Folio, A Journal of Music, Drama, Art and Literature [partial] (November, 1884)
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athe aia mT (oS 7. «ae BY C. A. WHITE. WALTZ SONGS. White, Smith & Co.’s Standard Publications FOR CONCERT OR PARLOR USE. THE FLORAL OFFERLNG. Songs. selected from the latest and most popular successes, with accom paniment for the piano. 240 pages. Paper, 50 cents; half cloth, $1. THE CASINO COLLECTION. Popular music for the piano, especially adaptew for parlor or concert A Bird from o’er the Sea. Soprano in F, contralto in Ed ..-..--eeeceeeceececeecee weceeee 75 t My Angel Bird. Sopranu in F ..-...---+-+eee eeee Sdideawenbay veabbcctivess Coaenl comes 60 | room, including several splendid duetts. 240 pages. Paper, 50 cents; half Song of the Whippoorwill. Soprano in D, contralto in BA ....+.s.ceeee seeceee cee ceeee 75 | cloth, $1 When °t is Moonlight. Soprano in Bé, contralto in G ...-.e+-sseececeeneececceceececscoes 60 ou lagt When the Leaves begin to urn. Soprano in A, contralto in G...-.+...ceceeerececececeess 75 THE GLEANINGS. When ’t is Starlight. Soprano in B, alto in G occcdccccdcctececvcsdccccvecccssvecsccsesees 50 : Was it True? — Melody by Lamothe...... ee seeeeeee st eeeeescececscecccecseccseccs oe 60 Songs for baritone, contralto and bass. This book contains the most pop- ee ete ae go ae ee 65 | ular songs from the best authors that has ever been published in book form. Mermaid’s Songs. Soprano .-ssss- seer sssesececeesseestsccscecsecsssessorsevecssecseees 60 | Lt is printed on fine paper, has an iliuminated title-page, and is first-class in ‘When the Blue Birds Build Again. Soprano in G, contralto in Eb .-csseesseeseeceeeccenss 75 | every respect. Paper, 50 cents; half cloth, $1. sgh in pol anny R$ besten oa Contralto in: HD s...2.ccscccvedcscesssoeces, e0ee 75 e Roses have Bloomed and Faded. Soprano .......ccccecscecencenccceccccccccccsevess 6 pee iy ape the Plough-boy Sang. Soprano and contralto, each ....-.++s+eeeee- a HARVEST OF MINSTREL SONGS. s se. SCOSSSHSSS SESH SESH SEHSSSHH SESH SHSHHSHOSOHRSSSHSSSASSHESHSEHEESETES* SHE SEEESE . i. Fr wish hedge oe . The most popular book ever issued, containing as it does not only the best- pepener @. Se, ee sya known songs of the day, but those sung by former generations. Beautiful ara the Gypsy. prano ip Contralto in Cisse ccsevs sconwccwsecbeccsadccpousgesese ceee qo | j ; ‘tla. ° ae Mh irae rigs 4 of the Lea. Song and Chorus ......sesececcccvccccccse bedapin oe 35 illuminated title-page. Paper, 50 cents; half cloth, $1. aint other, or the Outcass . .-ccccccccccccccceccencccesccssecsvece dcccccccccccccccss % f Alonethe Cross nist Bear os sio0ies $bi0% 000 Seen ec cc eV en boemensss vce bee Peaaaneeraceviene phe THE MAGNET. eee ee eee OB per rt ERA Rata TR iol EAN REP GREE 40 ould you Leave your Home, Robin WR is cs Sinic'g Sd g boa. 4 9 tS OHbN EA oo een ese Se gaw 40 ; : ie. : ¥ cong trata Satie 2 eg Yen ag a al and alto, cach ....ccccrcccccccccsccsccccees 35 English gems. 208 pages of vocal music. Paper, 50 cents; half cloth, $1 e did n’t Know at to Say. Ad ence cccccccesvccesccecsccsesessvessecsscerseesoees 3 * Happy asa Bird. Ballad.....0..cececccecce soccccccccccceces soeee: coesesesccscccccoues 3 SMITH’S MUSICAL ALBUM. No Tongue can Tell. Tenor song ..-..sececcccccecccccccccccccrce sonccecccessecssrceecs 50 : Naught but a Dream. (Duett), Soprano and tencr ....ccccscceccescccccecsccrs sevseees 40 208 pages of popular and selected music, being a compilation from the he dows 2 hope Sos as Lea Gane ata ch Beach Ni cars ae pe 8S - ten numbers of Smith’s Album. This complete number contains the ESE gC deep or ey To gs te eee best of all the ular music published,— vocal and instrumental. Price BASS SONGS. 50 cents, aii ? ; pg eeneret abe ey napilige oat capes AA CHOMER IN OVARY Messier y “ | rnd pea _gBass,or contralto...++++++++>. nd deeb dace ates CoD PesMeka<ua'er oP eucanend ons 40 BOSTON CONSERVATORY METHOD FOR THE PIANO- inv PRE fos sos onc see cohen seccveccecctdsbdanhn te oseetrney (bs de'syed Lahapradesones 40 a Turnkey FOL 8S caw Be epee i Vned Wee a eRe ba 6 RES nceweeh < ETERS eORREIaS sas uab Spieete 50 FORTE. a King ..c.cccccccesectecccnccccecccccceseccenssrenccesenes eesenecsnescscesseseeesons 40 As taught at the Boston Conservatory by Julius Eichberg. The best DUETTS. method in use. Universally acknowledged. Price $2.50. ve a vase Thee. Fanaa Mei BID 25 65 is cin WeKeancactaet se cdocecaspadincave node 1 60 le t Cee eSB OOSS CH SHOT SHEHSHSSHSHSHEHOHSSHESHTSHESEHESHESSESHSESESEEBES r Traatin Soprano aed tenors scenes i penenoas (heater oS ss * BLAKE'S INTERNATIONAL PIANO METHOD. econciliation. Soprano and alto, or tenor and bass .......-ecedecsecccccecccccccsccsecces gh ; , , Come where the Rosebuds Sleep. ( Sopranownd 660 600: F sion coaned 0 she vedaeh tees oeaney en e A self-instructor. Beautiful lithograph title-page. Paper, $1.25; boards, Where are the Friends of Childhood’s Days? Tenor and bass..-....-.ssceeesseeececeeeces so | $1.50. ony go rhe yy eas — eigen’ aus ChOTUS....scecccsccecececcecs soosccceces 50 | Some, Merry Birds of Spring. prano and alto in Ed... .ccces sesoccoccecsesecancesccscecs 40 \ o y , Lost Ship. Tenor and bass.....--+--- Vb nba Valea nee eich oO bebe e Lobalos genes ath BoA LROMEK 50 THE INTERNATIONAL CABINET ORGAN METHOD. Cup of Woe. Tenor and bass in Ed .......scecessee cee: ceceeces cocceeecrers sesceeesees 60 Paper. $1.25; boards, $1.50 3 _ NEW QUARTETTES. } Gare ak TEN | | Twinkling Stars upon the Lake. Mixed and male voices...... 2... .+s-ee-seeeeeeescceesees 6- ’ ny ne Py ‘ y A Sailor's a af Me prtig Sen “onli rsaaay supe baewgsnd Se ce ceehign Hebe bee serene san gh Ve 65 WHITE’S SCHOOL FOR THE REED ORGAN. The Band. sole tench CiGis HAE! TPGRS DIA Su Klee 0 o.8 bau. 0 be ves bene peg Me RReea eon ose pieeweat : : : : Someta Shere the "Mother Dwells Mixed and male voices ....... sesscececccceces -ooses = One hundred thousand copies sold. The leading instruction book of al} Come where the Wild Flowers Bloom. Mixed and male voices «.-...++++eseeeeeee cere nees 40 | in use. Price $2.50. Charles D. Blake’s Latest Songs. O MARIA! OR THE PLUMBER'S DAUGHTER. Words by Earl Marble. Sung with great suc- cess by George Wilson, of Barlow, Wilson & Com- pany’s Minstrels. Price 30 cents. 60 cents. MURMURING WAVES. Descriptr-e waltz song. Soprano in G, alto in E. Price 65 vents. LONGEST WAY ROUND, 50 cents. JERRY AND I, 40 cents.. Two bright little encore songs for concert or parlor use FLOWEKS OF THE SPRINGTIME.| Duett for soprano and alto. Words by Earl sarble. Price 75 cents. | JACK’S RETURN, OR WHEN THE ROBINS LEAVE THEIR NEST. Words by Ear! Marble. panion to ‘‘ When the Robins Nest Again. WHEN THE STARS ARE SHINING BRIGHT. Brilliant concert waltz song. Price 60 cents. A SONG TO MOTHER. Words by Ear! Marhle. GOOD-BY, NANCY JANE. Plantation song and chorus. WAITING ’MID THE PANSIES. Song and chorns. Price %5 cents. WAKE FROM THY DREAMING. ‘Words by Earl Marble. Alto or baritone in D. Tenor or soprapo in F. Beautiful picture title. New waltzsong. Com- Price 40 cents. Price HIDE AND SEEK. Words by Earl Marble. Waltzsong. Dedicated to Julia Wilson. Sung by her with great success. Price 40 cents. WHEN THE PANSIES COME AGAIN Concert waltz song. Soprano in G. alto in Eb. Price Ge vents. Price 35 cents. s-eoo THE CAVALIER’S FAREWEL.. fer tenor in E. Bass in Db. Words by Kart ; Marble. A grand song fell of character. frice 34 vents. . Price 40 cents. ' :
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FOLIO. _— ——- VOLUME XXVL BOSTON, NOVEMBER, 1884. N UMBER 5. THE AUTUMN ASH. With thcughts as mystic as St. John’s, In Revelations amplified, There came a soft, mysterious bronze Upon the ash-trees glorified. They seemed, beneath its wealth of hue, As works of art, whose mysteries Are only known unto the few And chosen ones unto whose eyes The hidden realm is deftly shown That culture claims to be its own; As only those with souls allied To God, and thereby deified, His allegories e’er shall read, While vainly ignorance may plead. O glorious thou bronze browed ash ! Without the maple’s gleam and flash, Without the oak’s bright, ruddy flush, The soul yet feels a happy hush At sight of thee, as though the mart Of work and barter were forgot, And palaces with works of art Revealed the truth of what was not ; For this is art, its lesson this. To those who worship at its shrine, A thing as sacred and divine As water’s taste, or wine’s warm kiss To those who o’er their sacrament Remain in supplication bent. Eart MARBLE. a MatTeRNA, the greatest dramatic prima donna living, says a con- temporary, has been engaged to sing during the coming season at the Imperial Opera in Vienna for three hundred dollars a night, Nilsson, with a worn-out voice and a repertoire of not half a dozen operas, could not get half that sum in Vienna, but demands twenty- five hundred dollars here. This ought to be a lesson to American managers. 2 BANJO-PLAYING has grown to be so much the vogue, that lady teachers of the piano have begun to advertise themselves as accom- plished proficients on that favorite instrument. In a few years every girl in the United States will be clamoring for a banjo. Now they only ask papa for a grand piano, which is worse than the tum- tum of a banjo. — Boston Beacon. IS IT NECESSARY TO GO ABROAD TO STUDY MUSIC? The little controversy which occurred a few days ago about the above subject suggests to me a few facts which are not generally known to the public. Therefore, in making a brief statement of what has been already done here, I may throw more light on the subject, and help to substantiate the opinion of Carlyle Petersilea expressed in an interview on his recent arrival from abroad. I am not prejudiced either one way or the other in the matter, and have always been ready to acknowledge the great benefit a person can obtain on the other side of the water; and I have studied and sed- ulously labored to ascertain all tho relative advantages of the two countries, and make a just and fair comparison. I find that within the last twenty years, not only has the United States made immense progress in the art of music, but that in that time real masters have been amongst us, both native and foreign born. — In the city of Boston we have a permanent orchestra which stands second to none in any part of the world, and we have also singing societies which would be an honor to any country. As to pianists, organists, violinists, singers, and theorists, I doubt whether any city in Europe of the same population could produce the same in number or quality. Having been educated in Europe, and having traveled a great deal throughout its extent, as well as having followed my pro- fession there, I can safely compare and judge without prejudice be- tween Europe and America. Since I have used this word “prejudice,” I may add that this feeling (or, rather, failing) is the foundation of our lack of confidence in ourselves, as it is the prompter of the desire to seek abroad what we can obtain at our own doors. What city outside of Paris or Ber- lin could give so many classical concerts as we give here? How many more classes of concerts might we have were not the public apathetic toward those given merely because near home! How many compositions of merit are waiting for a hearing simply for the same reason ? We had the most striking proof of this when the music-teachers met in convention in Cleveland, last July, where a concert was given strictly of American compositions, some of the works performed revealing several composers of real merit if not genius, who would probably never have been known but for that one opportunity. . I was asking one of my colleagues, the other day, if he intended to give any concerts this season, when he simply answered, “I can- not afford it.’ The reply speaks for itself. We are too ready to acknowledge the merit from afar, and to neglect our own talent. It has become a kind of habit to look to the old country for the best of everything; and, without questioning, people blindly follow that habit. | The scales are falling from our eyes. Mr. Petersilea studied both in America and Europe; and he has lately, in his riper years, spent a year across the water, giving this subject during that time careful consideration. He knows whereof he speaks, and he speaks with the courage of his convictions. He looks the situation in the face.
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O bab; | His opinion is based on cold facts, aud he brushes away prejudice | a chance, it will run, take my word for it.” and this mildew of the mind, — this superstition that nothing in art can be good if new. But that America should have advanced is no reflection on Ger- many. We should regard Mr. Petersilea’s opinion of musical edu- cation in this country as complimentary to America rather than as depreciatory of Germany. The trouble lies with those who go to Europe to study, and lack the proper education and the gift to just- ly compare the relative facilities and advantages of the two coun- tries. | We have no need to look to Europe with such an array of art- ists as Petersilea, Sherwood, Baerman, Maas, Lang, and Bendix, as piano instructors; Adams, Osgood, and Wheeler, for voice ; Campa- nari, De Seve, Adamowski, Listeman, and Eichberg, for violin ; Whitney, Lennon, and Capen, for organ; Zerrahn, for choir and or- | chestra directing ; Whiting, Paine, and Chadwick,‘as theorists and composers, —in addition to the large and excellent establishments that Boston is proud to possess for the education of aspirants in any branch of music; and J am more than surprised to see that there are people — even musicians — who are still so far behind the times as to clamor for European musical education, misguiding the public, and urging young students to go to Europe. Had we not every- day, practical proofs that the advantages are as good here as abroad, I would not venture so far as I do in the question; but, if necessary, I will, when required, furnish all the proofs of what I assert. The time for creeping is over, — we are walking, quite erect; and, with the proper encouragement from the sensible and right-minded peo- ple, we may in time kill off prejudice. : | | 3 Caixa LAVALLEE. MR. LANG'S SYMPHONY LEOTURES. B. J. Lang has the gift of happy thoughts, says the Advertiser. Last year it came to him that he had something to say about piano- forte music and pianoforte playing, which it might be well for him to speak, and for others to hear. He was right; and his hints, xs- thetic as' well as plainly practical, were welcome and serviceable, even to many who never touch the keyboard. This year he has de- vised a series of twelve “symphony lectures,” which are to be given on a dozen alternate Thursdays at Chickering’s. Starting with the idea, that not nearly so many persons, even among musical ama- teurs, enj“y symphonies as might do so, he proposes to take up reg- ularly the symphonies-which will be played in the regular Music- Hall course, explain and analyze them, show the entrances and pro- gressions of their themes and give such helpful insight into the har- monic and instrumental structure of these compositions as shall make it a pleasant and an easy thing to listen intelligently, and even critically, to them. In doing-this, the piano will be used lib- erally for illustration; and Mr. Lang further hopes, that, when a concerto for that instrument is to form part of a programme, he may be able sometimes to secure a reading of the solo part’ by the player of the evening, the orchestral seore being reduced for accom- paniment on a second piano. So excellent a scheme should fill every seat in the hall. | l a “True Nopsxity” is the title of a play which has just been writ- ten by John C. Freund, and which will be produced by the distin- guished character actor, F. F. Mackay, very soon after the election. Mr. Mackay pronounces it to be better than “The Two Orphans;” and Daniel E. Bandmann, the famous legitimate actor, after hearing it read, wrote to Mr. Freund, “I consider your play far superior to any I have seen since my return to this country; in fact, the best. It has all the elements of popular success in it. As soon as it gets Mr. Freund has ik a ideas, an intensely dramatic manner even in every-day life, and a ready flow of crisp and terse English. What more is required ? Se TWO SONGS FROM “LEE-LENAU.” The following is a serio-comic song to be sung by Thomas Morton, in the opera of “Lee-li-nau,” by Earl Marble and Richard Stahl, which will be given at the Baltimore Academy of Music on Nov. 10. The song is inspired by his downfall caused by his arrest by Miles Standish during his revelries at Merrymount, which will be remem- bered by readers of colonial history. Oh, you fancy that your hearts are good and true, And your consciences from wicked ways are turning, Just because your faces take a pious hue, And serenely for a better land you ’re yearning ; But you make a bad mistake, as you will find When you ’re ferried over Charon’s awful river, And discover that the virtue in your mind Is the offspring of a lazy, torpid liver. Let me whisper just a word or two to you: If the lazy blood that through your veins is going Is not vigorous enough to lend its hue To the skin beneath which languidly ’t is flowing, Never think for e’en a moment you ’re so good That you ought to sail across the raging river: If you did get o’er with Charon ere you should, You would wish you ’d taken tonic for the liver. When you look so sanctimonious and good, With your faces all so long and lank and hollow, That temptations you have battled and withstood, Oh, believe me, does n’t naturally follow. Your condition with no warm and crimson blood In your blue and slender veins — it makes me shiver! For whem faces take the sallow hue of mud You will find that it is owing to the liver. and the following is Standish’s great song in the same act : — The man who has no soul to sell — That man behold in me! The man who guards his country well In me you also see. I love my God, my freedom too, I love this new-found land, And what I can I e’er will do, That righteousness may stand. We want no undermining vice To gain acceptance here ; For truth and faith at any price I hold as none too dear. We fled-from our oppressors’. heel, From England o’er the sea, And sought this land where man may kneel To God and liberty. And shall the vices foothold gain, And stay our purpose grand, On rock to build, where right shall reign, And not on shifting sand? Forbid it, God! forbid it, we Who here in virtue grow! This land to every good is free, But wickedness must go. These two songs may be said, not inaptly, to typify the two dis- tinct and combating ideas of roystering revelry and precis Puritan- ism which met in conflict on that famous Mayday, and resulted in the triumph of the latter. The opera will be given, as has been stated, by the Wilbur Opera Company.
