade of artistic virtuosity. Vocal Culture and Elocution, Singing, Harp, Organ, Violin, Flute, and all Orchestral and Band Instruments, Ancient and Modern Languages. Drawing and Painting taught in the mos} artistic and thorough manner. . ie Circulars, with full information, sent free to any address. A Mother is the Best Friend, after all. © This song and chorus is having an immense suc- cess. It struck the popular heart immediately. Both words and. music are exquisite. Price 40 cents. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO SPEAR & DEHNHOFF, New York.
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98 PROFESSIONAL CARDS. eee L. W. WHEELER, 161 Tremont Street. CHAS. LEWIS, 7 Pelham Street. Voice. WM. GARRETT, 7 James Street. Voice. JOHN O’NEIL, N. E. Conservatory. Voice. H. C. LOGAN, Piano Teacher, 22 Eliot Street. “MRS. RAMETTI, 16 Dartmouth Street. Voice. H E. SAWYER, 44 Montgomery Street. Voice. CARL PFLUEGER, is4 Tremont Street. Voice. T: H. HOWE, Teacher of Music, rg 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. Voice. —— J. W. TUFTS, Teacher of Theory and Piano, 1 Hollis Place. oo W. J. D LEAVITT, 433 Washington Street. Piano and Voice. MRS. G. A. ADAMS, Teacher of Singing, 108 Appleton Strect. MISS M. J. SCANLAN, 156 Salem Street, Teacher of Fiano. HARRY BENSON, N. E. Conservatory. Voice and Toni¢e Sol fa. ; MRS. FLORA E, BARRY, Teacher of Singing, 124 Chand- ler Street. ‘Jy H. K. DOWNS, Teacher of Piano. Address White, Smith & Co. "w 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. ES SES MISS LAURA WATERMAN, Teacher of Piano, 380 4th Street, South Boston. a “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 biesiete Smith & Co. RF. RAYMOND, Teacher of Phine and Organ. Address, White, Smith & Co. MISS LAURA COOKE, teacher of singing and guitar, 89 West Rutland Street, Boston, Mass, HARRY COWLES, Teacher of the Organ and Piano. § 154 Tremont Street. Box. HARRY WHEELER, 149 A, Sretiont Street, and N. E. Conservatory, Music Hall. Avenue, Boston, cr care of White, Smi pany. MISS JULIA A. WELLS, Contralto, will receive pupils at Hotel Beylster, Boston, Mass. JOHN A. WASHBURNE, Teacher of Organ and Piano, Montrose Street, Vineland, N. $3 G. LENNON, Teacher of Piano, Organ and Theory Address, 149 A, Tremont Street. MRS. ANNA LORING, Music Teacher, Hanson, Mass., | Boston, or White, Smith & Ce. aolicits the pa...nage of the public. “MISS ANNA MAYHEW, Teacher of Pidno and Organ, 136 West Chester Park. MISS ANNIE C. WESTERVELT, Vocalist, Soprano, bist Union, 301 Shawmut Avena MISS SARA G. BAILEY, Piano, Singing ead Harmony. « ures, care White, Smith & Co. “. H. Ba. LEY Organist, Musical Sabon: ard Teacher of @inging and Piare. Address care White, Smith & Campany. GEORGE BOARDMAN, teacher of piano, 143 Warren FO) 140: MISS SUSAN NEWSOME, Teacher of: Piano, Eliot © geet, Jamaica Plain. Refers to L. C. Elson. 4. wW. ADAMS, Teacher of Voice Culture, and English and italian Singing, 22 Ekot Street, Room tr. A. E. WARREN, Teacher of Pianoand Concert Accompan- ist. Address in care White, Smith & Co. MISS LILLIAN WESTERVELT, Teacher of Piano. Ad- dress Hotel Union, 301 Shawmut Avenue. MISS MAY ALICE VARS, Vocalist and Teacher of Sing- ing. Address New England Conservatory. MRS. MINNIE LITTLE, Teacher of Piane and Voice, 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. VERTURA, French and Italian Languages, and Italian Elocution, 102 Boylston Street, Boston. WILLIAM H. ROLFE, Teacher of Pianoforte. care Woudward & Brown, 690 Washington Street. MRS. J. H. LONG, Veice Cultivation and Singing in all its branches, 21 Holyoke Street, off Columbus Avenue. Address, FRANK L. CROWELL, Teacher of Piano and Organe Piano pupil of Lebert. Office in Park-Street Church. JAMES M. TRACY, “eacher of Piano, Organ and Har- mony, 154 Tremont Street, or care White, Smith & Co. MRS. STRINGER, tescher of Piano. Young beginnersa apecialty. Address 2993 Washington Street, Egleston Square. MRS. C. A. GUILMETTE, Teacher of Vocal Technique and Singing, Hotel Union, gor Shawmut Avenue, Boston. ULIA DAMON, pupil of Mrs. S. E. Wasgatt, piano. Address care White S.nith & Company. MISS teacher o H. M. SMITH, Lynn, Mass., Teacher of Music, dealer in musical merchandise, &c. Subscriptions te the Foro 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. LS