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| rx Exp, 173 fe LAMENT. Our maple is donning a garment of glory, And sways her gay gown ’twixt the blue and the green, Like a maiden arraying her form in fine raiment, To reign as King Autumn’s unparalleled Queen. But, jealous lest pleasure she give to the monarch, The Zephyrs anon from her robe steal away Leaf-gems that were mixed from the mine of the sunlight, That fall at the emerald feet of the Day. These aerial pilferers harm not her beauty, Whose fullness of hue undiminished remains : Ah! would that my life were as brimming with fullness! But Fate my career and my manhcod restrains, When shorn of her color she lonesomely shudders, And stands like a skeleton dismal and bare: A symbol she ’1l be of my present existence, That, meagre and lean, leads me on to despair. ANSWER. As the germs in the poor, leafless tree, lying latent, When winter has fled, renovation will bring, So the seeds of success now within thee reposing Shall shoot into bloom in thy life’s coming spring. *T is a law of the soul, and a law throughout nature, That sadness and pain are sure pledges of bliss ; That death is the eloquent promise of plenty. Take comfort: there ’s naught in God’s working amiss. Henry W. SrRatron. MUSIC IN NEWSBOYS’ SOULS. A New-York reporter was sauntering up the Bowery recently, when three little boys rushed along with harmonicas in their mouths, and molasses candy in their fists. An Italian was seated at the end of his stand on acamp-stool. The familiar strains of “Sweet Violets ” floated from a diminutive harmonica in his mouth. A ragged little fellow rushed forth from a store against a fat old gentleman, knocking him over. The f. 0. g. picked himself up with a naughty word, just in time to see the urchin scurrying down the street, with a mouth organ held aloft triumphantly in his hand. The reporter stepped into the store whence the boy had issued, and asked, — “ What was the cause of the boy’s excitement ?”’ “The harmonica,” replied the proprietor. “A newsboy that don’t own a harmonica is a small potato. The craze for them is something astounding. I sell hundreds of them every week. News- boys, workingmen, .girls, and women, all buy the mouth organ. That little newsboy that just rushed out has often stood on the walk, looking into my window with longing eyes. He has to take home all his earnings. A gentleman handed him ten cents this morning for picking up a dropped handkerchief, and in less than five minutes he was here.” “Do you sell a harmonica for ten cents ?” “Certainly Ido. We have them for a dollar; but a ten-cent one is as good as a dollar one. We used to sell the small ones for twen- ty-five cents. Since the reduction to ten cents, we have sold large quantities of them. The fact is, we seldom sell any other than a ten-cent mouth organ. The newsboys get considerable music from these toys. Some of the boys will produce a distinct bass and treble. Last month I was walking down Chatham Street on a moonlight night. A crowd was gathered on one corner. Inside the ring that had been formed stood a twelve-year-old urchin, playing ‘ When the Leaves begin to Turn’ on a ten-cent harmonica. Four couples of gamins were trying to dance the waltz. They cut the most ludi- crous antics, accompanied by grotesque grimaces that excited the hilarity of the crowd. A policeman hove in sight, when the crowd — gamins and men — vanished into a cellar saloon.” | “You have some jewsharps. Do they sell ?” “No. Three years ago they were all the rage; but now no one but old men use them. There is n’t much music in a jewsharp. Still, an old clergyman was in here yesterday who got-some sweet tones out of an old iron jewsharp. He said he had a silver one at home which cost bim five dollars. He plays it every night after dinner.” ? “ Are accordions used much ?” “The accordion is more popular than is gonibeally supposed. Much fun is poked at it; but a good accordion in skilled hands will produce very pleasant bitsts Indeed, the accordion takes the place of the piano in poor families. It is used to sing and dance by. It has a double advantage over the piano, since it is cheap, and can be carried around for use at different parties and dances.” “ How much does an accordion cost ?” “ A good one brings from five to fifteen dollars. I sell a splendid one for twenty dollars.” : “ Are they of American or foreign manufacture ?” “Foreign. Both the accordions and the harmonicas that I sell are imported from Germany. I do not think any are made in this country.” THOUGHT SO TOO. The other day, a girl of seventeen, who was washing the front steps of a house on High Street, broke out into song; and a moment thereafter a pedestrian halted at the gate, and, as she looked around, raised his hat, and bowed in the most graceful manner. “ The missus 1s n’t to home,” remarked the girl. “No, I suppose not,” he answered. “ And we don’t want no pertomeries, and ha’n’t got no old clothes to exchange for china vases.’ “Well!” “ Well, and who are you bowing and scraping at?” “J heard you singing. In less than a year some operatic man- ager will discover you. He will send you to Toledo to train your voice. In a few months you will strike New York direct from Italy, and the bills will announce you as M’lle Pinoi, the wonderful prima donna and queen of song. Iam simply bowing to you in advance.” “And you really mean that ?” she asked, as she stood up very straight. “Of course I do.” “And I'll get fifty dollars a night ?” _ “Yes: two hundred, three hundred, perhaps five hundred dol- lars.”’ “ And the opera houses won’t hold the people 27? “Not balf of ’em.” “That ’s what I think, —just exactly what I think; and you bet your boots I don’t scrub no more steps for people with an income of only ten thousand dollars a year.” Aud she flung the brush into the pail of water, where the soap was already deposited, tossed the big rag after it, and hustled for the back door, trilling “Peekaboo! peekaboo! I see you hiding there.” — Detrowt Free Press.
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174 FOLPO. ALL FOR LOVE, Is mine an idle prescience if I dream That this wide world will hold alone us two ? Are those romantic phantom-shapes that seem To linger always in my raptured view; Coming in sleep to fill hfe’s empty cup With nectar which I find on waking up Is but the sweet delusion of a night, That shrinks from hard, cold reason in the light ? And yet in reveries by day they troop Around the shrine of Fancy, and succeed In making of me quite as much a dupe, Since I am sure to follow where they lead. In such rapt moods, imagination brings A vivid semblance to those outward things Which we would have surround us in our bliss ; Those things, that, having not, we always miss. O human iris! centre of it all, _ Set deep in halos of my tenderest thought, The dreams still merge and lapse and rise and fall, And now the fabric of my love is wrought. What biighting pain could earth e’er dare to send To take away the spirit of my friend ? Once more to grim reality I wake, Resolved to do all things for her dear sake. Leon Mean. ac i ek Ml 8 SR eS Ry Te Estee dA THE THEATRE IN JAPAN. Outwardly, there is little to distinguish it from a bath-house or a public office but the long strips of wood over the doorway, painted with the actors’ names, and the banners of cloth emblazoned with the fantastic emblems of the histrionic art. We pass through a wicket, and find ourselves in a large square hall hung with festoons of mary-colored lanterns and strips of pictured drapery, and divided pretty much according to the European principle of pit, boxes, and gallery; the only difference, of course, being that a Japanese. audi- ence squat upon mats, and make no use of chairs and seats. From the stage through the midst of the pit to the back of the house runs an elevated platform called the “ hana michi,” or flower path, which is used for processions, the entry of crowds, and for feats of juggling ‘and other diversions to occupy the intervals between the acts. The orchestra (save the mark!) occupy a suspended box at the ‘side of the proscenium, and here they vex the European ear with performances on the “samisen,” the “koto,” drums, cymbals of metal and wood, fifes, and flutes. The stage proper is circular, and by an ingenious arrangement of machinery beneath revolves on its axis, one-half of it only being occupied by the scene in operation, the other by the next scene, so that there is none of that pulling and hauling and delay familiar to us at every change of scene. In the region beyond the stage are the dressing-rooms, separate cells for principal actors, one long gallery for the subordinates, the carpen- ters’ rooms, property rooms, painting rooms, in spite of an atmo- sphere of which Cologne or any little Norman town might be proud. The first piece has ended, the due interval has elapsed, and a hid- eous fantasia on the gong announces that the tragedy is about to begin. The theatre is crowded, and every one is smoking, laughing, chat- tering, and sipping tea (no old Japanese playgoer ever visits the theatre without his own teapot; but one cannot repress a shud- der as he looks around at the flimsy wooden structure, with its flut- tering decorations, beholds pipes being knocked out, and paper lan- terns swinging in the draught, and imagines what a real tragedy there would be in case of fire. When a Japanese theatre does catch fire, a half or a quarter of the town generally goes with it, and the sacrifice of human life is never known. At a final bang of the gong, the green curtain is drawn aside from the two wings; the last of the urchins who have been gambol- ing on the stage scramble into their places; the orchestra strikes up a hideous discord; the human footlights — men veiled in black, and holding long bamboos, at the ends of which are fastened tallow can- dles, which require constant snuffing, and smell horribly — creep in- to their places; and the piece commences. If we wanted to make out the plot of the play, we should be com- pelled to come here for another two nights at least ; for Japanese plays are of inordinate length, sometimes occupying a week in rep- resentation, and the curtain is drawn every night precisely at 11.30 o’clock, even in the midst of a scene or a speech. — Belgravia. “ONE TOUCH OF NATURE.” An atmosphere of sorrow pervaded the Mulkittle house. The lit- tle girl that had bloomed into endearing imitation of her brother, and who followed him, and had just begun to ask questions and laugh and run away before they were answered, was stricken down by a blighting disease. How like a withered flower she seemed, ly- ing on the lounge, which had been drawn to the centre of the room! The attending physician said that she could not recover. The min- ister and his almost heart-broken wife sat at the bedside, almost afraid to look at each other. The boy, whose once rollicking foot- steps had been softened to noiseless tiptoe, entered the room, and, with tear-streaming eyes, stood looking at the little sufferer. Only the day before they had raced through the garden together, where old Ike was repairing the flower-beds, and she, finding a piece of yellow dish, playfully said it was money, giving it to the old man, and telling him to “buy some nice tloze an’ a hat.” The boy had heard the doctor say that there was no hope for the child ; and, al- though he knew not the meaning of death in all its dreadful signiti- cance, yet he understood it to be separation until that time when he should meet her with wings, and be like the pictures at which they had so often and fondly looked. In life there is no purer love thav that existing between children. “‘Ts she any better?” he asked. ‘‘ No,” whispered his father. “ Will she get well?” “JT don’t know.” ‘May I kiss her?” Mrs. Mulkittle sobbed, and took the boy.into her arms. “You must not kiss her, darling. You might be ill as she is.” ‘‘ Would kissin’ her make me sick ?” “Tt might.” “Let me kiss her, any way.” “No, Willie,” replied the father. “ An’ can’t I ever kiss her again ? ” ‘“‘No, not in this world.” . The physician came. The boy went out, and sat sorrowfully on the front steps. Rough Jake, a boy that lived in the neighborhood, came along, holding in his motley hand a rose he had doubtless stolen. Rough Jake is a kind of social outcast.. No mother would allow her children to associate with him; and, feeling this ostra- cism, he was constantly seeking revenge by inflicting punishment on youngsters whom he “caugbt out.” “ HWollo, Bill,” said Jake, stopping, and kicking the step.
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roy Ly (Qs 175 Young Mulkittle did not reply. “Why don’t you talk, hey? Think yourself above me, don't you? I ’ve been Lie! for you, young feller, an’ I b’lieve I'll give it to you right here.” “Go away, Jake: I don’t wanter fight.” “You ’re a coward! Come here!” And he seized young Mulkittle. “Don’t, Jake. I would n't fight ef anybody was ter try an’ kill me. 3) “ What ’s the matter with you ?” “ My little sister is about to die.” ‘“‘ Here, Billy,” releasing his victim, and handing him the rose; ‘‘T would n’t hit you fer all the money in the world. Don’t cry, Billy, please don’t,” taking up the boy’s hat, and gently placing it on his head. “ Good-by, an’ don’t think that I want to hurt you.” — Opie P. Reed, in Arkansaw Traveler. —_—__-—_--- MUSIC TO ORDER. Miss Toorsey Mire (variety actress). — “QO professor! I am so glad I met you. I’ve just got an engagement, and I want you to compose me a first-class A 1 song and dance; something real jiggy and jolly, you know.” MusicaL Composer. —“ With pleasure, my dear young lady. You want something that will set all the gallery boys to beating time with their feet, and make the parquet feel like jumping up and joining in the breakdown ? Something 1 in sailor’s-hornpipe time, I suppose ?” Just the thing. I have the words ready. All I want is the mu- sic. Must be a full orchestra accompaniment. you know, and must be done by six o’clock, so that there will be time to rehearse it.” ‘Goodness gracious! I can’t get up anything in that time. It is impossible. The idea! Why, it ’s four o’clock now.” “But 1 must have it. It’s my first appearance at the new Vau- deville. Haven’t you got something already written that will do ?” “So Ihave. Never thought of it. Here is a piece just finished. All it wants is the words.” “ Oh, that will do splendidly. ‘So bright and dashing! Did you compose this for a song and dance ?” “Well, no. It was for a Cincinnati sacred concert.” — Philadel- phia Evening Cull. SQUEEZING THE WRONG HAND. The other evening I was one of the legion of “standees” at the Boston Theatre, says a writer in the Boston Globe, and wedged in next me were a healthy-looking country girl and her lover. They were alternately bestowing attention upon each other and upon the stage, but seemed to enjoy each other rather the most. My hand rested on the back of the seat, and some one jostling past the girl made her put her hand near mine. Presently I felt a caressing squeeze hovering around over the backs of my fingers, and. saw out of the corner of my eye that the young fellow had mistaken the hand. I let my fingers creep shyly into his, and returned his fre- quent squeezings with what I flattered myself was a very good imi- tation of maidenly modesty. But you ought. to-Have seen how hap- py the poor fellow was. He stood there with an expression of ecs- tatic bliss on his face, and every time he whispered a sweet nothing into his girl’s ear he emphasized it with an extra squeeze of my hand. He thought he was getting in an extra hour of courting that he had expected to be cheated out of. they had better go home. Then he gave an awful squeeze, that mashed my fingers all together, and I began to pull my hand out. He saw what was the matter, looked at me in a sheepish way, and then at his girl, who was frowning and pouting, and said, “Yes, I guess we had better go, or we ‘il miss the train.” They went off, looking unhappy; and I suspect that it took him all the ve home to make it up with her. GER Ge sme eraneer nice ott cba Ser SWING SONG. Swinging, swinging, my soul is winging Over yon tree-tops her boundless way : Swinging, swinging, my life I am flinging Out, far out through the golden day. Em’rald the fields ’neath the sun-flood gleaming, Darkly the gnarled apple-trees hold their state, Guarding the roadway, with weed-growth teeming > All its worn amber-lines down to the gate. | Low at my feet, on the green grass growing, Flitteth a shadow in fairy like play: Out on the wind, its dusky hair blowing, It follows and follows me, fond alway. Swinging, swinging, my soul is winging Over yon hill-tops her boundless way : Swinging, swinging, my life I am flinging Out, far out through the golden day. O pale, waving shadow of my sad being! Kneeling, I ’d kiss all thy dusky form, Could I, in thee my dearer self seeing, Give life to a memory true and warm. Kissing thy locks till they gleamed a-golden, Kissing thy lips to the tender smile Of pity and love that I knew in the olden Days when thy look could my sorrow beguile. Sorrow my weary heart-strings eating, Restless with pain in the night-time of hope, - Kissing thy shadowed form till my heart’s beating Brings strength of devotion and love yet to cope With that in mine heart so silent asleeping, Kissing thine eyes till within them there lies The light of the heavens when the sun-god is keeping . Smiles just to greet the new day from the skies. Then upward and outward, through sunbeams flashing, Outward and upward in limitless sway, | Singing together, through the boughs dashing, Heavenward we ’d fly through the perfect day. Swinging, swinging, our souls are winging Over yon tree-tops their boundless way : Swinging, swinging, our lives we are flinging Out, far out through the golden day. | Atma E. Lewis. Boston, AuGusT 15, 1884. . Cbg shige Des THE meaning of song goes deep. Who is there that’ in logical But the girl seemed to miss | words can express the effect that music has on us? A kind of in- something, and began to look around to see what was the matter. | articulate, unfathomable speech, which leads us to the edge of the She saw that he was holding somebody’s hand, and intimated that | infinite, and lets us for a moment gaze into that. — Carlyle.
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176 FO) L$: EST SS SSCS aS eeeemeeeeerereemeeereemeeeeereeemee eee SE tery. Music, Drama, Art, LITERATUR. Ear: Maree, Eprror. , _ BOSTON, MASS., NOVEMBER, 1884. Epwin Boots at the Boston Museum Nov. 17, when we shall have the standard Hamlet. —_——_.- 2 A MAN is 2 great deal more apt to preach what he practices than he is to practice what he preaches. — WaGner, for some unexplained reason, never composed an Earthquake Symphony. It is just possible that he was working up to that climax, Ech rant beter Aes OO LE ENGENE FIELD rises to remark that “ all of Ella Wheeler’s poetry needs an editor.” Well, there would be room left in the waste- basket for some of Eugene’s effusions. A MAN who plays the accordion is the greatest nuisance to be found in the world of alleged music, with one exception, — that of the person who spells “ accordion” with an “e.” nn THERE was a man m Boston town, And he was wondrous wise: He jumped into a Pe- tersilea bramble-bush, And scratched Orth both his eyes. And, when he found his eyes were out, With all his might and main He jumped into the bramble-bush, And scratched them in again. PR Maerorer oer LES Lorra’s return to America, and the ap- pearance of the humorous article in the New- York Times, denunciatory of the banjo, re- printed in last month’s Foo, occurred, sin- gularly enough, about the same time. Was it only a coincidence ? or was the which ow- ing to the why ? or wherefore ? Grorce C. Dosson is an undoubted suc- cess as a humorist, if the article we printed last month was a failure. Artemas Ward long ago deprecated the ordeal of labeling or explaining a joke. Mr. Dobson is an excel- lent performer on the banjo, a competent teacher, and a recognized authority regarding its uses and merits; but his gallant defence against an imaginary attack upon the banjo may not inaptly be likened to a similar de- fence against a warlike windmill made by a redoubtable knight of ancient Spanish chivy- alry. Mr. Dobson should remember that if everything. were serious and commonplace and matter of fact there would be no room for the banjo. We are glad, however, to re- ceive and to print the article, because it is language will suffice, and we borrow it for — very interesting, not only in the pleasing red | the purpose of designating Dexter Smith as hue of the opening lines, but in the valuable information and opinion which follow. Mr. Dobson may now await with serene satisfac- tion the coming of a bouncing bat jo boom. —————_ —--——_——--e---- er + EmMA ABBOTT, once upon a time, refused to sing in “ La Traviata,” alleging it be an immoral opera; but ‘“Semiramide” occupies a leading place in her repertoire this season, and her blushes are as those on last year’s roses, — living only in memory. It was sure- ly an inspired poet sc sang in the nursery rhyme, — ** There was a little girl, Who haé a little curl Which hung right down on her forehead; And when she was good She was very, very good, But when she was bad she was horrid.’’ dah icireenronete td biokidithee DeExTER SMITH, we are privileged to an- nounce in view of recent events, is the cham- pion liar of the season so far, with few of the back counties to hear from. The following item appeared in the Musical Record for Oc- tober : — “STAHL. Mr. Richard Stahl’s new opera, ‘ Lee- li-nau,’ is to be produced in Baltimore Nov. 10. One of the Wilbur Company -‘yrites to us, ‘We are rehearsing Stahl’s new opera. The music has some merit, but the libretto is the veriest rubbish. It will have to be entirely re-written in order to be successful. It is evidently the work of a novice.’ ”’ The item was cut from the paper, and sent to the company, when we received the follow- ing emphatic denial : — ** We, the undersigned, members of the Wilbur Opera Compary, hereby testify that the statement made in the above article concerning the libretto of ‘ Lee-li-nau’ (written ‘by Ear] Marble) is false, as we never have written to the Musical Record.”’ This paper bears the signatures of Ed. Chap-. man, J. E. Brand, William H. .Newborough, James E. Conly, J. A. Brady, C. K. L. Black, Susie C. Kirwin, Georgie Knowlton, Annie Summerville, and the entire company, in- cluding the chorus; and to this is added the following : — “*The above are al] the members of my compa- ny; and I pronounce the statement in the Musical Record false, and dare the writer to name the one who gave the information, as I know it exists only in his or her mind. A. L. WILBUR.” It may be stated further that up to the date when this le was uttered the libretto had not even been read to the company, and the few desultory rehearsals that had been had were simply of some of the more important musical numbers. Hence it can be seen at a glance that this is one of the occasions when nothing short of Horace Greeley’s vigorous a foolish as well as a malignant liar. FF MONE al SEO A ah 9 7 Tue Boston Ipeat Opera Company, it has been announced definitely by Manager Effie H. Ober, is now on its last season, the reason given being the desire of Myron W. Whitney to devote himself to oratorio sing- ing. The idea of not being able to fill Mr. Whitney’s place in light opera is iu the high- est degree absurd, though that singer’s ora- torio aspirations are natural and commenda- ble. Possibly Miss Ober is wise in retiring her company in the height of its successes; but some other manager will be still] wiser if he take the organization, and build up a com- pany that shall not reflect discredit on its high-sounding name. The opportunity to do so should not be allowed to pass. A man- agement more vigorous in its central art ideas is demanded. Wholesome personal character is an excellent thing; but a greater essential is the ability to personate peeuliari- ties, portray character, read lines, and sing melodies, aptly and intelligently. Not but that the company is in some degree profi- cient in these aceomplishments; but “the family ” idea, and the “probity ‘of personal character” claims, were too often displayed. at the expense of art. Nor 1s there a call for cleansing French operas. Miss Ober will not shine brilliantly with this borrowed light from the Emma Abbott Juminary. “ Barbe- Bleue” was a mistake. So in a lesser degree was “ Girofle-Girofla,” though several of the people appeared to good advantage in it.. The former has been dropped, which is a sufficient commentary on its ill-advised selection. An- ‘other French opera, Anglicised, is to be given this season, of course with the chances against _ its success. The Ideals cannot personate French character, whose intricacies and sub- . tleties elude the intellectual grasp of any one not “to the manner born.” Let us have French opera by French artists, with not too close scrutiny of the libretto, German opera by German artists, and so forth. Else we have a hodge-podge. Even English opera is not always available, because English humor, always excepting the Scotch-English of W. S. Gilbert, is more heavy and dull and brutal than American. The Ideal organization, re- built, might be made thoroughly American, with one or two American works added to the repertoire. They ean be had, and they can be made to succeed, if taken intelligent- ly, and pushed persistently. Mistakes may. occur; but, a hit once made, a field scarcely tried as yet would open to such an organiza- tion as the Boston Ideal Opera Company might become.
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AEE LOD ODL IO ON TES ET RE ENG AIEEE HIN HORE OL Ie ae ne reas of Sore arr URTE — 7 PIANOFORTE DEPARTMENT OF THE BOSTON CONSERVATORY. In view of the flourishing condition of the de- partment for piano of the Boston Conservaiory, it is proper that the public slould be informed how and by whom and by what means this flattering success has been achieved. Since the inception of the institution, eighteen years ago, many eminent teachers and pianists have had control and direc- tion of the piano department. Hugo Leonhard, one of our best musicians, contributed notably, but a short time since, in guiding and building up and elevating to marked dignity the class system. Mr. Boseovits, who is well known as a thorough artist, effected much good while connected with it. S. Liebling and many others have helped main- tain the standard. Such artists would naturally command great influence in any art centre, and attract many students to their method of study. During recent years Herman P. Chelius has boen intrusted with the charge of this department, and, in a quiet, unostentatious manner, has not only kept up its high and attractive excellence, but, by the introduction of his ‘‘ School of Touch,’’ has so added to its attractiveness that it now has great prominence as a piano school. Those who once take up the study of the differ- ent modes of using the hands in obtaining certain results and effects never abandonit. And just here a brief exposition of Mr. Chelius’s ‘‘ School of Touch,’’ upon which he has bestowed the best part of ten years, may not be considered out of place. In this course of study, a proper graduation of the movements is presented, involving no small amount of thought and labor. Mr. Chelius was led to systematize and arrange in a marked man- ner his finger, hand, and elbow movements, by ob- serving the entire absence of system as to tone production, whether of force, softness, sweetness, velvety smoothness, or of a singing nature, what- ever in fact might be the desire of the interpreter or the demands of compositions. And now to mention a few of these movements. The knuckle legato received the first and con- stant attention. It is specially of third joint, so requisite for the complete mastery of all that is beautiful in music. But it should never be con- founded with the pressure legato, which demands less the fall of finger, but a gentle and gradual pressing dvwnward from the third joint. It is in- dispensable to the production of melodious strains. Sostenuto legato is another mode which sustains the full force or softness; and it is made by a wrist and finger pressure, which is from one to eight pounds, and transferred frum one to the following tendon, releasing tne weight from the one when assumed by the other. Many beautiful effects can be obtained by this means, especially in adagios. Staccato from knuckles is a finger movement from the third joint, holding body of hand rigid, and fingers elevated save when required for action. Very charming when used in light and airy pas- sages, such as Mendelssohn’s graceful scherzos. Wrist staccato by holding fore-arm firm and rather high, and only raising hand without dis- turbing fingers. The pressure touch is well adapted for chord progressions, insuring precision and great accu- racy. The falling touch is a loose motion from the elbow, and can be used in many ways, giving artistic effects. The caressing touch produces a tender and soft tone, especially of value in Chopin. The portamento touch is somewhat like the last, FOLKO: with the aid of full hand, while the former had need of the fingers only; and, combined with the arm from the elbow, it gives a lovely tone and much abandon to the style of execution. Pressure knuckle staccato can be made charmingly attract- ive in playing Mendelssohn’s scherzos; and, with pressure wrist marcato, power or depth to tone can be obtained. Pressure elbow marcato is very valuable in Liszt’s compositions. The falling pressure marcato touch is excellent in such pas- sages as Novelette No. 1, by Schumann. ; It would be highly interesting, were it conven- ient at this time to do so, to state all the names of actions used in playing the different styles of com- positions. One piece requires a particular touch, whereas another exacts the very opposite kind. In this manner the distinct character of each author can be exhibited, and Beethoven will. never be | mistaken for Mendelssohn, Bach, Chopin, or oth- ers. This system obliges students to think, and carefully, deeply to study the genius and art of compositions; to take in the whole as a grand por- trayal of music painting, — thus enlarging in the mind of students the conception of art power, broadening and strengthening their intellectual faculties, and, above all, giving to them a self-sus- taining confidence and v.tality. Only proper in. struction will enable one to learn the various movements of touch, and when to make use of them; but, after tLe drudgery is once surmounted, everything will seem buoyant and captivating. Study of such a high standard as this of course necessitates several years of close application to its requirements; which results in the production, so desirable to the credit and glory of high art, of most thorough, accomplished plavers and mnsi- cians. Thus assisted, the pupil may feel confidently as- sured of success ultimately, as those will testify who have studied with Mr. Chelius; and any one who will take interest enough in the matter to look into it from a correct and an artistic stand- point will conclude it is the best and safest road to the mastery of the piano, the acquisition of its technique, and an enlarged conception of a mu- sical education. Mr. Eichberg’s violin school is justly considered the only one in the city. It may not be long be- fore the department of piano at the Boston Con- servatory will be recognized an institution worthy to live. . MUSICIAN. gusiidigiie soo) tie ts A NEW OPERETTA. ‘‘Hunt the Thimble, or Little Nell’s Surprise Party,’’ is just published in neat and tasteful form by White, Smith & Co. Leo R. Lewis, the authors of ‘‘R. E. Porter, or The Interviewer and the Fairies,’’ which met with such flattering success last year, and of which a new edition is being prepared. ‘‘ Hunt the Thim- ble’’ is short, simple in construction, and easily gotten up; it being in one act, with no change of scene or dress, and the stage setting requires only a plain room, so there is absolutely no expense at- tendant upon its presentation. bright and catching, especially the children’s cho- ruses, and so arranged that the rehearsal of the adult and juvenile parts may be carried on mainly at separate times. The three adult parts have songs, which, without requiring great musical pro- ficiency, give opportunity for good display of voice and taste in rendering. The dialogue is full of life and interest, and pathos and merriment are happily mingled in a way that not even the most purpose. It is by A. G. Lewis and The music is. 177 conservative critic could condemn. The subject of furnishing entertainment for children in the home, and under the direction of church and Sun- day schools, is a vital one, and the constant call for materials of this kind has found answer in this work, which has been especially prepared for this Its tone is pure and sweet in every fea- ture, and cannot fail to please. The time required for its presentatior will not exceed an hour. The following is the argument: — Mr. Grant, who went abroad some three years before our story begins, and whose ship was lost at sea, left his affairs in the hands of Solon Gried. Mr. Gried has succeeded in getting Mr. Grant’s large property into his own hands, and Mrs. Grant and her daughter are now living in one of Mr. Gried’s tenements. At the opening of the oper- etta, he comes and claims his rent, taking their last cent in payment. Mother and daughter are very unhappy; but some of Nellie’s friends come to make them forget their sorrow by giving Nellie just what she has been wishing for,—a party. They bring her a party dress and gifts and many | dainties for the table, and prepare for a jolly good time. But Mr. Grant has returned, and manages to be found instead of the thimble for which they are hunting in their play. He has a grand sur- prise in store for all, for he has bought back the dear old home, and hither every one goes to enjoy the rest of little Nell’s surprise party. a AUXILIARY NO TES. Minnie Palmer is playing to large audiences at the Boston Museum, and wears her European honors well. “Pop,” with its bright girls and pleasing voices in popular musical and variety selections, is being given at the Bijou Theatre to large and delighted audiences. A. A. Hadley gave an organ recital in the semi- nary chapel at Montpelier, Vt., Oct. 10. He was assisted by Edward Luce, cornettist, and the Mont- pelier Male Quartette. ‘* May Blossom,” the latest Madison-Square suc- cess, is repeating its deserved New-York success at | the Park Theatre, with Georgia Cayvan in the title role, and the original fine company in support. Frederic Kyle’s cat show is in full blast at Hor- ticultura! Hall. A wild-cat has just been added; but we have not learned whether it was put into the Anna Dickinson or the Gail Hamilton cage. The Star course of entertainments at Tremont Temple well deserves its appellation. A series of splendid attractions are offered. Rose Stewart, the Germania Quartette, and Leopold Lichten- berg give the entertainment Oct. 27. ‘‘Dan’s Tribulations,’ the latest success by Edward Harrigan and Dave Braham, is just clos- ing a successful run at the Howard Atheneum, where. variety, specialty, and the more intense drama alternate to continual go-d houses. . ‘‘ Zanita,’”’ with its beautiful dancing and scenic effects, as provided and arranged by Eugene Tompkins, still creates great enthusiasm among large audiences at the Boston Theatre. Antoinetta Bella has made a great hit with her graceful and artistic dancing. Krao, the missing link, the most wonderful nat- ural curiosity ever seen, is on exhibition at Austin & Stone’s dime museum. Arthur Leach went to see her the other day; and as he looked at her luxuriant hirsute equipment, and she gazed at his bald, bland cranium with a feeling akin to awe, a mutual self-dissatisfaction seemed apparent.
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178 POL FO: CZERNY’S LETTERS TO A YOUNG LADY. LETTER I. FIRST RUDIMENTS OF THE PIANO. My Dar Miss:—When, some years ago, I had the pleasure of being personally acquainted with your family, I discovered in you so decided a talent for music, that I am exceedingly rejoiced to hear you are now really about to devote yourself to the delightful art of playing the Piano-forte. Your memory, at that time, easily retained any agreeable melody which you heard; you manifested a natural feeling for time and musical expression; and, added to this, your delicate fingers and hands possessed all the natural qualities so neces- sary for playing the piano-forte — flexibility, quickness of movement, and lightness, without being either too weak or too stiff. . So decided a disposition and inclination for this fine art could not, in truth, remain long dormant; for no art is more noble, nor more surely indicative of general mental cultivation, than music; and you know that piano-forte playing, though suitable to every one, is yet more particularly one of the most charming and honorable accom- lishments for young ladies, and, indeed, for the female sex in general. By it we can command, not only for one’s self, but for many others, a dignified and appropriate amusement; and, where great progress has been made, we also insure a degree of distinction in the world which is as agreeable to the amateur as to the professional artist. As, on account of the distance of your residence, I cannot, alas! satisfy the wish of your honored parents by undertaking your instruc- tion in person, I with pleasure impose it on myself, as a duty, to urge you from time to time, by letters, to still greater diligence; and also to direct your attention, according to my own views, to all that may facilitate your tuition, and accelerate your progress; though, on the part of the very respectable master to whom your instruction is confided, all will unquestionably be done to cultivate your talent in @ way equally tasteful and solid. I beg of you, therefore, to look upon my remarks merely as an ex- planatory repetition of what will have already been delivered to you, either verbally or in my Piano-forte School; and my end will be fully attained if by this means your zeal is augmented, and the time and labor of learning abridged and facilitated. The first principles, namely, a knowledge of the keys and the notes, are the only really tedious and unpleasant points in learning music. When you have once conquered them, you will every day experience more and more amusement and delight in continuing your studies. Consider the matter as if you were for a time compelled to wend your way among somewhat tangled and thorny bushes, in order to arrive at last at a charming prospect and a spot always blooming in vernal beauty. The best remedy against this disagreeable necessity is, to endeavor to fix these preliminary subjects on your memory as firmly and qnickly as possible. Such pupils as manifest, from the very outset, a desire and love for the thing, and who strongly and rationally apply their memories to the matter, will acquire a perfect knowledge of the keys: and notes in a few weeks; while others. frightened at the apparent tediousness of the acquisition, often lose several months in attaining the same object. hich, then, of these two ways is the better? Before anything else, I earnestly entreat you to acquire a graceful and appropriate position when sitting at the piano-forte. The seat which you use must be just so high that the elbows, when hanging down freely, may be a very little less elevated than the upper surface of the keys; and if your feet should not reach the ground, have a dwarf stool or ottoman, made ef a proper height, to place them upon. You must always seat yourself exactly facing the middle of the key- board, and at such a distance from it that the tips of the elbows may be a little nearer to the keys than the shoulders. Equally important is a graceful position and carriage of the head and upper part of the chest; it must neither be stiff nor bent. Some of my former little pupils, whom I used to tease with the reproach of making a cat’s back — that is, sitting with their backs bent and oblique — have, in later days, thanked me for the strictness which I showed in this particular. ; It is not merely that an awkward position is disagreeable and ridiculous, but it also impedes, if not prevents, the development of a free and elegant style of playing. The fore part of the arm (from the elbows to the fingers) should form a perfectly straight, horizontal line; for the hand must neither rise upward like-a ball, nor be bent so as to slope downward. The fingers are to be so bent that the tips of them, together with that of the thumb, when extended outward, may form one right line, and so that the keys may always be struck with the soft and fleshy tips of the fingers, and that neither the nails nor the flat surface of | the fingers shall touch the.keys. In striking the black keys, the fingers must be stretched out a little more, but even in this case, they must always remain sufficiently bent. The percussion on the keys is effected solely by the fingers, which, without any actual blow, must press each key firmly down; and in doing this, neither the hand nor the arm must be allowed to make any Uunecessary movements. The thumb should always strike the key with the external narrow surface, and in so doing it must be but very little bent. The white keys are to be struck on the middle of their anterior broad surfaces, and the black keys pretty close to their nearest ex- tremities or ends. You must take great care that you do not strike any key sidewise or obliquely; as otherwise a contiguous and wrong key may chance to be touched, and in music nothing is worse than playing wrong notes. While one finger strikes, the other fingers must be kept close to the keys, but always bent, and poised quite freely in the air; for we must not touch any key before the moment in which it is to be struck. The most important of the fingers is the thumb; it must never be allowed to hang down below the key-board; but. on the contrary, it should always be held over the keys in such a way that its tip may be elevated a little higher than the upper surface of the black keys; and it must strike from this position. . | To observe all these rules exactly, it is requisite that the elbows should never be too distant from the body; and that the arms, from the shoulder downward, should hang freely, without being pressed against the body. The necessity of all these rules you will not be able to comprehend till a further period. The knowledge of the notes is a mere affair of memory; and for every note you must endeavor to find and strike the proper key, on an instant, and without the least hesitation. In music, this constitutes what is called reading the notes; and when you shall have acquired this readiness, you will have overcome the most difficult thing which elementary objects in music will be likely to_present to you. At first, you will naturally learn only the notes in the treble cleff; - and for this purpose we may employ the following means: First. When you look at a note, you must name it aloud, and then seek for and strike the key which belongs to it. . Secondly. When you strike at hazard an y white key on the treble side of the key-board, you must name it aloud, and seek directly for the note belonging to it. Thirdly. After having struck any white key at hazard, you must describe aloud, in words, on what line or in what space the note belonging to it must be written. ; Fourthly. You must often play through, slowly, some of the easiest pieces for beginners, note by note, and with great attention, naming each note as you proceed. Fifthly. I must also recommend you to adopt the following expe- dient: since you are already much advanced in writing, as it becomes a young female of education to be, you must learn to write music, The little trouble that this will cost, you will find amply recompensed by great advantages. Notes are much easier to write than letters; and, if you daily devote a short quarter of an hour to this task, in a couple of weeks you will become sufficiently expert at it. Your teacher will give you the instructions requisite for this pur- pose; and when you have been in this way accustomed to place the notes as they come, exactly on or between the lines, copy out daily one of the easiest elementary lessons, and then write in letters over ste note its proper denomination; after which, play the piece over slowly. When, in this way, you have learned to know perfectly all the notes in the treble clef, and are able to play slowly but correctly, with both hands, all those little pieces in my School which are written for both hands in the treble clef, then take the base notes, and proceed with them just in the same manner. You must practise each piece, paying the strictest attention to the fingering indicated, till you are able to execute it without stoppin or stumbling. Each day you should read through a couple of fres little pieces, to accustom the eye and the fingers to the various and ever new passages which are formed by means of the notes. + At first, after each note, we must also look at the key which is to be struck; but afterward, when we have attained a tolerable certainty in finding the keys, it is better to fix the eyes on the notes, rather than on the keys. 7 And now allow me in this letter to offer this last very important remark; the best knowledge of the notes avails us very little, if, at the same time, the fingers do not begin to develop that degree of fiexi- bility which is requisite for striking the keys, and for playing in gen- | eral. I therefore most earnestly recommend you to practise daily, with untiring diligence and the greatest attention, all the five-finger exer- cises, in both hands, which you will find at the beginning of my Piano-forte School, and which your instructor will explain to you, in order that your small and delicate, though still sufficiently powerful fingers, may speedily acquire that pliability, independence and volu- bility which are absolutely necessary for playing. Do not be alarmed at the little trouble and application that this may require; try three or four times every day, for at least a quarter of an hour each time, to play through the exercises with attention. In fact, it is as imposible to play the piano forte well with stiff and untractable fingers, as to dance well with stiff and untractable feet. Volubility of finger is one of the chief requisites in piano-forte playing. It is very proper that your teacher gives you an hour’s lesson every day. If, in addition to this, you daily dedicate another hour — or. if possible, two hours — to practising by yourself, you will in a few months have forever conquered all that is difficult or tedious in the elementary branches of playing; and you will each day see augmented the pleasure which the delightful art of music so richly bestows on its votaries. Aud now, farewell; and rejoice me soon with the intelligence of your progress. Yours, etc,
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SL 179 V9 Ay Yy iD) i W/ YAY kre Mon stead ated se Nh retis , ‘ Yetede ~—_ ’ eA a0» ~ ~ ~ ~~ - ~ ~ ~ ~ ~ ~ ~ ~ - Pecal DP ye fen) ses eerbrertaree oe cette td eeatisea ‘ rw Seer ee ds ’ ve th ay fal atti, aa bhy Au 44 ? Peg iinet Leet! * tee tee a BERTIE CRAWFORD. This young and gifted daughter of Tennessee, who for several years has resided in Washington, is a native of Greenville, where her father, Colonel Robert A. Crawford, of one of the East-Tennes- see regiments, was a prominent citizen for many years, and who was a distinguished specimen of the noble manhood of that far-famed section. — eloquent, brave, and true; and Miss Crawford has unde- niably inherited the fine mental and physical endowments of her fa- ther. ‘ Bertie, when a tiny little “tot,” disclosed a love for music which found means of expression in various ways ; among others, in enliv- ening the extensive grounds about her father’s large, old-fashioned mansion in Greenville with noisy demonstrations on a drum which she had coaxed her father to procure, and which was the delight and pride of the children, whose captain she was in their childish “ trainings.” After Colonel Crawford removed his family to Washington, little Bertie had more musical advantages, and she was frequently taken to the opera, when Caroline Richings seemed to impress her young imagination more than did any of the other opera queens; and she built a mimic stage at home, where her chief amusement was had in ‘singing opera ” after her return from school. Her powers of mim- icry as well as her sweet voice were also often manifested on these occasions, and were sources of great amusement to the household and friends of the family, many of whom were led to declare, “ How much like Caroline Richings that child does look and act!” Bertie’s parents were not slow to recognize her talent; and, when she was about eight years old, they placed her under the tutelage of Dr. J. P. Caulfield, whose ability as a teacher is so well known, to take lessons on the piano, never dreaming that she was gifted with the fire voice that she has since developed. He soon discovered her talent, and told her mother that the little girl possessed that | which no teacher could give her did she rot have it herself, and that she would make a very fine musician. She made rapid progress, and was considered remarkably proficient with the keys for one so young. But all the while she wanted to sing, and would slip off to the music store every chance she got, and buy songs, learning them herself, spending in this way nearly all the money that was given her. When Josephine Logan became a resident of Washington a few years ago, Miss Crawford was placed under her instruction, and, af- ter two years of faithful study, accompanied her teacher to Boston, spending the summer of 1883 in this city, in continuation of her studies, and while here sang for several well-known and competent critics, all of whom predicte’4 for her a brilliant future ; as she pos- sesres a powerful soprano voice, extensive in its range, and remark- able for its brilliancy and flexibility. By request, she has sung also for John Philip Sousa, the composer, and leader of the Marine Band, who was highly pleased; and Jesse Williams, leader of the McCaull Opera Company, heard her sing, and was as complimentary as the others. : | Miss Crawford, on her return to Washington last fall, made her professional debut in a benefit’ concert in Lincoln Hall, where she created a furore by her rendition of the grand aria, “ Casta Diva,” from ‘* Norma.” ' Last spring she sang the roles of Mabel in “ The Pirates of Pen- zance,” and Josephine in “ Pinafore,” at Ford’s Opera House, Wash- ington, astonishing her most ardent admirers by her talent for act- ing. Subsquently she visited Tennessee, singing with great success. before the Mozart Soriety of Knoxville. During this visit to Ten- nessee, she aroused local enthusiasm greatly by singing a song enti- tled ‘ Dear Old Tennessee,” written and composed expressly for her by Earl Marble and Richard Stahl. Soon afterward she sang before the Mozart Society of Richmond, Va., and during the summer ap- peared before large audiences at Rye Beach and Concord, N. H. Nature has blessed Msss Crawford with a very striking stage ap- pearance. A lady writing from Washington to the Fouro says, ‘She has splendid arch, innocent eyes; has no vanity; is entirely free from all self-consciousness ; is sincere, brave, and full of ener- gy; and is intensely devoted to her art.” Since the death of her gallant and brave father, she is considered a protegee of the State of Tennessee, and very proud are her sons and daughters of their com- ing prima donna. FEMA Sidvabheceeaie Sensi tihod ie teed GEORGE SAND. After Madame de Stael, prolific as she has been, writes A. N. De Menil in the St. Louis Magazine, France has produced no greater authoress than the Comptesse de Dudevant, better known as George Sand. In this nineteenth century, that has given the world so many eminent writers, George Sand is one of the greatest of them all. What fecundity of imagination she pcs- sessed, an! how diversified her genius! To what sublime altitude-she soar- ed, and what a comprehension of all t ings was hers! Never was she a pes- simist. Nor an egotist. After the 15th of May, she took refuge in nature. After the 2d of December, she took refuge in the family. In the last years of her life, she wrote to the mother of a young man w'o had sought counsel of her, ‘‘ 1am happy to have one more cbild in my numervus adoptive fam- ily.’ And large indeed was her adoptive family: Gustave Flaubert, Alex- ander Dumas the younger, Edward Cadol, Paul Albert, and se forth. ‘‘Vae soli,” was her rule. In 1872 she wrote to Flaubert, ‘1 am dissatisfied with you to have become surly and discontented with your hfe. You shun your friends, you plunge into work, and.take as lost time that which you would oceupy in loving or permitting yourself to be loved. To be alone is odious, is mortal. To live in ourselves is bad. There is no intellectual pleasure but the possibility of re-entering it when we have been out of it since long; but to live slways in the ‘I’ is .o dwell with the most tyrannical, the most exacting, and the most fantastic of companions.”?” She did not live within herself, —not she. S'‘-e lived in her adoptive grandchildren and in the grand- children of others, and in all humanity in the present and the future,