SARAH LISSNER, Teacher of Piano and Singing. ress care of Women’s Industrial Union, 157 Tremont Street. F. L. HILL, Teacher of the Guilmette System 2 of Respira- tory and Vocal Technique, 36 Winter Street, Room 13, Boston. HIRAM WILDE, Vocal Culture and the Art of Singing. Address cai care Boston Conservatory, 154 Tremont Street, Boston. MISS L. E. BRADSTREET, Teacher of the Piaroforte and Harmony. Address 73 Hancock Street, Boston, Mass. GEORGE C. DOBSON, Teacher of Banjo and Guitar. Fine Instruments a specialty. Address 290 Shawmut Avenue, Boston. PAULINE PFEIFFER-STRATER, Dramatic Soprano, can be engaged for Concerts, and so forth. Cultivation of the voice (Italian method) and Teacher of German Songs. 18 Boyl- ston Street, room 11, B. Y. M. C. U. Huilding. FRED WELD, Theatrica! Builder. Scenery to let for dra- matic representations, also ma and sainted to order, 290 Tre- mont, corner of Castle Street, woston Mass. MRS. 5. O.. RARTLETT, Piano nae Vocal Teacher. The (1 mette system of vocal technique taught. Aso Suprare Vocalist.. 149 Cambridge Street, East Cambridge, | Mass. MISS KATE A. BOWERS. Vocalist and Teacher of Vocal and Instrumental Music, and the Itaiian Language, 28 Worces ter Square, Boston. G&ORGE FOX, Concert Pianist, and Teacher of Modern ani Ciassical Music. Address 1o Common Street, or care of White, Smith & Co. MISS AMY AMES, Teacher of Vocal Music, the method of Wartel of Paris, the teacher of Nilsson. For terms, address care White, Sauk & Co. MISS ADDIE DEMONT, 224 Tremont Street, Teacher of Pianoforte, and soloist on the Zither and Xylophone. ; Begene: ments for concerts solicited. HELEN E. H. CARTER will devote her time to Concert Engagements, and Teaching. Address 5: Warren Avenue, LEONARD MARSHALL Teacher of the Voice, Singing and Musical Composition, Conductor of Musical Associations and Conventions, Address 169 West Newton Street, Boston. T. P. RYDER, Teacher of | »us and Organ. Soloist and accompanist for cone’+ts, leecares, &c. Director “: musieal so- cieties. 516 Washiugtom Street. ADELE HOSMER, Vocalist, Soprano, Voice Culture, Ital- in M2.hod. Sineing ii English, Spanish, French. and Italian. Address, care Wante, Smith & Company, Boston, Mass. net ee ee MRS. M. E. JARVIS, Teacher ef Vocal Music, 8: Lever ett Street. J MISS AMELIA GROLL, Teacher of Piano, 40 Chestnw Street, Chariestown. OT ETN. TTI ROSE STEWART, S rano Vocalist, Member of the Ger- mania Concert Company. re White, Smitn & Co. PIANOS TUNED AND REPAIRED in the most thorough manner by competent workmen. Pianos tuned at any distance. Address White, Smith & Co., Boston Mass. RAYMOND D’ANGUERA, Pianoforte Tuner, Regu'ator and Repairer, formerly with Chickering & Sens. Address 54 Baldwin Street, Bunker Hill District, Boston. MISS JENNIE B. DECATUR, Pianist for concerts, enter tainments, &c. Will take situation to show pianos in ware-room. Address 20 Carmel Street, Chelsea, Mass. HENRY J. POOLE, Tuner. Pianos, Cabinet Organs, and Church Organs tuned, regulated, and repaired promptly and sat- isfactorily. Address, care White, Smith & Co. x ——=- MRS. M. E. JOHNSON, Teacher of Singing. Qualified and authorized teacher of the Guilmette System ef Vocal Tech- nique, 28 Winter Street, Room 24, Wednesdays and Saturdays. G. W. FOSTER, Conductor and Vocalist, at Woodward & Brown's s Piano Rooms, 690 Washington Street. . Call Saturday, from rr to 12 o’clock. Soloists for Concert Conventions fur- nished at reasonable rates. WILLIAM GOOCH, Practical Piano Tuner. Pianos endl and repaired in a most thorough and satisfactory manner. Order books at White, Smith & Co.’s, 516 Washington Street, and at residence, 42 Dover Street. J. W. COOK, Practical Pianoforte Mover. Office 6 Avery Street; Stand near the Adams House; House, ro Haymarket Place. Pianofortes and furniture packed in the best manner for transportation. Furniture moved in and out of the city. JOHN F. WAKEFIELD, Flute Soloist, é can be engaged for concerts, lyceums, concert Companies, musical entertainments, orchestral performances and general business instruction on the Boehm and German Systems. Terms very reasonable. 28 School 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- aveig, and locating the voice legitimately. Erminia Ruders. Mrs. Parker Leach, Soprano Soloist. Spee altiess Concert & Oratorio Werk, Address in care of SMGTH & CO., Boston. WHITE, MUSICAL STUDIC 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, Vocal Elecution, Scotch Ballads and De- scriptive Songs a Speeialty. Lessenms given at her residence, 21 Helyeke Street. eff Columbus Avenue. OLD VIOLINS new backs—by L. @ Old and new violiss fer and Careful ~ Pg amg. new to : ston. GROV 27 Union Park,