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180 POG) bi C3 BE HAPPY TONIGHT, GOOD NEIGH- wit: BORS. C. A. WHITE’S LATEST QUARTETTE. Be happy tonight, good neighbors! Be happy, be happy! The fire in the hearth burns bright: Be happy, be happy tonight. Close up the day with gladness, Joyous with mirth and glee! Drive from your hearts all sorrow, And this night happy be. Let us enjoy each blessing, — Life it is short and fleet: Don’t fill your heads with trouble That you can’t kick off with your feet. Here ’s health to you all, good neighbors! Be happy, be happy! Contentment is wealth, good neighbors! - ‘Be happy, be happy tonight. Let us be gay and happy, Do not of life complain; For there is always sunshine, Sunshine after a rain. Life is a fleeting shadow, — Sip from it all that’s sweet: Never take on your shoulders What you can’t kick off at your feet. Mixed voices in Bb. Male voices in I). OF CHICAGO CORRESPONDENCE. Since the fall season opened, there have been given, at the Grand Opera House, the burlesque opera of ‘‘ Bluebeard,’’ by the New-York Bijou Company; ‘‘ The Bells of Corneville,” ‘‘ Olivette,”’ ‘*Fra Diavolo,’’ ‘‘ Patience,’ ‘‘ Pinafore,’’ and ‘‘Fatinitza,’’ at Grenier’s Garden; Hyde & Beh- man’s Minstrels have beamed and frolicked before large audiences at the Standard; and ‘‘ Orpheus and Eurydice”’ is now holding the boards at Hav- erly’s by Miles & Bartun’s Opera-Bouffe Company. Marie Vanoni, with this latter company, is a grace- ful, sprightly actress of the French school. ‘‘ Fal- ka,’’? by the McCaull Company, at Haverly’s, drew full houses. The Chicago music schools report prosperity. Among them may be mentioned the Chicago Mu- sical College, Dr, F. Ziegfeld, director; Hershey School of Musieal and Dramatic Art, directors, Clarence Eddy and wife; the Chicago Conservato- ry of Music (Sedochowski’s); and School of Lyric and Dramatic Art, L. A. Phelps, director. Harrison Wild is giving a series of organ recitals in the Church of the Unity, formerly Robert Coll- yer’s. We have now three male quartettes, — the Schu- bert, the Chicago Male Quartette, and the Chicago Quartette, the latter under the direction of Harry Thomas. | Singing schools are coming into vogue, gotten up by the church, and taught by the choir leader or some outsider. In most cases it had better be the outsider. A very few musicians, as they run, are qualified to teach elementary singing classes. But let the good work goon. I would not place the obstruction of a straw in the way. Maggie Mitchell has just closed a most success- ful engagement at Hooley’s. The little woman is as sprightly and frolicsome ag ever, N. C. Goodwin is now playing ‘‘ Confusion” at the same theatre to large audiences. Newton Gotthold has shown great strength in ** Micaelitz’’ at the Standard. W. J. Scanlan pleased multitudes with his char- acteristic work in ‘‘ The Irish Minstrel’’ at the Standard,where ‘‘The Silver King’’ followed, with Ve Belleville, John Jennings, and Eleanor Carey in the leading characters, making a strong presen- tation. The Hanlon Brothers have been giving ‘‘ Le Voyage en Suisse’’ at the Grand Opera House. John McCullough played a week and a night at McVicker’s, and then came the sad spectacle of hls breaking down. It is to be hoped that he may recover from his physical, nervous, aud. mental prostration. Margaret Mather comes to McVicker’s Oct. 13. We have now ten theatres in full blast, three dime museums, several gardens where entertain- ments are given, the panoramas of the Battle of (settysburg and the Siege of Paris, the great Ex- | position running day and night, and other places of smaller calibre, and a new opera house is being erected. €. D. Hess, the well-known opera manager, has been appointed business manager of the Grand Opera House. Let every music-teacher who is not already « member of the Music-Teachers’ National Associa- tion send two dollars to A. A. Stanley, secretary, 14 Pallas Street, Providence, R. I., and be happy by receiving a certificate of membership. H. S. PERKINS. ———————— LETTER FROM SAN FRANCISCO. Since the brilliant success of Patti and Gerster, San Francisco has not been without an extra opera cempany of some kind, and at present has several. Among them all, however, our favorite Tivoli company holds its own, and has been singing ‘** Lucia di Lammermoor,”’ wherein Louise Leigh- ton distinguished herself as Lucia. It was fol- lowed by ‘*‘ The Royal Middy,’’ and that in turn by the spectacular opera of ‘‘ Little Red Riding Hood,’”’ which has become immensely popular, with Helen Dingeon very acceptable in the title- role. - The long-anticipated Pappenheim season at the Grand Opera House was a fiasco. While the prin- cipals were competent to interpret ‘‘ Lohengrin,”’ their support, with the exceptions of Leonora Si- monsen and H, W. Frilhman, was insufficient. On the strength of the failure of the Pappen- heim season, the Cambiaggio-Sieni Italian Opera Company delayed its intended departure for the East, and has been giving a very successful two- weeks’ farewell season at the California Theatre. Gianini, the tenor of this company, has become an established favorite here, as has also Maria Peri, the prima donna. The company is engaged forte Metropolitan Opera House in New York at the close of this engagement. At the Bush-Street Theatre, Sept. 15, ‘‘ Girofle- Girofla’’ was given to a full house by the Fay Templeton Opera Company. The talented, bright little Fay, with her pleasant voice and winning manner, has become a great favorite here for her peculiar piquant style. In “ La Belle Coquette,” she captivated her audience vy her versatility in assuming three characters. Harry Brown is a good comedian, with a pleasant voice of good range. To quote one of our local critics, ‘‘After these two, we stop counting.”’ William T. Carleton will produce ‘‘ The Drum Major’s Daughter ’”’ at the Bush at the close of the Templeton season, with a new prima donna, Alfa Norman. -- ‘portions of the great warrior. At the Standard, the minstrels, with Charley Reed and Carroll Johnson, still attract crowded houses. By special request, Reed’s popular bur- lesque, ‘‘ In the Tanks,’’ has been restored as an afterpiece. i The Royal Spanish Opera Company recently ap- peared at the Vienna Garden in a light Spanish opera called ‘‘ E] Relampago.’’ They are likely to do a good business. The fourth season of the San Francisco Philhar- monic Society opens at Platt’s Hali Oct. 15. Con- certs will be given Oct. 15, Nov. 12, Dec. 10, and Jan. 7. Gustav Heinrichs will conduct the or- chestra. A concert has been ten lered Leonora Simonsen, to take place Oct. §. The country press are saying hard things about Kate Castleton’s *‘ All at Sea’’ company. Hugh Talbot has taken the directorship of the Trinity Church choir. _ FLORENCE RICE-GAMAGE. WASHINGTON NOTES. The new plaster cast of Duke Lorenzo de Medi- cis, at the Corcoran Art Gallery, attracts many visitors. It represents the Duke sitting in a med- itative mood, with the right leg thrown over the other knee, a helmet on his head, and is dressed in the fashion of his time, showing the fine pro- Above this gallery, in the southeast part of the building, are the life- size pictures of Stonewall Jackson and Robert E. Iee. The former is ‘a fair-ha red blunde, with large blue eyes, and he stands with his arms cross- ed as if to defy the Yankee army. Lee has an aquiline nose, and the features are more quiet and self-possessed. As both pictures are well painted, and are favorites with Mr. Corcoran, they attract a good deal of attention. Josephine Logan has as a guest the celebrated Madame Melignara, from Turin, Italy, who is on her way to Chicago to teach in a new conservatory of music about to te established there. Mrs. Logan expects to drill a female quartette of good voices in readiness for her spring festival. Zelda Seguin Wallace opened the beautiful Ford’s Opera House in the beginning of the season with Planquette’s opera of ‘‘ The Orange Girl,’’ and later in the week sang in ‘‘ The Bohemian Girl.’’ The St. Cecilia Female Quartette of this city sing in New York in a few weeks, under the man- agement of Prof. Bischoff, the blind organist of the First Congregational Church. Lillie Lewis, a pupil of Mrs. Logan, sang a waltz song beautifully at a recent entertainment, reflect- ing great credit on the excellent training of her teacher. The Capito] Hill Choral Club, of which L. Sykes is leader, have made a great improvement within a few weeks. | **Siberia’”’ and ‘‘ Hearts of Oak’ have been re- cent attractions at the National Theatre. At a parlor recital at Judge Hickenlooper’s, a few evenings ago, we heard Madame Grunewald, of Houston, Texas, render a Liazt symphony and Ritter’s ‘‘ Le Tourbillon’’ in the most exquisite style. N. 8. ——————————___ ———————_____—. The Dramatic News and Society Journal is a readable paper and an authority on dramatic mat- ters that should be in the hands of all interested. It is chivalrous in tone, dignified in demeanor, and has an extensive circulation and influence. The office of publization is in New York.
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BO! Eee «oy THE CONQUERED PHILOSOPHY. If you would woo a Concord maid, With philosophic yearning For Emerson the while arrayed In apron from her churning, Oh, wait till she her knitting takes, Nor dreams of dropping stitches, And say that when the If awakes Love’s life is in the Whiches. A touching thing, — A dog’s nose. Notes by the weigh, — five-pound notes. Good place for skinny people to go, — Rondout. What word is equivalent toa sentence? ‘‘ Guilty.” A rouged woman is generally just as bad as she is painted. Folks are said to smile as frequently in Teheran as in Minnehaha. Ledger de Maine, — Getting stock ‘‘ with the option of returning it.”” The more brass a girl has in her face, the more brass jewelry she wears. There are a good many stories about the Keely motor, with mo’ ter come. Alfa Norman is a singer coming East from Kansas. ’alf a Saxon also. We presume she is Can a party of ladies wearing ‘‘ Mother Hubbard ’”’ gowns be called a fash- ionable gathering ? A man weariny a shocking bad hat would have an electrical effect in a fashionable gathering. A milkman who waters his milk a great deal maintains that the fluid is chalk full of nutrition. A stock company, — A barn-full of cattle.—[Buston Star.] But what a shame that they are obliged to be such barn-stormers! A Japanese woman recently climbed a ladder of swords, bare-footed, at the Howard Athenzum, which was not exactly a climb-ax. . Because Adam ate an apple, and was drummed out of the Garden of Eden, gives no one the right to say that he was accompanied by a drum core. The reason Victoria Morosini Schelling did not finally go on the stage was probably because her husband was no longer in a position to coach her. A man’s domestic relations don’t bother him half so much as the relations of his domestic. — | Chicago Daily Sun.] Yes, the terrible cozening is rath- er annoying to one who is ~b-servant. ‘‘No, mother won’t take any boarders who have children,” she said; and she turned to caress her ‘‘sweet little dog,’’ that was settling himself down contentedly after having worsted a flea. ‘‘ Is God Particular ?”’ is the singular title of an article by a clergyman in the Cincinnati Christian Advocate. The blasphemous minister will probab- ly ascertain when he hands his card to St. Peter. ‘¢T°)l be blowed if he buys me,” said the Cornet, as a man asked the price of the instrument. — [Boston Times.] ‘‘ And I’ll be beat it he takes me home with him,’’ echoed the Drum in a sheepish tone. Colonel Maidoff is a Buffalo bank president. Is he any relation to Maidof Athens? — [Cincinnati Merchant-Traveler.] No, indeed! He belongs to the family that Madeoff to Canada Byronning— Eh? Stop? Allright! The sweet singer of Michigan is not sending so many alleged poems to the editors now. So many of them went to the waste-basket, that 1t is presumed she makes them into a bustle now, and thus has a waist-basket of her own. The Beacon says, ‘‘ Robert Browning and his sister were lately still at St. Moritz.’? Awfully glad that they were not noisy. Poets like Browning and Tupper and Walt Whitman can keep still to great advantage — to other peo- ple. P.S.: And a good many other poets. No matter how poor a sailor may be, he always has a watch; but the diffi- culty is, he can’t raise anything on it. — [Boston Post.| Lots of noise has been raised on a larboard watch many a time, especially if a number of bad singers attempted to sing ‘‘ Larboard Watca, Ahoy!’ The apple business is always risky. Adam and Eve were the first to en 18] gage in it, and they had cores for regret. — | Boston Commercial Bulletin. | They should have indulged in the apple without paring, and then no such seed-issues remarks as the abov» would have been called for. A facetious editor calls his beef-killing statistics a more-tallow-ty report. — [Cincinnati Merchant-Traveler.| An editor who will interlard his market reports with such matter should be burnt at the steak. P.S. Possibly he thinks he is holding a tallow candle to the god of Momus. And so forth. A tramp stopped at a house the other day, and asked for something to eat. ‘¢ Which do you like best,’’ asked the hired girl, — ‘“‘steak or chop?”’ The tramp hesitated a moment, and then replied, ‘‘ Chop.”? —‘“*Then step right this way,’’ said the girl: ‘‘ here ’s the ax, and there ’s the woodpile.’’ —|[Hz- — change.| But how would the girl have got out of it if the tramp had said, ‘* Steak ”’ ? De Menil of the St. Louis Magazine, wishes to be informed ‘ how long girls should be courted.’’ Why, in about the same fashion as short girls, we take it. — |Chicago Sun.] Not at all, not at all, you unsophisticated fellow. You hug a short girl up close to you, with her shoulder under your left arm, as you saunter out ‘* by the light of the woon;’”’ but with a tall girl— Well, you see the absurdity of the thing at once. AT A PICNIC. The Alley family went on a picnic recently, and had a good time ‘‘in the umbrageous woods,’”’ and all that sort of thing. The subject of religion was tabooed, as it was a church picnic; but politics ran high, and the Senior got into a red-hot discussion with a bank cashier as they were lying on the moss beneath a large tree. “The tariff question is the paramount issue,’’ asserted the Senior, seem- ing to get more and more excited and fidgety. ‘‘Only in an indirect way, as it is related to the subject of finance,’’ said the cashier. ‘¢' That is mere high-strung dudism and flabbergasted rot,’’ said the Senior, jumping to his feet, in great excitement. ‘‘Oh, well, we will change the subject,’’ said the cashier, “since you are so tender on the finance question.”’ The Junior, who was standing near by, burst into a loud roar of laughter. ‘‘ What is the matter with you ?”’ asked the cashier. ‘*Oh, not much of anything, excepting I was thinking you were about right when you said the finance question was troubling the old gentleman, for the fine ants have been crawling up his trousers-legs for the last fifteen minutes. The fine-ants question is an angnawing one indeed to him.”’ FAINT HEART. I know an ivied cottage, in a meadow near a wood, Where dwells a little maiden coy and fair. I ’d win the little maiden for a sweetheart if I could: I °ll kiss her when I catch her — if I dare. Her hair is like the sunlight glancing golden through a cloud, Her eyes betray the woman world within : Her lips — but let me whisper, for I will not speak aloud — Are sweet and warm and yielding. Can I win? In strains of rhythmic poesy I ’ll sing her witching charms, For Love ’s the dainty muse of my refrain, And— No! aterror chains me! my heart beats wild alarms: : The little maiden ’s coming down the lane. — Charles W. Foster in Philadelphia Evening Call. HOW MISS TERRY CATCHES ON. Mr. Irvine. —I notice that a great many of the American news- papers state that you and I have had a serious quarrel. Miss ‘Terry. — Yes: I originated the report myself. Mr. Invinc.— But, my dear Miss Terry, that will never do. Have you forgotten that we are to play in America this winter ? The engagement is advertised. Miss Terry. —I think, Henry, that you had better devote your- self exclusively to the stage-setting branch of the business. I will take care of the advertising. — Philadelphia Evening News.
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182 Fre) Ly +s CARLYLE PETERSILEA. This eminent American pianist and teacher gave a grand concert in Berlin before leaving that city, which was crushingly attended by the best people of the city. Some of the best ausical.critics in Germany were present, and what they think of the artist may be gathered from the following ex- tracts: — On Wednesday, Carlyle Petersilea, director of the Petersilea Academy of Music in Boston, gave a concert in the Sing Academy.... In all these piezes Mr. Pet rsilea proved himself a very solid and scholarly pianist. — H. Erlich, in Berliner Tagblatt. He is the possessor of a touch susceptible of all possible gradations of tone, understands the art of phrasing, and has also mastered the modern tech- nique. — Nord Deutsche Allgemeine Zeitung. Carlyle Petersilea, Director of the Petersilea Academy of Music, Elocution, and Languages, in Boston, gave, last evening, in the Sing Academy, a concert that was largely attended, and he showed himself, in the course of it, to be a pianist of emi- nence. His playing is characterized by great pu- rity, beautiful and expressive touch, and almost infallible. technical accuracy, combined with an animated and profound conception. Every single number was enthusiastically received. — Kreuz Zeitung. , He possesses a magnetic touch, facile and accu- rate technique, especially with a tendency to the majestic, and all in all an animated style of play- ing. The audience received the performances of the concert given with rapturous applause. —Vos- sischer Zeitung. We made the acquaintance of a master skilled in technique, accurate and clean and conscientious in matters of tempo and style. A scholarly vein was unmistakable in the conception and presenta- tion of the works, — Der National Zeitung. He enjoys the reputation of an untiring pioneer for the dissemination of German music in the United States. His technique is extraordinary and reliable. — Berliner Fremdenblatt. Carlyle Petersilea, one of the most celebrated pianists in America, gave a concert. His pro- gramme was arranged in the most judicious man- ner. One can plainly see that Mr. Petersilia does not wish to be merely a parlor player. _ Indeed he possesses a very solid and perfect technique, which he strives earnestly apd artistica'ly to use to the best advantage. His touch is forte and vital, in piano of wonderful tenderness, his interpreta‘ions warm and animated, and the accuracy in the movements of parts and phrasing beggared criti- cism. — Berliner Courier. The concert-giver proved himself, not only a cultivated musician, but also a superb pianist, whose renderings glow with warmth and fire. — Deutche Musik Zeitung. . We enjoyed his renderings of Chopin’s works more than all others besides. — Berliner Musik Zeitung. Professor Carlyle Petersilea, the director of the Petersilea Academy of Music, Elocution, and Lan- guages, of Buston, Mass., gave a brilliant concert in Berlin on Wednesday last.... The Petersilea Academy is, even in Europe, considered to be worthy of its world-wide reputation. — Americun Register. ~ Del Puente is at the San Carlo, Naples. HE WAS A PRETTY SOLDIER. EARL MARBLE'’S WORDS TO HERVE’S SONG IN ‘*NITOUCHE’’ AS SUNG BY LOTTA, He was a pretty soldier boy, And marched from Normandy afar, To meet the princess wild with joy, Who came from Rome by special car. On seeing him she loved him dearly, Her heart with rapture did o’erflow: ’T was love at sight on her part clearly, For, oh! she loved the soldier so. His gun he held at ‘‘ Carry arms!’’ His eyes seemed looking for alarms, And he resisted all her charms. Why was this so ? Do you not know ? He was made of lead. The failure of her charms to thrill His heart filled hers with anguish dire: She threatened to become quite ill, He was so cold beneath her fire. But one bright day, in depth of passion, She seized him in a hot embrace, And kissed him in a reckless fashion All o’er his unresponsive face. So hot a kiss he ne’er had felt; And, as the princess to him knelt, In bliss he then and there did melt. Why was this so ? Do you not know ? He was made of lead. The sequel to this tale was seen Ere yet a year had passed away: The princess, with surprise most keen, Became a mother one fine day. A thousand little soldiers merry, All armed and mounted, cried ‘‘ Mamma!’’ Each Dick and Harry, Tom and Jerry, Was just the image of his pa. To guard against all cruel knocks, All were arrayed in woollen smocks, And all were packed in a wooden box. Why was this so ? Do you not know ? They were made of lead. ———— ee TAUNTON’S EVENT. The sixth annual festival of the Southeastern Massachusetts Musical Association will be held in the Broadway Skating Rink, Taunton, October 29- 31, giving four miscellaneous concerts and one or- atorio, and four public rehearsals. Haydn’s ‘“‘ The Creation,’?’ Max Bruch’s “ Fair Ellen,’’ Rossini’s **Stabat Mater,’? Mendelssohn’s ‘‘ Lorely’’ and Forty-second Psalm, and Berlioz’ ‘‘ Flight into Egypt,’’ besides miscellaneous selections, will be given, with the aid of the following artists and or- ganizations: Emma Juch, Lizzie Webb Carey, and Mary Turner Salter, sopranos; Belle Cole and An- nie H. Lord, contraltos; William J. Winch, Rechab Tandy, and James Ricketson, tenors; A. E. Stod- dard, baritone; D. M. Babcock, basso; Schumann Quartette (Florence Tibbetts, first soprano; Nina L. Ryerson, second soprano; Gertrude K. Cooke, first alto; Lena Hinckley, second alto); Lotus Glee Club (Thomas L. Johnson and Nat. M. Bridgham, tenors; Charles L. Lewis and William J. McLaugh- lin, bassos); Camilla Urso, violinist; Alexander Freygang, harpist; Alma Faunce Smith, accompa- | nist; Blaisdell’s Orchestra of twenty pieces; cho- rus of 250 voices; and Carl Zerrahn, conductor. AUXILIARY NOTES. George R. Sims, the dramatist, is only thirty- seven years old. ; Emma Thursby will soon give a series of con- certs in Norway. There are over two hundred tenors registered at one musical agency in London. Actresses made their first appearance on the English stage in 1662, when J.incoln’s-Inn Theatre was built on an improved plan for Davenant’s company. The one hundredth representation of ‘‘ Aida ”’ at the Grand Opera House in Paris will occur the coming winter, when Verdi will in person direct the performance, The Boston Tonic Sol-Fa Association will organ- ize a chorus, with Harry Benson as conductor. Lahn’s cantata of ‘‘The Building of the Ship” will be the first work placed in rehearsal. Lawrence Barrett, in the last act of ‘‘ Francesca da Rimini,’’ uses a jeweled dagger which was for- merly used in ‘‘ Othello’? by Charles Kean, and which was presented to Mr. Barrett by Mr. Kean’s daughter. The Cecelia Club of Boston w'll give four con- certs during the season, presenting Schumann’s ‘* Paradise and Peri,’? Dvorak’s ‘‘ Stabat Mater,”’ Mendelssohn’s ‘‘Camacho’s Wedding,’’ and Ber- lioz’ *‘ Damnation of Faust.” The Northwestern Musical Institute, of which Charles McK. Trimmer is principal, held its fifty- fifth term at North Manchester, Ind., June 2-27; its fifty-sixth at Warsaw, Ind., from July 7 to Aug. 1; and its fifty-seventh at Wabash, Ind,, Aug. 4-29. The play of ‘‘ Richelieu, or The Conspiracy,"’ as it was called originally, was first produced in Lon- don, in the year 1839, at the Covent-Garden Thea- tre. It was given the same year, a month later, at the Park Theatre, in New York. William Charles Macready was the original Richelieu, and Edwin Forrest created the character in America. Agnes Booth’s latest birthday happened a few Sundays ago, while she was stopping at the Maple- wood Hotel, in Sethlehem, where a dinner party was given her by acircle of friends. (seorge W. Seavey, the well-known flower painter of Boston, had his summer studio in a cottage near by, and Mrs. Booth had visited it during the day, and com- mented in words of glowing praise on two pictures painted in Mr. Seavey’s most artistic manner, and surprise and delight struggled for mastery in the Booth bosom when the two pictures were presented her at the dinner by Manager Schoeffel, of the Park Theatre, wlio was one of the party. Eight concerts were given at the Worcester Mu- sical Festival, which began Sept. 23, and closed Sept. 26. Among the works given were Park- hurst’s Symphony (first presentation, conducted by the cumposer in person), Smart’s “ Bride of Dunkerron,”’ Schubert’s Symphony (No. 9) in ©, Berlioz’ ‘‘ Flight into Egypt,’’ Verdi’s ‘* Manzoni Requiem Mass,’’ Haydn’s Symphony in G, Schu- mann’s C Minor Concerto, Bruch’s “‘ Fair Ellen,” Rossini’s “‘ Stabat Mater,” Raff’s ‘‘ Leonore” sym- phony, Mendelssohn’s ‘ Elijah,’’ selections from Rubinstein’s ‘‘ Tower of Pabel,’’ and miscellane- ous selections in great variety. Among the artists who took part were Madame Fursch-Madi, Emma Juch, Isabel Fassett, Bessie Hamlin, Emma Howe, Agnes Huntington, Max Heinrich, George J. Par- ker, A. E. Stoddard, Charles R. Knorr, Charles R. Adams, Fred Harvey, D. M. Babcock, and Alfred Ve Seve.
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a Cw Rite & ee Boston, Mass., NOVEMBER, 1884. The Folio is the only masicai journal in Amerien which gives a full-page lithogravh portrait with each number, TERMS, POST-FREE: Single Number ereee ss ee eeee ere eeeeeererere LP Eg conts. Annual Subscription... ...... 0... 5... eeeeseees ME. A Musical Premium free to every subscriber. PaYmeEnts for the Foro when sent by mail should be made in Money-orders, Bank-checks or Drafts. WHEN NEITHER OF THESE CAN BE PROOCURED, send the muney in a registered letter. All postmasters are required t> register letters whenever request- ed to do so. Always give the name of the Post-Office to which your paper is sent. Your name cannot be found on our books unlesa is ne. The date against your name on the margin of your paper or on the wrapper is that of the number with which the old subscrip- tion expires. All matters pertaining to the business of the FoxLro should be addressed to the publ’<#ers; to the editorial department, to Eart MaxsB.s. Editor. ; LOOK HERE! Now is the time to be looking out for your reading and music for next year. And music, remember; for, in addition to reading in abundance, a large amount of music is given each month with the Fotio, — as much as you could secure for two or three dol- lars at regular music rates. Send for premium list, and do a little can- vassing for subscribers among your neighbors. seg It will pay you. OFFICIAL BULLETIN. ‘*Be Happy Tonight, Good Neighbors,’’ by C. A. White, is another of those grand quartettes for which this composer has become famous. It is arranged for male voices in D, and mixed voices in Eb. Price 50 cents. ‘*Sweet as the Wild, Wild Roses,”’ is the title of a song that is expected to makeahit. The words are by Earl Marble, and the music by D. F. Hodges. Among the standard works of the Cay are Peter- silea’s Technical Studies, which are the best pub- lished today. They are issued in two volumes, in the famous Edition White-Smith, at $1 a volume. The second volume is just issued, and has already encountered a large demand. These studies for technical practice have no superior. Anton Dvorak’s ‘‘Stabat Mater’’ has just been published by White, Smith & Company, as a re- print from Novello’s famous original octavo edi- tion, with Latin and English text. English words by Louis C. Elson. 80 cents. Beethoven’s Mass in C, recently issued in the Edition White-Smith series, engraved plates, and printed from stone, is the finest euition published. Price, paper, 60 cents; cloth, $1. One of the most delightful musical publications of the season is that of ‘‘20 Vocalises,’’ by Salva- tore C. Marchesi, with English and Italian words. Translated into English by J. C. D. Parker. For contralto or baritone. Price $2. Pinsuti’s ‘*‘ Laddie,’’ with words by H. L. d’Arcy Jaxone, isin much demand. 30 cents. ‘* Waiting for the Sun to Shine again,” by Ida E. Hutchings, is a popular song recently published. Price 35 cents. POLiGS. The Foxto is the most popular musical monthly of the day. Universally conceded. ‘The Choir Bell ”’ is a new collection of church music for choirs, conventions, singing schools, or musical associations, by Leonard Marshall, who has made a book which will be a rich acquisition to every choir. It contains some original features not found in any other work, which are calculated to add to the beauty and solemnity of public wor- ship. The anthems, sentences, and chants, as well as hymn-tunes, are of a character which can- not fail to be interesting to conductors of conven- tions and choir leaders. We have just published the words to the music of ‘‘ The Queen’s Lace Handkerchief,” ‘‘ Falka,”’ ‘‘The Merry War,’ and ‘‘A Night in Venice,’’ in libretto form, at 15 cents each. Music-teachers, vocal and instrumental, should send for our price-list of the cheap editions White- Smith. Vocal studies, piano studies, coilections of piano music, song collections, Loeschhorn’s, Czerny’s, Heller’s, and many other authors’ works, published in this cheap form, and at about half the sheet-music prices. ‘Send 30 cents for ‘‘ Juanita,’’ by Hon. Mrs. Norton. Among the new works issued by White, Smith & Company are Rode’s Concertos for Violin, with piano accompaniment, numbers 4 and 7, as used in the violin schoo] of the Boston Conservatory of Music. Be sure and ask for the Edition White- Smith. They will siso soon issue a new edition ef “Carcassi’s Guitar Method,” with an addition of new songs, arranged by W. L. Hayden. Complete, $3; abridged, $2. ‘ The following four songs have been issued in the series of Home Songs arranged for the Guitar by W. L. Hayden: *‘ Birds in Dreamland Sleep,”’ by C. A. White, 65 cents; ‘‘ The Fisherman and his Child,’’ by C. A. White, 35 cents; ‘‘ The Mag- nolia of Tennessee,’”’ by Walter Bray, 35 cents; and ‘‘A Sailor and his Lass,” by F. Swift, 35 cents. ‘‘The Casino Collection ’’ comprises a tine se- lection of music for the piano or cabinet organ, consisting of 240 pages of popular dance and brill- iant operatic and other fine instrumental pieces. Among its gems are ‘‘ Waves of the Ocean Galop,”’ Strauss Waltzes, polkas, schottisches, and several pieces for four hands. Paper, 50 cents; board covers, $1. Tke sterling anthem book of Leonard Marshall’s entitled ‘‘The Choir Favorite’’ contains anthems and select pieces for the use of either chorus or quartette choirs and for musical associations and conventions. It is very highly recommended by competent jndges as one of the very best. hor- isters and conductors of conventions are especially invited to examine this book before purchasing any other. ‘‘Swinging on the Golden Gate,’’ by Charles Mansell, is being sung by him with great success in Duprez & Benedict’s Minstrels. 36 cents. Have you examined ‘‘ White’s Male Quartettes”’ in book form? It makes a handsome volume of music, and one that the great name and fame of its composer will carry on the topmost waves of popularity to a high place among the enduring musical successes of the day. This is the only complete collection of male quartettes published. Nothing cut. All complete. Price $1.25. Sam- ple copy sent postpaid on receipt vf $1. ‘‘ Wild Rose,’’ ‘‘ Alpine Rose,’’ and ‘‘ The Snow Bell,”’ are three beautiful compositions by Albert Jungmann, recently published. 30 cents each. 188 ‘‘He was a Pretty Soldier,’’ Herve’s celebrated duett in ‘‘ Nitouche,”’ in which it is sung nightly by Lotta with great success, has been furnished with English words by Earl Marble, and published | by White, Smith & Company for 35 cents. ‘*Sparkling Diamonds’’ is the title of a new Sunday-school book by Leonard Marshall. Both music and words are fresh, having been written expressly for the book. This favorite composer has outdone himself this time. Send for specimen pages. Superintendents should examine the book at once. The price is $3.60 per dozen; with lib- eral discount to Sunday schools and the trade. ‘‘ Your Kind, Loving Mother at Home,”’ by Fal- lon, is a beautiful song, just issued. 35 cents. ‘“‘The Gleanings’’ is a collection of songs for contralto, baritone, or bass, and is the only collec- tion published containing so many good sungs for low voices. Among the gems are ‘‘ The Mano’- War’s Man,’ ‘‘Answers,’’ ‘‘ My Native Land,’’ ‘‘Thy Sentinel am I,’”’ ‘* The Village Blacksmith,” ‘‘The Heart Bowed Down,”’ *‘ Rocked in the Cra- dle of the Deep,” ‘‘The Old Sexton,” ‘‘ White Squall,” ‘‘ Who Treads the Path of Duty,’’ ‘ Pol- ly,”? and many others of equal merit. Any two of the above songs sell for more in sheet form than the price of the book. Paper, 50 cents; boards, $1. ‘* Dreaming,’’ by Milton Wellings, the famous composer of ‘‘Some Day,’’ with words by E. Oxen- ford, is among the new English songs of the day. In F. 35 cents. ‘‘The Duett Album ”’ is constantly increasing in popularity. It contains a very choice selection of duetts for the piano, easily arranged. Published in the popular White-Smith series. Price 75 cents. *¢ Just for the Old Love’s Sake,’’ by Mrs. Shield is a sweet English song. 40 cents. C. D. Blake has arranged a ‘‘ Grand Potpourri de Concert’’ and a ‘‘ Waltz’’ from the Jatest Pa- risian operatic success of ‘‘ Frangois le Bas Bleus,”’ which repeated its success at the Boston Museum under the title of ‘‘Fantine,’’ and at the Globe Theatre, by Theo and the French Opera Company, under the name of ‘‘ Fanchon.’’ They have lately been issued in attractive shape, the price of the potpourri being 75 cents, and the waltz 25. ‘‘ Polke de la Cour”’ is the title of a beautiful composition by Franz Bendel. 75 cents. ‘¢Perkins’ Festival Choruses,’’ book first, a col- lection of secular and sacred choruses, glees, part songs, and so forth, for the use of musical festi- vals, conventions, and concerts, by H. 8, Perkins, is just issued, and is sure to have the usual Per- kins run. Price 75 cents a copy, or $6 a dozen, ‘* Joyous Hearts Mazurka,’’ by C. D. Blake, is an easy teaching piece, in the ‘*‘ Flowers of the Brook”? series, and has a colored picture title. 35 cents. | ‘¢ The Choir Favorite,’ a book of anthems, sen- tences, responses, and choruses, by Leonard Mar- shall, is considered by competent judges to be the best book for choirs and musical associations that is in the market at the present time. Teachers and conductors will find it to their interest to ex- amine the work. Price 75 cents, ‘*The Blacksmith in the Woods,” by Michaelis, is very popular among pianists who like something unique and melodious, but not too difficult. It is a beautiful work by the composer of the famous ‘‘ Turkish Patrol.’? The solo is 50 cents, and the four-hand arrangement 85 cents. ‘* Whirlwind Valse de Concert,’’ by Tito Mattei, js one of our most popular compositions. Price 40 cents.
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184 ees rance (zs We call particular attention to the fine portrait of Ellen Terry, who is giving a round of her beautiful impersonations with Henry Irving and the London-Lyceum com- pany at the Globe Theatre. The Foxso is the only musical paper that gives this class of pictures. ~The Hardman pianos received first premium at the Macoupin-County fair, where they were exhib- ited by George W. Chatterton, Jr., of Springfield, Ill.; and at the county fair held at Berwick, Pa., where they were eahibited by Gomer Thomas, of Danville, Pa. The American Art Journal of New York has es- tablished a Boston office in Music Hall, with J. H. _ Wiggin, the Boston correspondent, in charge. A born correspondent, a ~enial gentleman, and one with good business ideas, he cannot fail to enlarge the sphere and enhance the importance of the al- ready excellent journal. A valuable acquisition to the corps of vocal teachers in Boston is announced in the verson of Mrs. H. M. Smith, who has taken room 25, Music- Hall Building, and is prepared to receive pupils in voice culture, and in English, Italian, and oratorio singing. Mrs. Smith has had a wide range of ex- perience in all these schools, and an unexcelled career in concert work; and these, together with her splendid method, which she undoubtedly un- derstands how to impart to others, will render her services of great value to all who may place them- selves under her charge. William Gooch, in addition to being an excellent musician, is one of the best piano-tuners in Bos- ton. We speak from personal knowledge, and as- sure these who are-fortunate enough to find him disengaged when their instrument needs attention that he will leave it in the very best condition. The C. S. Dwinells Original Norfolk Jubilee Singers are on their fourteenth tour, and are meet- ing with great success. They sing at every per- formance, to a double encore, C. A. White’s tem- peranoe song and chorus, “Please sell no more drink to my Father.”’ Street-lighting is one of the most important questions agitating the communities at this season of the year. The general cry is for something that combines excellence with economy. One of the latest inventions of this kind is now presented by the Alta Manufacturing Company of Boston, who claim to produce a light equal to the best gas at less than one-sixth the cost. Those interested in street lighting should seud for their illustrated catalogue. After long and careful experiments with five different speed and power tricycle attachments in different forms, The Pope Manufacturing Compa- ny, of Boston, Mass., have completed one which seems to them satisfactory. The Columbia power- gear is of simple construction; is operated by a handle, easily accessible to the rider; is certain and effective in its operation; and increases the pewer for hill-climbing about one-third. The power-gear adds but a trifle to the weight of the machine, and makes but a slight change in the ap- pearance. For this season the company are able to produce the Columbia tricycle at sufficiently less cost to them to enable them to keep the price down to the same figure, $180, with the power- SS ee re: “‘The Thunderstorm,’ for the pipe organ, by T.. P. Ryder, is a brilliant concert piece descriptive of a summer day, then the muttering of distant thunder, increasing to a tempest, and finally sub- siding. Peasants are heard, after the storm, sing- ing the ‘* Vesper Hymn” as a token of thanks- giving for a safe deliverance from: the tempest. Mr. Ryder has piayed this piece in public with great success over five hundred times, before giv- ing it for publication. It is now published for the first time, with full directions for registration. Price 75 cents. The publishers are receiving the most flattering expressions of satisfaction regarding the quality of ‘* Perkins’s Choir Anthems ’”’ from all parts of the country. The most talented chorister and organ- ist in Stockton, Cal., says, ‘‘I am much pleased with it.”” A chorister of many years of Kingston, N. H., says, “‘I like the book very much. There are many beautiful pieces in it. Several leading choristers propose to procure a supply for their | choirs.’”’ William Knight, of Ontario, Canada, says, ‘‘ I, with Professor Friese, have carefully ex- amined ‘ Perkins’s Choir Anthems,’ and we unite in pronouncing it the best book that we have ever seen. We shall order several dozen copies for our choirs. Wechose it in preference to ten or twelve other books on account of the great variety and unusual excellence of the music, the strong bind- ing, and the convenient form.’’ Every chorister in the land should examine this excellent work. The New York and New England Railroad is growing steadily in public favor and importances During the few months that it has been under the direction of Charles P. Clark as president, and the eastern division under the management of Superintendent Turner, no road running out of Boston is more prompt or satisfactory in its service The through- passenger traffic to Philadelphia and the South is gratifyingly large, and the Norwich Line between New York afid Boston is well pat- ronized. In their preparations for the production of the really grand spectacular pantomime of ‘ Fantas- ma,’’ the Hanlons, mindful of their high standing as managers and artists, have regarded only the requirements of a proper appropriation of materi- als, and have relegated the question of expense to avery distant location. As a result, ‘‘ Fantasma’”’ wlll be a spectacle of rare beauty indeed. Those who remember the famous Ravels preserve many pleasant memories, and this work will rival theirs. From their first introduction to the public as acro- bats and gymnasts, the record of the Hanlons has been first-class, the reason for which lies in the simple fact that they have never linked their for- tunes nor lent their name to anything inferior or unworthy. In the production of ‘‘ Fantasma,” they have adopted the significant legend, ‘‘ Panto. mime Redivivus,’’ and are marching steadily for- ward to a grand revival indeed. Every scene of its three acts, culminating with its transformation, is from the artistic hand of John A. Thompson, of Boston, and is ‘‘a thing of beauty,”’ besides being a marvel of mechanical ingenuity, the contrivance of that wonderful stage machinist, Robert J. Cut- ler. From first to last, everything is new, ingen- ‘ious, and interesting; and the company of Italian pantomimists, especially engaged in Europe for the purpose, aided by the native artists secured to gear attachment included, and also to sell the Co- | assist them, will doubtless make this creation the lumbia tricycle, without the power-gear attach- | culmination of the career of the worthy managers ment, at $160. who will offer it for public appreciation. The violin and piano music in this issue of the Fouto is one of the twenty-four pieces contained in the first volume of ‘‘ Julius Eichberg’s Modern Violin Music, with Piano Accompaniment.”’ Vio- linists say the edition has no superior. The selec- tions from chvrch anthems is from ‘Perkins’ Choir Anthems,” the only book selling this year. Every choir leader who has examined this book has purchased. ! T. P. Ryder is at work on a beautiful arrange- ment of the old melody, ‘‘Sun of my Soul.”’ MONTHLY BULLETIN OF NEW MUSIC. ISSUED TO DATE OF OCTOBER 20, 1884, VOCAL. . Please sell no more Drink to my Father, C. A. White. 40 A grand temperance song and chorus, the words by Mrs. Frank B. Pratt. Be Happy Tonight, Good Neighbors, C. A. White. 50 A grand quartette, for mixed voices in Bb, and male voices in D. Down by the old Abbey Ruin....... L. Egins. 35 Rallitn’ £0 Ge SeQ. ics ayer » sre vies faye 2 Harry Birch. 40 Words by Mrs. E. V. Wilson. A beautiful negro song and chorus. The Boat of my Laddie...Charles H. Gabriel. 40 Words by Fred Woodrow A _ picture of Edith Kingdon as the Neapolitan Boy on the title. 3 Drenh PACs ie ge ks W.-M. Hutchison. 35 Co-Star of LOvet iss as... cde Frederic Clay. 35 Words by George R. Sims. I’ve called you back again, Kathleen, C. A. White. 40 One of the most beautiful and thrilling mel- odies Mr. White has composed for a long time. Words by Earl Marble. Winding up her Little Ball of Yarn, Polly Holmes, 35 Words by Earl Marble. Sung by the com- poser with great wuccess. Hail, Smilin MOM To. OSS es Spofforth. 6 Star-Spangled Banner..............0.ceeeees 6 Baal, we cry to Thee........... Mendelssohn. 15 Oh for the Wings of a Dove!....Mendelssohn. 10 Now Tramp o’er Moss and Fell....... Bishop. 10 I waited for the Lord.......... Mendelssohn. 6 PVE COTO Coc xs ss aocuks baat Verdi. 6 See, the Conquering Hero Comes..... Handel. 5 The Lord is my Light .......... Henry Hiles. 6 Prepare ye the Way of the Lord..... Garrett. 6 The above are issued in the series of ‘‘ Oc- tavo Choruses.”’ INSTRUMENTAL. Chorus from ‘‘ Judas Maccabeeus’’... Handel. 35 Andante from Beethoven. Op. 47, No.1.... 50 Andantino in A minor, No, 2........ Batiste. 40 The three above in the series of Composi- tions and Transcriptions for the Church and Concert Organist, by Edouard Ba- tiste. Revised and edited by J. G. Len- don, private pupil of tl:e author, IMUEONNEE feo creat retire ashice cess J. Low. 30 Landler........ ee SOS e we pM Aielals A. Jensen. 40 The two above issued in Julius Eichberg’s Standard Modern Violin Music. Jesus, Lover of my Soul........ T. P. Ryder. 60 A beautiful transcription of the tune of ** Martyn.”’ Sweetest Smiles .........000. 000% Waldteufel. 65 Skip Skip Moreeau .............. A. W. Holt. 35 Winter Night Galop............. A. W. Holt. 35 Evening Echo Waltz ............ A. W. Holt. 35 Golden Youth March............ A. W. Holt. 35 Annie Liarie. aay. cues. doi0gsehie a dwiterene'datns 25 Rta Gai ial cinsire scc ine wend va A. Jungmann. 40 Holiday Galop. For banjo. ........ Dobson. 25 Happy-go-Lucky Schottische..... E. De Coen. 75 Arranged by A. Damm for full orchestra. With piano part. BOOK. Hunt the Thimble, or Little Nell’s Surprise LN ERP OR ee eee ie haan Leo R. Lewis. 50 Libretto by A. G. Lewis. Operetta in one act.