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_—e eye: (Pree Chicago Professional Cards. NELLIE R. GRAHAM, Votal 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, III. MME. L. BALDWIN, Vocal Teacher, 117 So. Leavitt St., Chicage, or White, Smith & Co. JOHN MALTER, Musical Institute. Piano, Organ, and Voice. 76 Monroe Street Chicago. MISS ALICE ATWOOD, Piano and Voice, 3141 Prairie Ave., Chicago, or White, Smith & Co. OTTO LOB, Musical Director, 180 Goethe Street, or White, Smith & Co., 188 ard 1go State Street. D. M LEVETT, Piave. Address, care White, Smith & Co., 188 and 190 State Street, Chicago. MRS. J. F. LANGWORTHY. Piano. Avenue, Chicago, or White, Smith & Co. No. 337 Michigan HENRY SCHNEIDERWIRTH. Piano. Ave., 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, Piano, 128 N Clark Street. Ad- dress White, Smith & Co., 188 and 1go State Street. F. H. MACDONALD, Piaro, 112 Dearborn Street. Ad- dress White, Smith & Co., 188 and 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 State 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 State Street. C MCQUISTON, Voice and Piano, 41 Honore Street. Ad- dress White, Smith C Co., 188 and 190 State Street. WALLACE A. 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, Piano, Harmony, and Singing Addre-s White, Smith & Co,, 188 and 190 State Street, Chicago FRED L. MOREY, Piano ard Composition, 2406 Wabash Ave., or White, Smith & Co., 185 and 1go State Street, Chicago. CHARLES M. SYKES, Teacher of Organ and Singing. Address White, Smith & Co , 188 and 190 State Street, Chicago. MRS A. E. RUFF, Teacher of Music. Residence, 28 N. Throop Street. Office. Story & Camp’s Piano Rooms, Chicago. MISS NETTIE MCDOUGALL, Piano, 7 South May Street, or White, Smith & Co, 188 and 190 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 ew Ave., Chicago, or White, Smith & Co., 188 and 190 State treet. ‘ ALBERT E. RUFF, Teacher of Piano, Voice Culture, Vi»lun, Theory, and Composition. Residence, 28 N. Throop S:reet, Chicago. GEORGE W. BROWN (Pers!ev}, Music for Seirees, and so forth, 3118 State Street, or White, Smith & Co., 188 and 190 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, Eo 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 Pianoforte. Music Roems at Story & Camp’s, 188 and «go Star “treet, Chi- tago. Residence, 40 Centre Ave. eG) Li EO: oa or MiSS ZELINE MANTRY, Vielin Soloist, and Teacher of Piano. For concert engagements address White, Smith & Co., 188 and 1go State Street, Chieago. BROWN & WINKLER’S BAND. Engagements made for all musical occasions at No. 3118 State Street, or White, Smith & Co., 188 and 190 State Street, Chicago. LL EMMA LOUISE FIROLER, Vocal teacher after the style of Mme. Rudersdorf’s system of voice placing and culture, 18 Willard Place, Chicago, or White, Smith & Co. PROF. W. WILLIAMS, Teacher of Organ, Vocal Music, Thorough Bass, and Musical Composition. Address White, Smtth & Co., 188 and 190 State Street, Chicago. MISS NELLIE G. HAYES, Teacher of Piano, Organ, Voice and Harmony. Address 179 Ashland Ave., Chicago, or White, Smith & Co., 188 and 190 State Street. - GEORGE BOWRON, Leader of Haverly’s Orchestra, will take a few pupils for Violin, 2259 Indiana Ave., or care of Hav- erly’s Theatre, or White, Smith & Co., 188 and 190 State Street. H. S. PERKINS, Teacher of Voice, Harmony, and Musical Composition ; Conductor of Musical Conventions and Festivals. Musical correspondence solicited. Address White, Smith & Co., 188 and 190 State Street, Chicago. CHICAGO QUARTETTE, — Harry Themas, 1st Tenor; James F. Bird, 2nd Tenor ; C. A. Dew, rst Bass; C. C. Lefler, 2nd Bass. For terms and dates. address Harry Thomas, Man- ager, 144 So. Clark Street, Chicago. BeYS AND GIRLS, ATTENTION! Your name and pho- tograph on twelve fine French visiting cards for 50 cents Send picture for copying, which will be destroyed. KELLER & Co.. 12 Tibbits Block, Utica, N. Y. I. L. A. BRODERSEN & CO., DEALERS IN SHEET MUSIC, MUSIC BOOKS, MUSIC FOLIOS, &c. 4137 and 139 Post Street, SAN FRANCISCO, - - CAL. All new music received as soon as published. Instruction books for all musica) instruments. Agents for the Fo.io. WILLIAM E. CHANDLER, DEALER IN SHEET MUSIC, ° MUSIC BOOKS, MUSIC FOLIOS, &c. 172 Middle Street, PORTLAND, ME. Instruction Books for all ins :uments. kinds of Orchestra and Band Music. Your patronage is solicited. Wright & Palmer's WVoluntaries. 