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FOL lO?! THE BANJO. In the last number of the Fouio, there was an article, reprinted from the New- York Times, which, unless it is taken and considered in its true char- _ acter, might do an injustice to a musical instru- ment that has long ago passed its probationary pe- riod, and taken rank beside the best and most pop- ular instruments of the world. The writer of this would-be humorous article about the banjo had evidently tortured his brain to bring a witty indict- ment against the instrument; and, if his produc- tion shall be regarded simply as a piece of buffoon- ery, we can afford to laugh at it. It would not perhaps be worth while to pay much a*tention to an article of this kind, were it not that under the veil of pleasantry and humor it gives balf seriously too much of the prejudice which yet exists in the minds of uninformed peo- ple concerning the banjo. There is now perchance as good an opportunity as is likely to come again to say a word for the banjo, and to review briefly its origin, its growth into public favor, and its present popularity and. status among musicians and critics. The banjo, in common with all other musical instruments, is an evolution. Commonly accepted report assigns its origin to the negroes of the Southern States a half-century or more ago, when the slaves manufactured from a hollow gourd an instrument in imitation of their mistress’s guitar. Undoubtedly the banjo, as it is known today, in all essential character was found among the South- ern negroes; but its germ must be sought for fur- ther back in the history of the world. The natives in all parts of Africa have a variety of different stringed instruments, which, in a crude way, pos- sess ali the essential peculiarities of the banjo. But even these seem to have been derived from more ancient times. Instruments very similar to the banjo are known to have been in use among the ancient Peruvians and among the Egyptians as far back as 1500 B. C., and also among the He- brews and the Greeks. Sculptured representations of such instruments are quite common on ancient Egyptian and Assyrian. monuments. fo it ap- pears that the banjo has quite as ancient and hon- orable an origin as any other musical instrument which modern taste and skill have adopted and developed; and in more recent times it has an alli- ance with ibe guitar, its name being perhaps de- rived from that of the bandora, a species of guitar, and it is now really a formidable rival in all the finest musical qualiti s to that instrument of sun- ny Spain. But, after all, the question today is not of its honorable origin, but of its present worth. Of this it does not seem possible that there can be any lingering doubt in the minds of any reasona- ble, well-info:med persons. Its merit is sufficient- ly attested by the manner in which it sprang into sudden popularity as soon as it was introduced on the stage, and in the way in which it has retained and increased its popularity, in spite of all the odium which naturally first attached to it from its association with the minstrel stage. An instru- ment must indeed possess great merit apd perma- nent qualities of excellence to thus take and main- tain a high position in the face of such obstacles. It is no slight accomplishment to have thus cap- tured the hearts of all people of musical tastes, and to have won a way from a lowly origin into the most cultured and most fashionable society. Today we find the banjo welcomed in all homes, and it ranks in popular favor and in critical esti- j bottle. mate beside even the guitar and the violin. The popular rage manifested for the instrument during the last few years has been something phenome- nal, and can only be accounted for by its very pro- nounced merit. Banjo-playing is now, in ultra- fashionable circles, as necessary an acquirement for a finished education as is pianoforte-playing, and society everywhere now eagerly welcomes the once despised instrument. The leading society people in New York, Boston, and other musical centres, find in the music of the banjo enduring qualities such as they fail to find in any other mu- sical instrument, critics everywhere recognize its great merits and its possibilities in the hands of a master, and the music-loving public make no at- tempt to conceal their admiration for it. In Eng- land, where it has been introduced: within a few years, it made one jump into a popularity which bids fair to even surpass its popularity in this country. It is recognized there as a very import- ant an! valuable addition to the ranks of musical instruments, and such is the enihusiasm over it that it is not possible to find instructors enough for all would-be pupils. Such is the competition among wealthy pupils. that five dollais a lesson is regularly paid. ln the face of : uch a record as this, i cessary to argue to show the strength an] tht per. manency of the interest in this instrument. The banjo has come to stay; and it would be well, per- haps, for those who would ignore or under-rate its merits to inquire into its charactér in order to as- certain if there may not be a substantial basis for the unqualified succe s which it has secured. GEORGE C. DOBSON. is unne- The Mexican exhibit at the Institute Fair is at- tracting great attention for its ane THE BEST EXHIBITION OF Violins, Banjos, Cornets, FLUTES, GUITARS, And General Musical Merchandise, CAN BE SEEN AT THOMPSON & ODELL’S, 177 WASHINGTON STREET, BOSTON. (@e> Send for illustrated catalogue. noven STANDARD POLISH OF AMERICA. THE Leavitt's Cream Scotch Polish Is the very best Polish ever devised for Pianos, Fine Furniture, &c. One trial will convince any, and insure its continued use. Sold for 25 cents a Ask your music dealer for it. ihe tga ad on in, ™| JULIUS EICHBERG'S STANDARD PUMORNOP sg oc cs ss a cL OES Eee Jean Becker. 40 BOTCON. 56 occ vnctenas Siegmund Noskowski. 60 Romahse fi 10824. ees) Franz Neg wren g 40 Niciligte 32 os. vis cee ov bsuee cee . Ehrhart. 380 qT arent eligsay. ex «. <6 tg 2s ow ee aes «od. Raff. 75 RoManee «dri rs 5 tee VP H. Vieuxtemps. 50 Soldatenlied..........-52: ALS S. Moniuszko. 46 Priere a la Madone............... Gordigiani. 50 MedOdiG « osde bc dnc cae Moritz Moszkouski. 40 Hoberen (v0 csds ¢ ccdee sede F. David. 40 Abendiied vs. i. 209% 38 Robert Schumann. 30 Le EY, ot nd a heck cl eee M. Hauser. 50 Moment Musiecal............. Frauz Schubert. 30 Albuntblatt:scsicai dedi dice coteedes . Low. 30 Berecuse................+++ +... Henri Reber, 40 BRTIGIN, «0550 6 darks cee A. Jensen. 40 AIDUMUOIBUL. «cv tioee cae Richard Wagner. 50 ae Cer C. M. von Weber. 30 Scene from ** Lohe.grin’’...Richard Wagner. 50 MONQEIO. oiok sce eb actiad eee Boeherini. 40 Hark! hark! the Lark....... Franz Schubert. 30 - Spinning Song........... Gustav Hollaender. ‘75 CA VOtts 504-22. IS AR AS C. W. Gluck. 40 Albumblatti 3.:'V. .avea.. tac... O. Nachez. 65 Complete in one volume of 86 pages. Price, in paper, $1.40; beards, $2. Any piece will also be sold separately at the price given. SUCCESSES UF 1884. A Trip to Africa. A Night in Venice. The Beggar Student. —Falka, The following editions of tbe above pubtished for piano, &c. VocALt BScONw 7.2 2% FBT E.t OF. $1 00 PIANO: SCOMBs «soar bee es icaR se 50 GEMS ........ Lie See 25 SPARKLING DIAMONDS, By LronaARD MARSHALL, is a new book, com- prising a collection of new music for Sabbath Schvol, Gospel Meetings, and the Home Circle. One of this veteran composer’s best works. Price $3.60 per dozen. Liberal discounts made to Sun- day schools and to the trade. "Fit bs Es! Sample copy of the famous OLD WEEKLY STORY PAPER, The Yankee Blade! with finest list of presents to subscribers ever of- fered. A beautiful present, worth $1, may be se- lected by every subscriber from an illustrated list of 250 elegant and useful articles. Sent free to any 2ddress. Epwarp C. DAvis, Proprietor, 339 Washington Street, Boston, Mass. Gossamer Garments Free ! -To introduce ‘‘ Happy Days,’”? our new 16- -page Illustrated Magazine, we will send free to any lady sending 26 cents in stamps for 3 months’ subscrintion, two Ladies’ full-size Waterproof Gossamer Garments with catalogue of other rubber goods, provaded they will show thsm to their friends, and induce other sales Address Publishers Happy Days, Hartford, Cona. New York and New England Railroad FOR PHILADELPHIA, BALTIMORE, AND WASHINGTON. The favorite line, with Pullman cars, around New York City without change, via transfer steamer Maryland, connecting with through trains for the South and West. 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186 THE PETERSILEA. Academy of Music, ELOCUTION and LANGUAGES a8: Cotumsus Avenok, BOSTON, MASS. ESTABLISHED IN 1870. The Piano School of America. The only School in the world where the Piano is a specialty, and where a definite and scientific system is pursued from the ' beginning to the most advanced grade of artistic virtuosity. Vocal Culture and Elocution, Singing, Harp, Organ, Violin Flute, and all Orchestral and Band Instruments, Ancient an Modern Languages. Drawing and Painting taught in the mos} artistic and thorough manner. Circulars, with full information, sent free to any addre WP tt AY tte, TEACHER OF Guitar, Flute, Piano, Cor- net, and Zither. Dealer in Musical Enstraments, Music, and Strings. Guitar Yiusic a Specialty. Catalogues free. 12390 Tremont Atreet, Boston. my—r1y Boston Conservatory of Music. 164 TrREMoNT STREET, BOSTON, MASS. ESTABLISHED 1867, The Most Thoroughly Equipped School oF PIANO, VIOLIN, ORGAN, and VOLIOR, IN THIS COUNTRY. Over Nineteen Thousand Pupils Educated! Special attention to Technical Proficiency. The VIOLIN SCHOOL of Mr. Eichberg STANDS ALONE AS THE ONL? ONE EN AMERICA, For particulars, apply to JULIUS EICHBERG. A. W. WHITE, 147 Tremont Street, Boston. ViotiIn Maker. Over 300 in use. Highest Awards. Re-adjusted Violins for Amateurs and Pupils a specialty at mod- erate prices. A fine assortment of strings, bows, and trimmings. Repairing of all kinds. Send for price-list. my-1y augiy 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 ( Send 15 cents in stamps for Instructive Pamphlet on Mv- sical Culture, * How to Study; Howto Teach.”’ Circulars terms, etc., free. GEORGE T. BULLING, 15 East r4th Street, New York, N. ¥ PRL to FOR CATHOLIC CHOLLS. JUST PUBLISHED: The Gregorian Requiem Mass. New and correct edition. The melodies faith- fully transcribed from the official Ratisbon ‘‘ Grad uale,’”? with organ accompanimeut, by Cc. P. MORRISON. This edition of the ‘‘ MIssA PRO JEFUNCTIS”’ is believed to be the most complete and desirable one for choir use extant. It is the first edition published exclusively in this country containing an exact copy of the melodies as found in the Rat- isbon Choral Books, now the official edition for the whole world; and this fact should be taken in- to consideration in purchasing books of chant. The Versicles and Responses, the latter with or- gan accompaniment, are correctly given and in their preper places throughout the work, —a fea- ture that organists and singers will readily appre- ciate. Mr. Morrison has written a preface of some length which cannot fail to be interesting and profitable. The work also contains a Chapter of General Directions, giving the time for commencing each movement, and much valuable information con- cerning the different portions of the mass. The accent marks are given, and also the marks of respiration, as found in the Ratisbon Graduale; thus insuring a greater degree of uniformity in the rendition of the chant. The work is handsomcly and durably bound, and in convenient form, octavo, printed from large type and on heavy tinted paper. rice, in flexible cloth, single copies, 75 cents. “t% for circular, giving description of the words. WHITE, SMITH & CO, Publishers, Boston AND CHICAGO. Miss A. M. LEDYARD, Massage Treatments 50 Boylston Street, second door from Public Li- brary, Boston, Mass. Patients visited. «THE BEST PRACTICAL ART MAGAZINE” Is The Art Amateur, which gives monthly, from 30 to 44 folio pages of working designs (with full instructions), illus- trations, and information relating to decorative and pictorial art. 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Boards, books Ist, 3d, and 4th, $1 each; book 2d, $1.25. Part It., $3. These editions are printed from stone, on fine paper, and issued in the series Edition White-Smith. Every teacher should examine this superb edition. WHITE, SMITH & €O., Publishers, BOSTON AND CHICAGO. BLAKE’S International Method FOR THE — PIANOFORTE. By the Popular Composer .... C. D. BLAKE. This work is just out, and is intended as a com- plete self-instructor for the pianoforte. It con- tains the complete elements of music, and a large number of elegant and easy selections for this pop- ular instrument, also a fine collection of four-hand pieces suitable for parlor or exhibition purposes, together with the major and minor scales and five- finger studies in profusion. ‘This is a new and valuable work by this most popular author, who has devoted his life to composing and arranging music for the piano and organ. A good likeness of Mr. Blake adorns the outside cover of the book, Price in board covers, $1; in paper covers, 75 cts. White, Smith & Co., Publishers, BOSTON AND CHICAGO. OUR SELF - EXTINZUISHING STREET LAMP Surpafses all o-hers for beauty, durability, and economy, and gives a light equal to gas. THE LITTLE GIANT LIGHT - INCREASER, Hung on the chimney of an oreinary lamp, will increase the light mre than fourfold. ALTA MANUFACTURING CO., BOSTON, MASS. NEW Send for circulars.
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187 FOLIO. LITTLE EFFIES PRAYER, : Words & Music by C_A.WHITE, Song with Chorus ad lib. Slow with feeling. me down to sleep, lay I eome and hear my prayer Be - fore Ma - ma our ba - by boy, knows all did the Angels Take from us Im —s 80 God ma - ma me Tell ean = Say, he I sleepy Good night ma - ma keep. a watch to. from us both Fath - er us them take Oer let Heavenly Father Heavenly our ask Hear_ me joy? way. our... Father © now for - gtve me Why. did God our thy | in Lead me naughty I'm If Copyright 1884 by White, Smith & Co. 5656-3 Mrasa- Ractan.
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F 4); tO. 1s before I kiss me, | nwa all my play things keep, Sleepy. Tired. ‘ere kiss me ma ready ma kiss me _
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sidii Ss ant i i tt ih 189 a ay ts BY we wos es as me ae eT da chaste set 4 , . . aad o 4 - TY —, sleep. - ast time. ewe eR bless them while they sleep. bless them while they ame poe os ones, God will ones, God will ae 2 REFRALN. loved (Ra ROR ro da aay Pit Be RE arte) rer rae our loved fe = i) l ee ~ & Ag ge © i) of a a Il 3 : * Angels Angels xe i ihnd - Ge RORG— 8 NG;
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tee | FOLIO. SWEET SABBATH BELLS. FANTAISIE DE CONCERT. By A.W. Holt, Op: 24. maaan HH ~-~-~-~- Auther of “Shepherd Boy’s Prayer’. & gos agg Introduction. | eT . v2 ge sedigchoctlitilliend DCS ST a a ee ae. Fee?) |) toe |) | ae a | pe Ree ee 2 oe? Tt) _———— {jf . | 1 | | er YE ARC come coe SUE SEC RONMNAS Sal eT Me OF TT CE BA Se, ES EL SRT RET OO, RET TS ERS ET: UE SAR OE OT OG os PR AE x SB Rk, sie a 7 NRE. 8 4 Alam O gtemntee Se “a tik AERTS Mie ee =a 5 Ee ee i oe om Copyright mdccclxxx by White,Smith and Co.
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38881 + 6 19} } io a e j : ES OS ER URE AE Fa a eS } ° y ’ a we eee \ a oo (mm .0 « SM oe 9 fF ¢ eae a Ae ES NE & S wets Wee @ TTI. 5 Be OE: A Re ER a 8 OF ee a oe ell a le RC 8 wk A | SE 2b ete eer . ane RAS A a OE ee ee On UR NG \ ee Se EC a RC NN AE Se Be NOE Oe me cate ee Ts Bt: se S| (el -
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192 = - (oo. ee F titi aician Sa ee eee s Be. a i nh a ei o—' car) i Aare, Ort ete to ooo te ae oe se a oe y | St 1) See ee — ee ee a ee ae — s——m’al er @ i. a a —— a en a he —e ok. . See —— nee Se ST ee ew ee Ore TT saa i f Kr 2k. ae c OER HATA ee Sy kt ee re SME Ma oS: EE SEE SU OE RS Be ” ; == — Nia: = | r v ae =
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: mae 7 | ae 2 <SeE OE Ee oee oe S EM Po OS De. eS Le Se Ne” UTR “Se. FT eee FR HE ep a, ED RE “Se RO (Rs nl eee BR Pte ha aS ae 4 5 * @. i Oe Se Ri eS SY eo 2 ee ei i f i Pitj lg a ag (7a (RSE BPRS 7 SS Tin oY BS ae 298 BEITRE * ? Se & fee. oe 3881+ 6
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FOLA®. 194 —— ewe ee a el le el lg
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196 FOLIO. ri! i | fil TIA Y i 3881+ 6
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lh > og Bigs § DREAM FACES. 16 WALTZ. 29 . h, Waves of Ocerm 99 6 ’ & & By CHAS. D, BLAKE. Author of Clayton's Mav Kom Sung hy HUTCHISON. No _ GN co i 4 Ue when 5112-3 Copyright 1883 by White, Smith & Co.
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i TT | itt | ul ioe eee ON wee Re 5112-3
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FO L4G. 198 a Oy ne Hl
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199 FOLIO. PRETTY LITTLE ELF SCHOTTISCHE. MW. H. ROSENFELD. On + — ee ere A Copyright we by L.F.Whipple. Boston. 5541-2
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POLI. 200 LER EEDP EISEN AGE iit i ‘ ll 4° bod tf A dD Ss al Fine. hh4d —2
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203 fi il | | ii 1 Th r ih a ir A. EHRHARDT, Op, 38. lly >| Tt : a 5 rf : pool 6 a ih z. =e ee: % i = + wd | i 32 Ollo a =a me = el Tl Hh >) @ || s wall aay etto. Allegr Sa _GH) 5 ; : { ’ 5 3 % os ae —e A ac TN le hi Len Raed VIOLIN PIANO.
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| 3 i | i ) tL | wai he a ci alll null blu as rod a. — * we we Mt TH a] Ou ie pezd nae 293
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SPECIMEN PAGES. 14 EVENING AND MORNING. H. 8. PERKINS. : a eeeee: oe 8 p Soo. eB Choir t in Unison. ) = of eve - ning, | e See eaeieere Sasi Se a ae ei God of morn - ing, Se -less source or be light : amen ee Now the de Mle Gant is sweet-ly qo Ses Sa a ee a om ee ag 82 sigh ttn a eg te ee = ee ae Be ee eee ee as —— FA 2 is < = 2: oo eee == = SPaam ee 2— ie: Ssreamee EEE ra 6 a — —+-g—-*— ade = ae o—o—— -8- -9@- aan ag ROR Basia, US ESR SES: a a wae += — = SPSS teae Si) SSS Ss Se Sg dawn-ing, Shine up - on us_ from a - bove. Fath - er, & ee us, ores <n nee oot ree Ee SPARE, 5 i ae — =e slag pple ee SSS aioe $e ee es ae ere ong pes ee ee (G2 - —-- Het . = Say ice art —e ae + piss ; ==" Ya inte gas aia ome g4- age tee Z-Bitg are en Bee et C | and be near us,Where we go,or where we be; Father keep us,and be near me Till we rise. fa Bad with thee. —-H+E—j—_—S SSE ea ae azarae As Rp SN Ee and be near us, Where we go,or where we be; Father keep us, and be near us, Till we rise to sett with thee. —s D8 ph Rae = agieees ene (— Ct | | aoe eo a8 cos ee aa- Bt nme oe ee o—A- eee at FEVED ON MOTE OOS RAN 2 a I =e ‘eoecsn 9B wana 98 woe 2 epg te — m SOPRANO SoLo. Pp ce ee : in. 1... ee ee So —-——_0-$e Searee ce =e SSS aS Se aseeriees O.... deign to hear us, ened . deign to hear us, O deignto hear’ us while we pray; 4- Piste re ae | ay ie PA aC ad . jij ty) — = es tet eee ies £2-¢¢ efor prarrreerett =? Ses = on a a ro i t g43 a K m Pp ’ | \ a en a < 2S RET SR” Se TT A = == ox a eo a MES aoe Se a eee per Fg SENT I EC A SES pe ene SARA A, as eat) yom St o ce -ueeganh — — Smee = 2 “6-6-6 9"
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Perkins’ Choir Anthems is designed for the use of 15 EVENING AND MORNING. CONCLUDED. ee » p tutti. . eres, pie rit. = oe. —— —= -} #0 | os - === ena Pe ae -_—— = ak “9 | 22 te eae SD SSN © SRLS SES KL) TOE “SS —o a a Ecia—a IR Parag ee A a i deign tohear us, to hear us, O —> to hear a 8, while we pray, Hear us... cai oo 2 pp —_— = : j_creses eS tre = Ss === =| rx mp 7 a EER ENE caso Seren wee Re eros = ts a =e eae [a fer ae cima ey eo p- ¥—_#_ 8:5 {| 2 eee ers way; ‘Thus do we of - fer thee our prayer of de-vo- tion, God of the IE us,guard us to-day. ai aN fen ———s ES ea === Sa fo Se =f] ap a oye "Wi. ——s a fniticny cascll o-=-e—a—* J 8 en — sont secre AX PP. Bae ea : 6 teste at tee ate eee Se bert ae bis = =EaS preipae ed eatery ree ries bright, When to un- fad ing realms our prayer isas-cend-ing, God of the father-less,guide us,guard us to-night. 7 b BP ie sagt owt deel anil aie rroaaciasiniaiaameed Le ig Hei aE PERE Ais alae HE 6 ro ye SSiSaaiee Stes 5 T ==eees Siedler - | _—_|—__ | —_ QD re ed rr re et ge ae le sist = Q 1. Our Father who artin heav’n, hallow’d be thy/| name, | Thy kingdom come, thy will be | [doneon/ earth as it is in | heav- | @ 2. Give us this day our dai - ly | bread: | And forgive us our trespasses as en, | - :. {we forgive | those who | trespass a- | gainst Y 3. And lead us not into temptation, but de - liver us | : |For thine is the kingdom. and the us. oF from evil, [pow’r and the | glory for - ever and]/ ever. | A - men. e- . * paced Li mae Berean aR ee fe fe eee a an apatili Sip. 9 i ee ee eS ee SS . = So = Sere FT CRE aE: io EAI ares” Bo Cs Se SASS ee ae ree a Fer oaeeemractnemunpeeneinnactorenaotatiecmgiend eee hfe PSS ES ROE SN BP oe GOD OF THE FATHERLESS. - (MORNING AND EVENING.) ae ‘From WEBER = Andantino. f Ya Hm, = = oh — —_————+-— Say —— ——- - cS ae — ay — —————— ei a a ea cee san a a SoM 29 —* 9. > eee 7 aaa: | Soka, Sees ez seen oe mae eee en mera fee te ee oe ce (f) 1, When the sun _ glo-ri-ously comes forth from the o - cean, Making earth beau-ti-ful, chasing shadowsa - Shari pleat en oc chide eats Sb iis Sas Eo SAR = SS ee ee vt ee ges let gee te mee et ee cS SA. hina = — LJ dim. SP) 7 EG AD ROMS AE NOS oS CAE ADRESS = FEDS ATR S PME RCT ee a | reer S coe ns ASS MO O (ss a vat =F FER. OEE: re eee CERES AA —— Sarites ==S=! — || St 4 ae SB ss. = ee eat st — I = 3 ed) 19) 2. Now has gone o’er the hillsthe sun-set tints blending, Showing how amily faded all that on earth seems ~ —N = ae of [/- ake es oe . 4 a= P 44 a - ht a ] ‘oon ty: = ff seam si aoe I GE me ar A = — = =S 254 princes ——— Pan or ere 2 See ee ———»—9— ——-—+e—e— [le vend Li oa nen area. rs ae caer Soe ee a Soe MER pe ik 8 oe —— mn eee |
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FOLIO. TEE: CHILE BRATED PIANO GRANDS, UPRIGHTS, AND SQUARES. Those persons who wish that most difficult thing to obtain, — namely, a thoroughly first-class Piano at a modest price, — should see the New Hardman Uprights and Grands. These quite remarkable Pianos have been brought to their present high standard of excellence through years of experimenting carried on without regard to cost or trouble, The manufacturers determined some time ago to make the most durable Piano ever produced, and one which in the artistle points of tone and action should be unsurpassed. The very rapidly acquired and exceptionally high position obtained by them among the very best class of people in New York, Boston, Philadelphia, Pittsburgh, and other large cities, has proved how completely successful the makers have been. The Hardman Pianos are of Faultless Construction, Phenomenal Durability, and are sold at Modest Prices. The rapidity with whizh they have advanced to their present position has been owing to the points given above. They are guaranteed to stand in tune and retain their evenness of tone longer than any other Piano ever manufactured, while in. power and tone quality they are unexcelled. A critical exami- nation and comparison with Pianos of the most distinguished of the competitors of the Hardman Piano is most respectfully invited. a) me ptitoi . ® 2 = 93 n= O-= Yom Sek PB B's @ 3 oo. St yemesss? 8 iil pe ses a2 3 a 5) Ll a= M@} pale = ByaeY «oe | oma. anf oo eae Sank yee] 2 | a = ww Seem — ba ® mo © Ea.a a 3D ooo a is Ao Ht St = se OR > -sae 2s semo fie SoS ews ~SOg- — eo) po 2 28 pe St eee 8PSaehERq |b a aes eg 233 Bs — nS ale om i a) aii o i i. SpPAassacokbasy © A TREAT Nether B.S & 4 we Fes al Cc it ~ > o 82> _—e 2g oy eS o IAI: Raat o Z S - = S «© io} Se O Hit Sry 5-O as & SasRP sss Sir aso Dy me Te Pa Bo & plRak Oto are sSEtTeeese LA gay gear §f.8 ar) Sao @ as =A 7; eee B> ys Bs e Sb g SELCR. as ~~ SEES ie Bat? aArozy 34 o =k ew FOR oo ee ec™ 2 LP aa ca — yo m = gos Sowrsoom ExS 33° Brg © = — 2268 ae . ~. Qe 24 Oo ots Ses eane. | QO Exe seee ok = Se. Lh > © Gus CBs OR’ os o= eeoayosee | g oy’ cor as =o “HS8St saengessagH E 2 6°38 "8! GSH ot Sun. agp £ s8° +So5 gop Sues ~COpes as Eh 22m pba Fo RSs SeaSis ter 2 eth Bese Gem or or a oo . he S43 Sh SS5ES 78? as Be One of the oldest and most reliable piano tuners and dealers in Boston (at one time agent for the Hardman Piano) expresses himself as follows: — Boston, APRIL 14, 1883. To Messrs. Hardman & Co.: Gentlemen, —I desire to congratulate you in the selection of Messrs. White, Smith & Co. for the agents of your pianos in Boston. With so prominent a firm, success is certain. I have been a dealer in pianos in Boston just thirty years, and or: to know a good piano when I see and hear one. Ten years ago I selected a Hardman Square Piano for my own parlor and family use. Two yearsago!:> % a change, but only from the square to an upright Piano, and I unhesitatingly pronounce this same Hardman Upright Piano the best instrument ? ever seen or used. and I would not part with it for twice the amount it cost, for the reason that it suits me, and, being satisfied, it is not for sale eve. premium. Wishing you every success, I am truly yours, W. K. BATCHELDER, 595 Washington Street, Bost ?@> Pianos sold on easy payments, (ar Agerts wauted in ail parts of New England. 7 WHITH, SMITH & CO., General Agents 516 Washington Street............ BOSTON, MASS. ers The Hardman Piano Warerooms, 146 Fifth Avenue, New York:
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PROFESSIONAL CARDS. | FN RE TE A a a kL. W. WHEELER, 16: Tremont Street. a en oe oan a eS CHAS. LEWIS, 7 Pelham Street. Voice. A nn ES SS I 5 ns = emreenemne WM. GARRETT, 7 James Street. Voxe. ae JOHN O’NEIL, N. E. Conservatory. —_——-— + —— H. €. LOGAN, Piano Teacher, 22 Eliot Street. MRS. RAMETTI, 16 Dartmouth Street. Voice. Voice. H_ E. SAWYER, 44 Mentgomery Street. Veice. CARL PFLUEGER, 154 Tremont Street. Voice. T. H. HOWE, Teacher of Music, 15 Allston Street. JULIAN DOANE, Tenor, 95 State Street, Boston, Mass. MISS SARAH C. FISHER, N. E. Conservatory. Voice. MADAM E. M. D’ANGELIS, 379 Columbus Ave. Voice. J. W. TUFTS, Teacher ot cheory and Piano, 1 Hollis Place. W. J. D LEAVITT, 433 Washington Street. Piano and Voice. MRS. G. A. ADAMS, Teacher of Singing, 108 Appleton Street. MISS M. J. SCANLAN, 186 Salem Street, Teacher of Piano. HARRY BENSON, N. E. Conservatory. Voice and Tonic Sol fa. MRS. FLORA E. BARRY, Teacher of Singing, 124 Chand- ier Street. I. 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. MISS LAURA WATERMAN, Teacher of Piano, 380 4th ' Street, South Boston. MRS. J. W. WESTON, Teacher of Vocal Music, 75 West Brv okline Street. : MARIE D’ANGUERA, 59 Baldwin Street, Charlestown. Piano and Guitar. W. H. THOMAS, 31 Johnson Street, Lynn, Teacher of Piano and Organ. LOUIS C. ELSON, Piano, Singing, and Harmony, 83 Fort Avenue, Highlands. B R. DOWNS, Teacher of Piano and Singing. Address White, Smith & Co. R F RAYMOND, Teacher of Piano and Organ. Address, Wize, Smith & Co. MiSS LAURA COOKE, teacher of singing and guitar, 89 West Rutiand Street, Boston, Mass. aA ® RY COWLES, Teacher ef the Organ and Piano. Boz } 594 [r«snont Street. HARRY WHEELER, 1:49 A, Tremont Street, and N. E. Ceouservatery, Music Hall. “GEORGE BOARDMAN, teacher of piano, 143 Warren Avenve, Boston, or care of White, Smith & pany. MISS JULIA A. WELLS, Ceatralte, will receive pupils at Hotel Beyiston, Boston, Mass. JOHN A. WASHBURNE, Montrose Street, Vineland, N. J Teacher of Organ and Piano, G. LENNON, Teacher of Piano, Orgar and Theory Adéress, 149 A, Tremont Street. — MRS ANN* LORING, Music Teacher, Hanson, Mass., suikits the pa: nage of the public. ia MiSS ANNA MAYHEW, Leacher 0: Piano and Organ, 136 West Cheszer Park. MISS ANNIE C. WESTERVELT, Vocalist, Soprano, Hate]! Union, 301 Shawmut Avenu ‘ ‘MISS SARA G. BAILEY, Piano, Singing 2ud Harmony. @ edress, care Whitso, Smith & Co. Bane — tiie naassitiniitingaepiectaearniceneilintientaantn Musigal Disector, and Teacher of @& H. Ba.I.FY Organist @inging and Pias» A care White, Smnh & Companv MISS SUSAN NEWSOME, Teacher of Piano, Eliot * reet, Jamaica Plain. Refers to L. C. Elson. : J. W. ADAMS, Teacher of Voice Culture, and English and italian Singing, 22 Eliot Street, Room 1. A. E. WARREN, Teacher of Pianoand Cencert Accompan- t. Address in care White, Smith & Co. MISS LILLIAN WESTERVELT, Teacher of Piane. Ad- dress Hotel Unien, 301 Shawmut Avenue. MISS MAY ALICE VARS, Vocalist and Teacher of Sing- ing. Address New England Conservatory. 'MRS. MINNIE LITTLE, Teacher of Piano and Voice, 14 Edinboro’ Street, or oare White, Smith & Co. MRS. J. M. HALL, Teacher of Vocal Music— Italian and | English School, Maple Street, Malden, Mass. SIG. L. D. VENTURA, French and Italian Languages, and Italian Elocution, 102 Boylston Street, Boston. WILLIAM H. ROLFE, Teacher of Pianoforte. Address, care Woodward & Brown, 690 Washington Street. MRS. J. H. LONG, Veice Cultivation and Singing in all its branches, 21 Holyoke Street, off Columbus Avenue. FRANK L. CROWELL, Teacher of Piano and Organe Piano pupil of Lebert. Office in Park-Street Church. JAMES M. TRACY, “eacher of Piano, Organ and Har- mony, 154 Tremont Street, or care White, Smith & Co. MRS. STRINGER, Teacher of Piano. ‘ Young beginners a specialty. Address 2993 Washington Street, Egleston Square. MRS. C. A. GUILMETTE, Teacher of Vocal Technique and Singing, Hotel Union, 301 Shawmut Avenue, Boston. MISS JULIA DAMON, pupil of Mrs. S. E. W. teacher of piano. Address care White Smith & Company. H. M. SMITH, Lynn, Mass., Teacher of Music, dealer in musical merchandise, &c. Subscriptions te the Foto 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. ISS SARAH LISSNER, Teacher of Piano and Singing. Address care of Women’s Industrial Union, 157 Tremont Street. F. L. HILL, Teacher of the Guilmette System of Respira- tory and Vocal Technique, 36 Winter Street, Room 13, Boston. MISS HERRICK, teacher of piano. Terms reasonable Address care of 17 Milford Street, Boston, Mass. A. E. FORREST, Baritone Vocalist, Teacher of the Voice, Banjo, and Guitar. Box 16, Franklin, Mass, GEORGE C. DOBSON, Teacher of Banjo and Guitar. Fine Instruments a specialty. Address 290 Shawmut Avenue, Boston. | ston Street, room 11, B. ¥. M. C. U. Building. FRED WELD, Theatrica! Builder. Scenery to let for dra- matic representations, also ma = and painted to order, 3@0 Tre. mont, corner of Castle Street, woston Mass. MISS KATE A. BOWERS. Vocalist and Teacher of Vocal and Instrumental Music, and the Italian Language, 28 Worces. ter Square, Boston. GEORGE FOX, Concert Pianist, and Teacher of Modern and Classical Music. Address ro Common Street, or care of White, Smith & Co. MISS AMY AMES, Teacher of Vecal Music, the method of Wartel of Paris, the teacher ef Nilssen. For terms, address care White, Smith & Co. HELEN E. H. CARTER will devote her time te Concert Engagements, and Teaching. Address 94 Waltham Street; Boston, or White, Smith & Ce. LEONARD MARSHALL Teacher of the Voice, Singing and Musica! Composition, Conductor of Musical Associations and Conventions. Address 169 West Newtor Street, Boston. T. P. RYDER, Tescher ef wx: snd Organ. Soloist and accompanist fer cone~:'s, lee.ares. &c. Direvtor of musical so- Cieties. 516 Washi.gton Street. =——_— ADELE HOSMER, Voealist, Soprano, Voice Culture, Ital san Mle Rod, Singiag ia English, Spanish, French, and Italian. | Address, care White, Smith & Company. Boston. Mass. ee ae a caiaal J. W. DAVIS, Voice Culture, 169 Tremont Street THEODORE HUMAN, 147 Tremont Street, Room rg. HENRY DAY, Teacher and Artist, r49 A Tremont Street. WILLIAM F. BACON, Banjo, 89 Court Street, Room rz. MRS. M. E. JARViS, Teacher of Vocal Music, 81 Lever- ett Street. FAIRBANKS & COLE, Banjo Makers and Teachers, 12: Court Street. MISS AMELIA GROLL, Teacher of Piano, 40 Chestnut Street, Charlestown. MISS L. FELTON, Dressmaking. Latest styles Room 24, Music Hail Buiiding. O. J & L. W. BALL, Teachers of Piano, Flure ard Cornet. 178 Washington Street. ROSE STEWART, Soprano Vocalist, member cf the Ger. mania Concert Company. Care Whiie, Smuh & ompany J _B. STETSON, Teacher of Voice, Piano and Harmony 506 Washington Street, Boston, or care White Smith & Co MISS E. F. ANNIS, pupil of the Petersilea Academy, teach- er of the Pianotorte. Terms reasonable. Address 36 Holyoke Street, Boston. MISS Ji NNIE B. DECATUR, Pianist for cor certs, enter tainments. e.c. Will take situatiun to show pianos in ware room Address 20 Carmel] Street, Chelsea, Mass. HENRY J POOLE, Tuner... Pianos, Cabinet O-gios and Church Orgauis tuned, reculsted, and revaired promptiy and sat isfactorily. Addres-, care White, Smith & Com: any. MRS M E. JONSON, Teacher of Singing Qua!fied and authorized Teacher of the Guiimette Sys'em of Voczi ‘lech nique, 2) Winter Street, Room 24. Wednesdays and Saturdays. G. W FOSTER, Conduetor ard Vocalist at Woodward & Brown's Piano Rooms, 690 Washington Street. Cali Saturday, from ir to 12 o’cicck. Soloists for coucert conventions fur. nished at reasonable rates. Piaros tuned and repaired in a most therough ard satisfactory manner. Order bocks at White, Smith & Company’s, 516 Washingion Street, and at residence, 36 DwightStreet. WILLIAM GCOCH, Practical Piano Tuner. J. W. COOK, Practical Pianoforte Mover. (Office 6 Avery Street; stand near the Adams House; house, 10 tia: market Place. Pianofortes and turni:ure packed in the best manner for transportation. Furvtiisre moved 1u aid out of the ci'y JOHN F. WAKEFIELD, Flute Soloist, can be engaged for concerts, lyceums, concert Companies, musica! entertainments, orchestral performances, and general business instruction on the Boehm and German Systems. Terms very reasonabie. 28 School Street, Room 39, Buston Mass. MISS CLARA E. SMART is prepared to receive pupils at Suite 21, Hotel Boyiston. She teaches Madame Ruder~dorfi’s stem, and calls attention tothe following indorsement: ‘* Miss Clara, E. Smart is fully authorized to teach my methed for pro- rea and locating the voice legitimately. Erminia Ruders- orff. IEE ESE IE I, ee Si ED C. C, WARD, Cornet Soloist with Baldwin’s Boston Cadet Band, is prepared to accept conceit engagements, ard wil! re ceive a few pupils. Address 64 Clarendon Sireet. Boston, Mass. MISS L. E. hRADSTREEL, Teacver nf-the Piaroforte and Harmony. 4 ddress care Chickering & Sons, 152 lremont Street, Boston, Mass. S. FROST, Organ, Pano, and Theory. White, Smirh & Co., Boston. B. M. DAVISON, Tescher of Piano. 516 Washiogton Street, ~ A. FARINI. MOSICAL STUDIO 29 W. 26th St., New York. VOCAL CULTURE. Specialty: Opera and Concert Stage. W. A. CUMMINGS, DEALER IN MUSICAL MERCHANDISE OF ALL KINDS, NASHUA, UN. H. Teacher of Violin, Guitar, and Cornet. OLD VIOLINS — Carefully repaired — new and new backs — by L. O Groves, 27 Union Park, Boston. Old and new vielins for aaie. mn Address care of