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. Paimer. Price $1.00 . WHITE, SVITH & CO., Publishers, Boston and Chicago. Banjo Instruction Books GEORGE C. DOBSON Complete Instructor ........$1 00 Dobson Brothers’ Modern Me- toa: faery ess... 1:00 George ©. Dobson’s New School FOP DMO 26 ess 3 Bouquet of Melodies (sheet mu- Orders taken fora Music sent by mail. va3) 50 WHITE, SMITH & CO., Publishers, 516 WASHINGTON STREE1 BOSTON. 188 AND 190 STATE STREET, CHICAGO. 99 _—-— 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, GyJ, Funior, is living with an old Gypsy in the woods, whence she is sent évery 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 two Trams who are prowling about the house, and who at last prove te be her father and brother, who have been searching for her ever since she was stolen by the old Gyfsy several yéars 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 7rams come to the hut of the Gyfsy, and are satisfied that Gyp, ¥unior, is indeed their lost Alade/, 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 takena liking to her. . The second act opens at the seminary, where Gyf, Funior, has been taken, and has become a scholar with the others Ina few days the 7rasps 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 7vamfs, appearing just then, go in pursuit, and soon return with the child im safety, and the old Gyfsy a prisoner. : The following notices are clipped from a great number tha have been given in various influential 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. — Bosten Home Fournai. 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 Daily Giobe. This 1s one of those productions, — sw ;-et as a chestnut, and without its burrs, — which Americans 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 title implies, is excellent for use at church en- tertainments, ard so forth, as it is not difficult. Itis gotten eut in Messrs. White, Smith & Company’s tasteful manner.’’ The Boston Watchman, the Baptist weekly that maintai s« such a high standing, says, ‘‘‘ Gyp, Junior,’ a juvenile operetta with words by Ear] Marble and music by D. F. Hodges, takes high rank among productions of its clase The poetry is 6f that fluent and breezy quality so acceptabic sor either reading or sing: ing. A description of school children m the woods having theit fortunes told by an old gypsy is very picturesque and enteriain- ing. The music is good asa whole, and some of the meodies are unusually sweet and expressive.” Hezekiah Butterworth, one of the editors of the popular Fouzh’s Companion, and the a ther of the famous Zzgzag Journeys which, not belying their name, have circulated everywhere like zigzag lightning, writes thus «f ** Gyp, Junior”: ‘ ‘** Gyp, Junior,’ is excellent. It will act weli ine old Gy# sy and her rabbits will take with yourg peope. The loss » 4 recovery of the child will excite an eager interest. The libretto is a popular one.. I am sure of its success. It will last. These who see it in one place will produce it in another.”’ PricE 75 CENTS. — WHITE, SNIITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFE. New Werk.
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Wes Oe S St eB _ White, Smith & Co,’s Sheet Music & Music Books SATISFY THE GREAT POPULAR WANT. STRAUSS’ DANCE MUSIC. All the beauties of this renowned waltz composer collected in ene beautiful volume. Price $1 25. SCHUMANN’S ALBUM. Same size and style as Chopin’s Waltzes, below, containing choicest works of this favorite author. Price 50 cents. DUETT GEMS. A collection of piano music for four hands, composed of pop- ular copyright and also standard music. 240 pages. Boards, $2. CHOPIN'S WALTZES. Containing eight of his favorite waltzes, each one complete. Full size pages, clear type and good paper. One of the greatest bargains inthe market. Price 50 cents. SONG AND DANCE ALBUM. A col'ection of the most popular song and dance music, dedi- cated to the lovers of light and popular mus.c, and containing a large number of popular melodies. Paper, $1. WHITE'S SACRED QUARTETTES. Containing over 30 duetts, trios and quartettes, standard fa or- jtes for church and home use, to which are added 17 voluntaries or offertoires, preludes and responses. By C. A. Whi'e. Price $+ 50. CLUSTER OF ENGLISII SONGS. A carefully selected coliection of the latest and most popular songs, duetts and quartettes, with accompaniment for the piano. Among the composers represented are Mendelssohn, Sullivan, Marzials, Weilings, and others. Price $2. HODGES’ ANTHEMS. A collection of new anthems, sentences, motets, chants and re- sponses, for opening and closing public worship, especially de- sisned for choirs, associations, conventions, and so forth. By D. F. Hodges, author of ‘‘ Graded Anthems,’’ and so forth. Price 75 cents. PETERSILEA’S SYSTEM FOR THE PIANOFORTE. This superb work, by Franz Petersilea, the famous German- American composer and teacher, is too weil-known and highly appreciated as a standard to need more than mere mention. Boards, $2.50: cloth, $3. HOME DELIGHTS. A collection of new pieces for four hands, on the pianoforte, carefully selected and arranged to come within the compass of ordinary fingering, to meet the wants of teachers and students, fo: ihe home circle and concerts, exh'bitions, and so forth. The selections comprise marches, wa:tzes, polkas, galops, and so forth. Boards, $2. CHOPIN’S COMPLETE NOC- TURNES. The celebrated Russian or Klindworth edition, the only one in the world satisfactory to inteiligent pianists. Beautifully clear type Ask for White, Smith & Company’s Klindworth edition. Price $1. “pared expressly for the great American people. The Brightest Musical Monthly in America. 9) FOL. I O Only $1.60 per Annum. Three reasons why we —_——— \\"@ want 50,000 new subscribers. should have them. 1. Wegivein every issue from 18 to 20 pages of new music bat retails for about $2 at music stores. 2. We give every month an elegant li hographic picture of some noted musician or actor, which is worth more than the price we ask for the whole book. 3. Inevery number we give twelve pages cf interesting mu- sical gossip and news which cannot be obcaiacd elsewhere for double the price we ask for the who e book No person musically inclined can afford to be without the Fotto. And what present can you make that would be more ac- ceptable toa musical friend than a year's subscription to this greatest of all musical monthlies— the Forto? Try it for one year, and if you are dissatisfied the pub'ishers agree to refund the amount of your subscrip‘ion — $+ 60 per an- num, post-paid, 15 cents single number at all news-stands. RAYMOND’S REED-ORGAN GEMS. A standard set of favorite selections f-om operas and well- known works, with many new compositions, adapted to the cabi- net or reed organ. 156 pages. Price $2. HEATH’S MUSIC READER. For primary, intermediate and grammar schools, with full ele- mer tary instruction, and a choice coliection of songs and exer- cises. By W.F. Heath. Price 35 cents. ORGAN MELODIES A new 200-page collection of best music for reed organ or me- lodeon. A few old favorites and many new compositions, pre- Price $2. BAILEY’S SCHOOL SONGS. A new singing book for schools, containing a complete course of elementary instruction, and a large coilection of exercises, duetts, trics, quartettes, and so forth, adapted to the use of pri- mary, intermediate, grammar and high schools, and the home cir ck. By E. H. Bailey, the well-known New-England composer and instructor. An elegantly gotten up book of 224 pages. Price 50 cents. re GLEANINGS. A col'ection of contralto, baritone, and bass songs. Uniform with ‘' The Floral Offering.”’ Paper, 50 cents; boards. $1. BLAKE’S MODEL SCHOOL FOR THE REED ORGAN. Undoubtedly one of the best organ instruction books of the day. Price $2.50. WRIGHT AND PALMER’S VOL- UNTARIES. A repertoire of beautiful themes, both original and selected, for reed or pipe organs. Price $x. SONGS OF AMERICA. A beautiful 225-page collection of choicest selections from fa- vorite American composers, including over 70 pieces by C. A. White, J. L. Gilbert, H. P Danks, Eastburn, and a score of others. Price $2. HOME FAVORITE. A large volume of new music for the piano, selected from the best works of Charles D. Blake, T. P. Ryder, C A. White, and others, with transcriptions of celebrated foreign compositions. Over 200 pages. Price $2. SONGS OF AMERICA. This is a very popular collection of songs, ballads, soncs with chorus, duetts and quartettes, both sacred and secular. A splen- did work for the home, with accompaniment for both piano and organ. Boards, $2. THE WELCOME FAVORITE. A new collection of vocal and instrumental music, containing the world-wide popular waltz song, ‘‘ When the Leaves begin ‘o Turn,’? and the same song arranged as a waltz. 230. pages. Boards, $2. — THE HEADLIGHT. This superb book by H S Perkins and C. A. White has be- come so established a favorite school song bak, ihat it can fair v be said to distance all competiiion. Iis immense sales te.) the story. Price socents. — BAILEY’S COLLECTION. Revised and enlarged for. the second time. New anthems, sentences. hymn tunes, responses, chants, and so forth, for choirs, clubs, and conventions. By E H. Bailey. This book includes er MMC 100 selections. Price $1.50. OLD-TIME FAVORITES FOR PI- ANO OR ORGAN. A collection of old and familiar tunes and melodies easily ar- ranged for pianoforte or cabinet organ. ‘* Home, Sweet Home,” *¢ Auld Lang Syne,” and over sixty other pieces. Boards, $1.50. MUSICAL GREETING. A choice volume of piano music for parlor or concert use, em- bracing standard works by Lange, Kuhe, Dorn, Blake, Hummel, Verdi, Ryder, Gounod, Bailey, Streabbog, and many others. One of the most valuabie coliections ever issued in book form. Price $2. WHITE, SMITH & CO., Publishers, Boston and Chicago.
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EMERSON’S SOLOS, FOR CORNET AND PIANO, success with Gilmore’s Band, through England, Ireland, Scotland, Holland, Belgium, France, Germany, and throughout the United States and Canada. Also at his famous concerts at Koster & Biat’s Garden, New York City, and at Hotel Manhattan, Coney Island, New York. New edition, finely engraved, and printed on heaviest white paper, with beautiful title page and elegant portrait of Emerson. oO) Z "1 iS : SS When Life’s Golden. cocvcceed’. He Innes. 49 Over the Garden Wall Nene Ver. (’Tis not True), Tito Mattei First Life Guards Polka. F. N. Innes. ra Se eabele deesscccans oes.eeeArr, Emerson, .50 siento Girl oe ag Cow : rish. rr. Emerson, .30 | rasa topearngnen ie atte hima tama ace Robin Adair... Scotch. Arr. Emerson, " | Non © Ver...s..ceeceees Arr. J, B. Claus, .so Last Rose of Summer....F. ter Linden. Winds that Watt My Sighs to Thee Annie Laurie...Scotch. Arr. Emerson. . Rr Ate eS aaa e a eee oe Wallace. Arr. Emerson, .so The Harp That Once...Arr, Emerson. , Far, SoFar............. F. C Alden, Fr. Within a Mile of Edinbur h. TS ig Pee rte Arr. J.B. Claus. 50 Scotch. Arr. Mary of Argyle...........-.08. Nelson. ‘Adieu? Schubert. Arr. Emerson. . eocccbccsedegnces os-eeeeeeArr, Emerson, .30 Wow the Swallows are Returning. | Nazarcth......... A ARR 5 RTS Gounod. eteee -eeeeAbt, Arr. Emerson. Raceaaeqisrneaen’ e sees Arr, J. B. Claus. .75 = When the Swallows Homeward My Pretty Little El. (Song and ASN Fly Abt. Arr. Emerson. Dance).. 'M, I. Rosenfeld. .30 is Good-Night, Farewell. Flew ¢ Gently Sweet Afton............ z .Kucken. Art, Emerson. 35 SPOR lage has ee eae SSN ws estate Arr, pyr tae 30 $*¥Vhen the Quiet Moon” Auld Robin Giray...-. Arr, J. B. Claus, .30 Schondorf. Arr. eet +§0 Bweet Gemevieve.. ...........4. Tucker. Exile’s Lament. voneeecesscccoeceee -... Arr. J. B. Claus. .40 - 35 Star of Glengary bisdieaenh Ghee pte Sporle. inv’ RAM Es ase» yeh awe wounge Arr. Emerson, .40 Arr. Fred ter Linden. 40 Tako This Letter to My Mother.... Mlappy Be Thy Dreams ae Siena es «. Will S, Hays, rr, J. B. Claus. .50 Thomas, Arr, Emerson. .40 | What Deep Despair..... D. W. Reeves. .5o Fly Forth, O qientle Dove... ..ccccce Re SIAM OONE, RAEN MN, 650550900505 kuic sks) ee EE eee ee Pe DR ee ig es oa dk con Pinsuti Arr, Emerson. 43 Baa hr ene eaaee tla Benedict. Arr, J. "B, Claus. .30 Embarrassment. .......sccscccseee occcees I Saw From the Beach..... Irish., . Arr. Emerson. .30 BE MRR Tee ae ohare Arr, Fred ter Linden. +30 Ascher Arr, Emerson. .30 | ‘‘Inflammatus.” Stabat Mater........ How Can EI Leave Thee.. BP eh oY Saaitnnee hen Ny vacke Arr, Fredter Linden. 1.00 Arr. Claus. 035 ‘Sing, Smile, Slumber ’’....... cocese Welcome, Pretty Primrose OSS Spi ea tne: Gounod. Arr. ). B. Claus. .40 Pinsuti. Arr, Emerson. .g0 | Killarney ‘i - Balfe, Arr. Emerson, .30 Brightest Eyes. The Low Backed Car........ --+- Trish. Stigelli, “Arr, Emerson. 50 Be re la ates SNe Be en Arr, Emerson. .35 Charlic is My Darling.......... Scotch. Rossint, Arr. emerson. 250 Nt ais Ws wialeal WONe aie Arr, Emerson. .30 Geod Night, My Own Dearest Child “Cujus ‘Animam.’’...... Arr, Emerson. 1.00 Abt. Arr, Claus. .60 Song from ‘Tannhauser,’’.Arr, Emerson. .40 Palm Branches.. Faure, Arr. Emerson. .50 Cantigue, Pour Noel...Arr, Emerson. .5o Dannbe River .. “Aide. Arr. Emerson. .30 In Happy Moments. Maritana, Ave Maria.. Katy Darling....... --J. C. Greenham, Mleep Well, Sweet Angel... . Abt. Luigi Luzzi. Arr, Emerson. , PO AE Es yh ulbae wal dale t Rk eis Arr. Emerson. 40 The Bloom is on the Rye Then You’ll Remember Me... Bishop. Arr, Emerson, Seip SISOS YE ie eee Balfe. Arr. Emerson. <a The Rose ay bai Wood ...(Roslin im | Come ‘Along Simmers.. ......0++-----.- Wald.). .. Fisher. Arr. Emerson, Bis ASAE eye eee enone Penne Snes . M. H. Rosenfeld. +30 Lost Chord.. Sullivan, Arr, Emerson, . wearer, My God, to Thee....Emerson. -30 We Pretty Birds, Gumibert...... Ra eles | K Need Thee..... Pe ERE AE 8 ET Tate © (hl snc Ree tia a a en RMN Racy Soe UNE ee BON Se gta aeeeeArr, Claus. : v, Take Me To Thy Heart Again... Now I Lay Me Down to Bleep..... Be. onic he oe baa ae eed aay cc's Balfe. Arr. Emerson. .30 Walbridge. Arr. kimerson. . Serenade «e+» Schubert. Arr. Emerson. .35 The Rose Of Nillarney..... ..scs00 Ave Maria..... Schubert. Arr, Emerson. .30 F.R. Thomas. Arr. Emerson, Five o’clock in the Morning... wer The Shepherds’ Morning gigs: .Claribel. Arr, Emerson. 35 Uppe. . Pretty Blue Eyed Belle. Song and Arr, Emerson .40 | Dance,.....05 vevese WF. Wellman, Fr. | ry Qepertert or ie eC -»eArr., Emerson, , Arr, Emerson .40 Zerlina Polka, Auber. Arr. J. B, Claus Be Se Waiting” Song. Fred ter Linden.... .50 | Innesque Polka........... . NV. Innes. 75 ** Chant de Marie’? Nocturne. Lefebre .40 | Nantasket Polka.... ....... A.H. Knoll, 1.00 Air from Belisario............ Donizetti. | Bessie Polka......... sees: we Fe OW Casey. 1.00 Sonnambula Bel.ini. § 39 t t Walter Emerson’s Latest Cornet Solos. Marguerite. Romanza. . . eR Men oe tee hs When*the Leaves begin to Porno. 2 reals eres Marguerite Waltzes. Cornet and Piano, 85c. Piano Solo. . 75 My Love ’sa Rover Waltz .. SNL tee a aN Bonnie Sweet Bessie. . . plac a tev ie hae a erie les wave 404] Whom the-Deaves begin to Wall Wale ei ee Twinkle, Twinkle, little Stars . eat -. »86 |} Come Buy my Flowers Waltz . 1 0 4 es a ee le eo = All the above Compositions to be had in sheet-music form. WHITE, SMITH & COMPANY. OMIOAGO, BOS TON. 5 and 6 Washington Street. 516 Washington Street. 4a SPEAR & DEHNHOFF, 717 Broadway, New York. W. H. BONER & CO., Philadelphia, Pa. Atranged especially for and performed by the greatest, living Cornet wrfwoso, Mr. WALTER EMERSON. As played with immense 65 65 65 75
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s * t = . | : ‘Standard Collection of the Finest Books ever Published FOR AMUSEMENT AND INSTRUCTION. K UHLAU’S SONATINEN. Edition Peters. A fine CULO ccdcccdccbiucacenees eoce oy THE BOSTON CONSERVATORY METHOD FOR THE PIAN®. As taught at the Boston Conservatory of Music, Julius Eichberg, director. THE STAND- ARD. Recently revised and enlarged. Its superiority consists in its general arrange- ment and its plan of progressive exercises and pieces expressly adapted to meet the wants of beginners, young or old, American or foreign fingering ...++-+++seeeseeesess THE PETERSILEA SYSTEM FOR THE PIANOFORTE. The fatest or posthu- mos edition, but recently placed before the public, has received large additions and revisions, thereby rendering this work more unquestionably than ever one of the ablest . systems of instruction ever prepared for the use of teachers and students. This meth- 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 all that is needed. Sent post-paid on receipt of price by the publishers. Price, post- free, boards $2.50, Cloth .ccccccccscvcveccccescssccscsessessses sosssssrecccescevess GEMS OF THE WALTZ. Themost pbwutar waltzes of Strauss, Waldteufel, Lamothe, Faust, Resch, Thorne, Blake, Zikoff, D’ Albert, and so forth. ...-..+seeeceeesreeeeees ORGAN MELODIES. All the new and manoard melodies are contained in this volume, properly arranged for the organ ...eeeee-ceceesecccecscccececcensesesessenesesesenes PDUETT GEMS. The popular works of Blake, Lange, Von Suns Budik, Soderman, Snoonhokz, and others, for pianoforte, are here presented in the most pleasing and sat- peu MARUNGET: Cob as Ck SS HS a foe EONS aw ed tn eee EN MAREN OR We pO bets Bhs Caldas rgKE Esme ({LUSTER OF ENGLISH SONGS. A ‘carefully selected collection of the latest and most popular songs, duetts, and quartettes. Every piece a gem .-.+-eeesececeeerseess GEMS OF FOREIGN SONG. The manera German, French and Italian songs and duetts. English translation.......6-ssecsceccccccccceece seeceescessasesssscceevens LANTATION SONGS AND JUBILEE HYMNS. By Sam Lucas, James Bland, C, A. White, Dan Lewis, Harry Bloodgood —all favorites. Paper $1.00, boards BLAKE'S DOLLAR VIOLIN AND PIANO DUETTS. All the popular ne, waltzes, polkas, galops, marches, and so forth...+.++++sseesececccereecceecececeeees MODEL CLASS BOOK.. By H. S. Perkins. For elementary classes, conventions, choirs, musical institutes, concert use, and the social circle. New—just issued..... Sc ENES FROM CHILDHOOD. By Robert Schumann. The only correct edition of this Celebrhted WEEK ess sainsiceccsebbietserrcsccusarecenbocs Lith CL ohanghsrasprrseath oe (LEMENTI’S SONATINEN. Edition Peters. Without doubt this isthe finest edition published, and is absolutely Correct........seeeseescorsvccsvccscececccscvcnes pemlde -50. QGCHUMANN’S ALBUM. Classical music vo beginners on the pianoforte. Beautiful edition \ e@eeeeeeeeeoeeeeaee ee een eeeeree ee eeree ee ee eeee oe ee eereeeeeeee @eeneeeaeneeee euvee veee OLD-TIME FAVORITES. A collection of old and familiar tunes and melodies from all countries. Easily arranged for piano or cabinet organ. Boards...-ceeeeeeeseeeees I. LAKE’S MODEL SCHOOL FOR THE REED ORGAN. ByC. D. Blake and C. A. White, the authors of White’s New Method. This is the largest book of the kind published, and contains more good music, larger variety, andis withal more plainly arranged than any similar work SONGS OF ENGLAND. Acompanion to our ‘‘Cluster of English Songs,’’ which has had an unprecedented sale. ‘*Songs of England’’ contains all the latest English songs, “Bird in Hand,’? ‘‘When Poverty Knocks at the Door,” and so forth, Two Eveceet an penal fifty-six Pages of choice music. Sent post-paid on receipt of price. oaras eeeveereeeteee @eeeeeneevsecece @ereeeeeeseeene @eereee ete eeeeee 2 REETHOVEN SONATAS. Vol. I., cotiteiaine the first sixteen sonatas, including the Moonlight Sonata, op. 27, No. 2, and the Sonata Pathetique. Li olff edition. Large note and printed from stone. The finest edition now published ... .... cee esse ee eees J OHLER’S PRACTICAL METHOD FOR THE PIANOFORTE. From Litolff edition. Vol. I. 75 cents, Vol. 1]......csecseecceieees KOheLS acide ke Boss elie. These editions are the Jatest lithograph and printed from stone. N. B.— In ordering any of the above works be sure and state the publishers’ name plainly, as in that way you will avoid disappointment and get the best. WHITE, SMITH & COMPANY, Publishers. 516 WasHiIncton STREET, BOSTON. SPEAR & DEHNHOFF, ah York. a NEW-ENGLAND CABINET ORGANS, The Most Beautiful. The Best. The Strongest. The Sweetest. ‘5 AND 6 WASHINGTON STREET, COHMTCOACG OO, I. L. A. BRODERSEN & CO., San Francisco. ges Unrivaled in Material, Construction, Design, and Finish! ses Perfect in Volume, Quality, and Sweetness of Tone! ges> Unexcelled in Original Inventions and Variety of Expression! | THEY EXCEI.: AI.I. OTHERS: For every grade of use and luxury, every variety of convenience and taste, every condition of life and circumstances, || 7 finds its representative among the host of New, Original, and Elegant Designs. PRICES FROM $50 TO $3,000! pes> Equitable prices. Installment rents. Catalogues and Testimonials mailed free. NEW-ENGLAND ORGAN COMPANY, Marble Building, 1297 and 1299 Washington Street, BOSTON, MASS Me Fe H