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a — + _ Chicago Professional Cards. NELLIE R. GRAHAM, Vocal Music and Piano, 3923 Dearborn Sircei. LEWIS HENNIES, Violin, 278 No. Wells Street, Chicago. Add. ess 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, Ill. MME. L. BALDWIN, Vocal Teacher, 117 So. Leavitt St., Ch cago, or White, Smith & Co. JOHN MALTER, Musical Insticuce. Piano, Organ, and oice. 76 Monro Stieer 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., 5 a:d 6 Washington Street. D. M LEVETT, Piano. Address, care White, Smith & Co., 5 and 6 Washington Street. MRS. J. F. LANGWORTHY Piano. No. 337 Michigan Avenue, Chicago, or White, Smith & Co. HENRY SCHNEIDERWIRTH. Piano. 1407 Michigan Ave., Cmcago. Address White, Smith & Co. MME. EUEGNIE DEROODE RICE, Piano. White, Smith & Co., 5 and 6 Washington Street. Address MRS. W. E. ORCUTT, Piano and Organ, 436 West rsth Street, Chicago. Address White; Smith & Co. JAMES A. SEEBAUM, Piano, 128 N. Clark Street. Ad- dress White, Smith & Co., 5 and 6 Washington Street. F. H. MACDONALD, Piano, 112 Dearborn Street. Ad- dress White, Smith & Co., 5 and 6 Washington Street. MRS. W. B. FORSYTH, Piano, 639 West Monroe Street. Address White, Smith & Co., 5 and 6 Washington Street. MISS ANNIE B HOWARD, Piano, 3159 Indiana Ave. Address White, Smith & Co, « avd 6 Washington Street. MISS H. M. KELLER, Piano, 174 So. Sangamore Street. Address White, Smith & Co., 5 and 6 Washington Street. MISS BESSIE CHRISTIAN, Piano, 126 Dearborn Street. . Address White, Smith & Co., 5 ai.d 6 Washington Street. C MCQUISTON, Voice and Piano, 41 Honore Street. dress White, Smith & Co., 5 and 6 Washington Street. Ad- WALLACE ‘4. KRAUSE, Piano, 417 Milwaukee Ave., or White, Smith & Co., 5 and 6 Washington Street. MISS CARA F WHITTIER, Piano, 914 Fulton Street, Chicago, or White, Smiih & Co.. 5 and 6 Washington Street. MRS. MAGNUSON JEWETT. Vocal Teacher, 502 Web. ster Ave. Address White, Smith & Co, 5 and 6 Washington St. | PIERCE WARWICK, Piano, Harmony, and Singing. Address White, Smnh & Co, 5 and 6 Washington Street. FRED Lo MOREY, Piano and Composition, 2406 Wabash Ave., or White, Smih & Co., 5 and 6 Washingtcn Street. CHARLES M. SYKES, Teacher of Organ and Singing. Address White, Smith & Co , 5 and 6 Washington Street, 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 Stree, or White, Smith & Co, 5 and 6 Washington Street. MISS LIZZIE M. SEMPLE, Instructor on the Guitar, 51 Lake St., or White, Smith & Co., 5 and 6 Washington Street. H. ARCHAMBAULT, Teacher of Piano, 3300 Cottage Grove Ave., Chicago, or White, Smith & Co., x and 6 Washing- ton Street. ALBERT E. RUFF, Teacher of Piano, Voice Culture. Violin, Theory, and Composition. Residence, 28 N. Throop S:reet. Chicago. GEORGE W. BROWN (Persley), Music for Seirees, and so ae 3218 State Street,or White, Smith & Co., 5 and6 Ww ton Street. WALTON PERKINS, Teacher of Piano, Dore Block, 75 Madison Street. Room 41, or White, Smith & Co., 5 and 6 Washington Street. MISSES GREER, Piavoand Voice, of Madison and Siate Street. Address 5 aud 6 Washington Street. v Dore Block, corner hite, Smith & Co., D P F VAN DE SANDE, Tr-cher of the P anoforre. Music Rooms at Story & Camp’s 188 ai d 1go State Street, Chi- gags. Residence 40 Centre Ave. Co nod ao ee l MISS ALICE FOSKETT, Ucacher of Pian», 3112 Butter- field Sircet BROWN & WINKLER’S BAND. Engagements made for all musical occasions at No. 3118 State Street, or White, Smith & Co., 188 and 190 State Stree:, Chicogo. EMMA LOUISE FIROLEk, Vocal icacher after the stylé of Mme. Rudersdorf’s system of vorce placing and culture, 18 Willard Place, Chicago, or White, Smuth & Co. PROF. W. WILL! AMS, Teacher of Urgan, Vocal Music, Thorough Bass, and Musical Compositiun. Address White, Smtth & Co., 5 and 6 Washington Street. MISS NELLIE G. HAYES, Teacher of Piano, Organ, Voice and Harmony. Address 7 Lincoin Place, Chicago, or White, Smith & Co., 5 and 6 Washi-gton S:reet. GEORGE BOWRON, Leader of Haverly’s Orchestra, will take a few pupils for Violin, 2259 Indiaua Ave., or care of Hav- erly’s Theatre, or White, Smith & Co., 5 «1d 6 Washington St. H. S. PERKINS, Teacher of Voice, Harmony, ard Musical Composition ; Conductor of Musical Conventions ard Festivals. Musical correspondence solicited. Address White, Smith & Co., 5 and 6 Washington Street. CHICAGO QUARTETTE. — Harry Themas, 1st Tenor; James F. Bird, 2nd Tenor ; C. A. Dew. 1s: Bass: C (. Lefler, 2nd Bass. For terms and dates address Harry Thomas, Man- ager, 144 So. Clark Street, Chicago C. F. WOODWARD, Teacher of Vocai Music, and Con- ductor of Musical Festivals, Conveniions, and S:nging Classes. Will fill engagements in any of the Western States or Territo- ries. Correspondence promptiy answered. Address White, Smith & Co., 5 and 6 Washington Street. I. L. A. BRODERSEN & CO., DEALERS IN SHEET MUSIG, | MUSIC BOOKS, MUSIC FOLIOS, &c. 137 and 139 Post Street, SAN FRANCISCO, - - CAL. All new music received as soon as_ published. | rec Instruction books for all musical instruments. Agents for ihe Fouto. CURTIS & WHELD, COSTURERS, And Dealers in Yo» Theatrical Goods, 5S Fiayw ard Place, BOSTON. - Mrs. Parker Leach, e Soprano Soloist. Spec alties: Oratorio Address in care of WHIETE, SMITH & CO., Boston. Conecort & WILLIAM E. CHANDLER, DEALER IN SHEET MUSIC, MUSIC BOOKS, MUSIC FOLIOS, &c. A?2 Middle Sireet, PORTLAND, ME. Instruction Books for all inetements kis ds of Orchestra and Bard Music Your patronaye is solic ied. Orders taker fora Music sent by maul. BeYs AND GIR-S ATTEN' ION! Your ame and pho- | togranh on twelve fine Frerch isuing cards for 50 certs. Send p cture for convins, «hich iil be destroyed. KgLier & 12 Tibbiis Block, Uuca, N Y MRS. H. C. PLYMPTON, Teacher of Piano, 508 Wabash Ave. Address White. Smith & Company. M'!SS ZELINE MANTRY, Viclin So...st, and Teacher of Piano. For coucert engagements address White, Smith & Co., 5 and 6 Washington Street. vA : J TO QV = d VU ’ he Cevey S50 ‘yew “Sno hlace GYP, JUNIOR. An operetta for private theatricals, schools, ete. Libretto by Earl Marble, music by D. F. Hodges. A great success wherever presented. The Boston Watchman, the Baptist weekly that maintains such a high standing, says, ‘**‘Gyp, Junior,’ a juvenile operetta with words by Earl Marble and music by D. F. Hodges, takes high rank among productions of its class. The poetry is of that fluent and breezy quality so acceptable for either reading or singing. A description of schoo) child- ren in the woods having their fortunes told by an old gypsy is very picturesque and entertaining. The music is good as a whole, anu some of the melodies are unusually sweet and expressive.’’ Donahoe’s Magazine, the well-known Catholic periodical, says of ‘*Gyp, Junior,”’ that it “isa very tasteful and pleasing little work, and, as its title implies, is excelient for use at church enter- tainments, ete., as it is not difficult. It is gotten out in Messrs. White, Smith & Company’s tasteful manner.”’ ' Hezekiah Butterworth, one of the editors of the - popular Youth's Companion, and the author of the famvcus Zigzag Journeys, which, not belying their name, have circulated everywhere like zig- zag lightning, writes thus of “ Gyp, Junior’’: ***Gyp, Junior,’ is excellent. It wiil act well. The old Gypsy and her rabbits will take with young people. The loss and recovery of the child will excite an eager interest. The libretto is a popular one. I am sure of its success. It will last. Those who see it in une place will produce it in another.”’ PRICE 75 CENTS. WH:.TE, SMITH & CO, Publishers, BosToN AND CHICAGO. Blake’s International Method For the Reed Crgan By Charles D. Blake, Author of ‘‘ Blake’s Model School ”’ and ‘‘ White’s Methods’’ for the same instrument. Mr. Blake considers this his best work for the Reed Organ; and it is fu lof beautiful selections, vocal and instrumental, as well as the complete elements of music, the scales and exercises, also cuts showing the correct positions of the hands and arms in playing the organ. Price in boards, $1; in paper covers, 75 cents. Send for sample copy. White, Smith & Co., Publishers, BOS ON AND CHICAGO.
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se tin “= oF Charles D. Blake’s Standard Compositions King of the Storm. sth Grand Galop de Concert.......... 60 Waves of the Ocean. Grand March ........seeeeesseecees 60 Summer Rain-Drops. Etude Char .........+-- viereticers 60 Clayton's Gratis Mat soc nik cents ciccc cee ccewcs cccccocs 7O Sronholtz Grand Galop. Briliapte...-sssses-eeeeseeeeeeee 65 Evening Chimes’ Reverie Elegante ..........%. viene hen. 60 M::ther’s Evening Prayer. Melodie Réligicnec, Sad@ecserse §0 Waves of the Ocean. Galop de Concert .....se-.seeeeeees 50 On the Race-Course. 2d Galop de oe Se 60 Fairy Voices. Nocturne ....-.++- sees. woeeececccsccecces 35 La Fille de Madame Angot. Potpourri..... Seeceses eccce 75 D:eam of Sunshine. Polka Rondo...-.ssecceesceseeccees 65 Heavenward Bound Marche Celeste ......- ¢iwsesesvece: 60 Peari«f Love. Valse Elegante .........- oe Secccccccecces 50 Lchengrin. Potpourri ......... Cceccccvecccccccccccesenes 60 Chi!peric. Potpourri de Coneert .... .---- oe ceccccescees 95 L» Jollie Parfumeuse. Potpourri. .....cceceeseseececccees 1 ¢O Girefle Gir. fla. ee de Concert. Pade sverkasectscvess% 00 Clayton’s Grard Waltz.... ...- cseeeetsccccccccccs 50 Shepherd’s Evening Song. Morceau ‘Brillante. aveaeesvecs §0 Si'very Echoes. Reverie........-eesesees eres ccccvccscoce 50 Come to the Feast. 3d Galop de Concert...--.-++e+eeeeee- 60 H»meless Tonight. Transcription de Concert....--.--++- - 60 The Angels’ Greeting. Reverie Angelique......ssseeeeess 40 Dreams of Heaven. March Celeste .... see. esseeeeseeeees 60 Moonlight onthe Lake. March .....0+ secececcceceeesees 50 Morning Echoes. Schottische Set SERIES 50 Spring, Gentle Spring. Transcription de Concert........+. 50 Competition. Grand March......... Cee cecgeccsoscceeces 50 Piano King. Grand March .....seesececee. covceee eee 50 Fali River Lire Grand March.......... eens de cece cecees 40 Mattie Waltz. Transcription de Concert..eee.eeeeeeeeeees 65 Pauer’s Galop. Transcription de heen Cees cree cccceses 65 Belis of Corneville. Potpourri......sececcecceeccceceeeeel 25 B bes inthe Wood. Potpourri ....ceceseccceee eeseseeeel OO Babes in the Wood, Waltzes «2+ sscececeeceese eeccecees 75 Pho: ograph. Grand March........... Che Kegees beck eedipe 50 Rambler. Grand Galop......cercescccccccccccceccccesecs 50 King of the Storm. Grand Galop .......-+-«.- géestebe ——— 7 Hercules. Grand Galop. ... ces cce. cccccccccccccccccceseel OO Bg Chime Eerie 6 0. BE RA ok TUE ie veicce cece e++T 00 Ivanhoe Commandery. Grand March ..........2-eeeeeee+I 00 Ivanhoe Commandery. Grand Waltz. ...+-seeeeeececeeees 80 Waves ef the Ocean. Galop de Concert ......seeeeeeeeees 1 co Shepherd's Evening Song. Morceau pe y et pater ha I 60 Come to the Feast. 2d Galop de Concert. ......++.+e+e+++1 00 La Fille de Madame Argot. Quadrille..........+- oSceedae 75 Golden C.oud. Morceau Brillante........eeeeeeeeeeeeeees I 00 Dreams ef Heaven. March Celeste ..--+.0-eeeeeeeeeeeeee 75 Morning Pearl. Fantasie Elegante..........- NR Sid 45 75 On the Race-Course. 3d Galopde Concert......0+ seeees I 00 La Fille d2 Madame Angot. Potpourri.......+eseeeseeees I 00 Madame L’Arctiduc. Potpourri ..---.eeeeeeeeeeeeeeeeees I co GeRE Girne -- Paria yic xed occccc te) oii ccc deve seqeccce 1 00 Silvery Echoes. Reverie.....--++++e00- bnwied.030's 49 pease 75 Waves of the Ocean. Grand March......ee.eseeeseeeeeeel 00 Trembiing Dewdrops. Summer Idyll.........ceeeceeeeees 60 Golden Clouds. Morceau Brillante......ec.e2 ceeceeceees 65 Mornizng Pearl Fantasie E ezante .... see. eeee eee eeenee 50 SuSlees: * MAO FORE. ov teas co 5kh ater fove.cnceatdhecns 50 Queen cf the Night Vase Brillante. .....sseeeeeeeeeeees 50 Viccolo. Grand Galop de Concert... seeseees seeeeeececs 65 Grand Valse Brillante. (Mattei) Arr.....sssseeseecseees 65 Galop de Concert. (Pauer.) Arresssssesseseescceeececees 60 Aida. Grand Potpourri de Concert .........seeeeeeseeeeee 75 Madame L’Archiduc. Potpourri.....s...eeeee eee coevees 65 Silver Star. Grand March .......s00-cecscccceccccccccces 50 Wildfire. Grand Galop de Concert ......--+sseeeee coeees 65 Chiiperic. Waltz .........eeseeeeees F6acas secpar edhe eames 35 Chimeric... Quaddilles. ie bia cs sei Miceciecess cet ccsceqas 50 Deller itie SSQIOD ins F0'6vo cds bed arts vaarewns penne naeees 60 Come Back to Een: Girl I Left Behind Me Transcription. 35 La Jollie Parfumeuse. March ........esseeeeeeee eeecees 35 La Jollie Parfumeuse. Waltz ........cccccccscccccces cos 40 Song of the Angels. Reverie Celestial...........sseeeeees 50 Whispering Waves. Morceau Elegante............ Seo Ses 40 Out Nation’s Mediey « ocencoes ected cite ce Wieeseei tee o8 30 Ivanhoe Commandery. Grand March ..........seseeeeees 60 Ivanhoe Commandery. Grand Waltz .......cescecceeeeees 60 Hayes and Wheeler Grand March. ........ esse eeeceeeecees 35 Fair Land of Liberty Waltzes .........ceeeeescecceccncces 50 Beautiful Summer Evening. Reverie Elegante............ 40 The Flying Dutchman. 7th Gelep de Concert..ccccccecese - 60 La Marjolaine. Waltz .....sccccscerccccesccccecscces cece 35 Whoa, Emma! Waltz. ...-ceecereecces ree veree 95 Bee. WAZ... 00000 oben cos 0.002.4000500000he9ennemeee ree 40 Eileen. March......+-seseeees Cece cceneccccecceescs. coos 50! Man in the Moon. Wealtz....c2..cccccccs scosesenencenme 35 Waves of the Ocean. Waltz de Corcert.......0+. seeeeees 50 When ’t is Moonlight. Waltz de \ oncert.......+..eseeee. 50 Bonnie Sweet Bessie. Transcription........+.seeeeee ence 50 Hercules. Grand Galop......... Cocccere cece “weg ceeccece 50 Johnny Morgan, Galop ....sceccrccces cocccvcussecccas shh shoe Pinsut; 2 ert ptr aes. aphey eg ninth pth ie spas? Stigell When the Swallows Homeward Fly......... Seen eess esas F. Abt The Bloom 1s on the Rye ...cc.cesececrcccecccscccsencs Bishop pe a a SS SPAT rre rere eee Gumbert Good Night, My Own D rarest BUAs st enesane socesaae F. Abt Cantique pour Noel. Ct.ristmas ati Pape monmeee Arr Sous Sleep Well, Sweet Angel . welvccbwevesdeeesea --F. Abt Star of Glengary.. Fe BU OD. Sewaid's . Sparte Last Rose of Summer CViwWH CSUN SS Tees soos Are F red ter Livden Happy be Thy Dreams........seeseeeees -J R. Thomas Fait: Harvard... « nv.cie 3) sé bane oes eka is eS Claribel Riles Lament. s aie Tucker Danube River.. See STs Sek SS Pee ey fe Fly Forth, O Gentie ‘Dove... swish ees os pbbesKcte wes, oe>s Pinsuti Rose in the W00d........eeeeeee oe cece eeeeeees C. L. Fischer WrnbarveeeGee eh Ce SCORE SE Fes Ses SOS we eke Cees cca ceucebbe Abt © Thou Sublime, Sweet Evening ae beads SPA as cade Wagner Air from Belizar....eeeseeeeee. Donizetti Air from Sonnambula apuber Pave Un Ve Cehet Sea e Se oer tas Bellini Harp thanOnce Through Ware bi GN. ose. Arr E-nerson Rabin Adair... SCOR. 60s wv'ed dbs rocvceceusivedee Arr. Emerson Rose of Killarney «+++ ++++eeeeee-+ + eoseeeee J. R Thomas Scotch Lassie Jean..... a ---.E. M. Bavley Take this Lette: to my Mother. Np PSE MPR TS Wall S. Haves The Winds that Waft my Sighs to Thee............... Wallace Per volume, $2. Cornet So!os alone, complete, to go with above, $1.50. WHITE’S MALE QUARTETTE BOOK. A hundred and eighty-three pages of beautiful music written expressly for male voices. By White, the quartette and song writer of America. This beok has long been in contempla- tion by the publishers, and quartette singers have often expressed the wish to get C. A. White’s quartettes in book form, as it would be more convenient, and at the same time much cheaper. This request the publishers are now ready to concede. The authors should be a sufficient guarantee of the excellence of this work. Printed from stone, elegantly bou:d in board covers, making it one of the most unique music books ever published. Price $1.25. Sample copy sent postpaid on receipt of $1. Send for a copy and judze for yourself. THE WORLD OF GOLD. New Sunday-school book, by J. A. B. ‘‘ Botm young men and maidens, old men and children, let them praise the name of the Lord” In compiling ‘“‘ The World of Gold’ the author has endeavored, in every instance, to select a melody that would be easily caught, and not soon forgotten. Many of the pieces have been thoroughly tested, and proved remarkably successtul. Price 35 cents. Specimen copies 30 cents. Liberal discount to Sunday-schoo] superintendents and the trade. WINNER'S new AMERICAN SCHOOLS For piano, accordion, pants violin, concertina. flute, banjo cabinet organ, cornet. These excellent Primers contain thorougt ynstruction for learning to play any of the above imstrumenta without the aid of a master, Containing a large collection of popular melodies of the day. Beautiful title pages: n severa colors. New editions printed from stone. Price 7§ cents.
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3 4 re NEW SONG! of the Lea. tn WORDS AND MUSIC BY C. A. WHITE. Jeannie, the wild flower of the lea, Thou hast forever gone from me; Mother and I do mourn and weep For our wild flower of the lea. Bring back our Jeannie, Oh, bring her to me, For our hearts are nearly broke For Jeannie of the lea. Jeannie, the old home now seems drear, Its brightest light went out with thee; No other one our hearts can cheer, Like our own Jeannie of the lea. Why take our Jeannie? Oh, must it be That no more on earth we ’1] meet Our Jeannie of the lea! Jeannie, a voice comes o’er the lea, That all is joy and peace with thee; And angels now their vigils keep O’er our wild flover of the lea. Good-»y, now, Jeannie, In dreams thee I see, ; And one day we ’!l meet again Our Jeannie of the lea. PHICR 35 CENTS. pes Having a (reat Run! White, Smith & Co., Publishers, BosTON AN)i) CHICAGO. SPEAR & DEHNHOFF, New York. The World of Gold! New Sunday-School Book. BY J. A. B. ** Both young men and maidens, old men and children, let them praise the name of the Lord.”’ In compi ing ** The World of Gold,’’ the author has endeav- ored, in every instance, to select a melody that would be easily caught, and not soon forgotten. Many of the rieces have been thoroughly tested, a:d proved remarkably successful. Price 35 cents. Specimen copies 30 cents. Liberal discount to Sunday-school superintendents and the trade. WHITE, SMITH & CO, Boston AND CHICAGO. Winner’s New American Selec- tion for the Violin. Comprising a full selection of the most popular melodies of the day, arranged in a simple and an attractive manner for ordinary performers. There has long been a demand for a book com- prising music that is popular, and within easy compass of pupils before they are too far advanced, and ‘‘ Winner’s New American Selection’? fills the want. The cont nts comprise nearly a hnndred and fifty selections, suiting all tastes. Price 75 cts. Sent postpaid on receipt of price. WHEATE, SMITH & CO., Publishers, RBOBTON AND CHICAGO, THE CHAMPION. Sacred and secular musical collection, by Leonard Marshall, for singing-schools, conventions, academies, choirs, and so forth The work is fvll and comp'ete, yet compact, all useless materia being rejected. Price 75 cents. Be Se BE Ee £1 @ is Ree eS Oe Jeannie, the Wild Flower, The Offering of Praise A NEW BOOK OF Anthems, Responses, and Sacred Songs BY E. H. BAILEY. The most complete edition of sa- cred music yet offered to the public, containing selections from many of the best known writers. Adapted to all grades of church choirs, conven- tions, and the social circle. Every- body should try it. Printed from stone. Price $1. Sent postpaid on receipt of price. White, Smith & Co., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHNOEF, New York. > WHITE- EDITION Q SMITH. TWO BEAUTIFUL SONGS. Wating mid the Pansies. Song and Chorus. Price 35 cents. Companion to ‘‘ Only a Pansy Blossom.” WRITTEN AND COMPOSED BY C. D. BLAKE. Love will Roll the Clouds Away. Song and Chorus. Price 40 cents. Companion to ‘* Wait Till the Clouds Roll By.” WORDS BY EARL MARBLE. MUSIC BY CHARLES D. BLAKE. These are two really beautiful songs, and destined to become immensely popular. Copies mailed to any address on receipt of price. For sale at all music stores. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New York. 50 HYMNS AND TUNES. Arranged for the Girls’ Hirh School of Beston, and adapted to general school and home use. By Julius Eichberg, teacher of music in the Boston High Schools. Paper, 30 cents; boards, 40 cents. THE PROGRESSIVE SINGER, OR BUDS AND BLOSSOMS. This work contains a newly systematized method for schoo classes of all grades, together with a lerge list of songs and rec restions of unquestioned excellence. By W. Williams, a practi- te:cher. Price 25 cents. Great Suscess in German, Italian, and Engiish ! A Trip to Africa (DIE AFRIKAREISE). Comic OPERA IN THREE ACTS. BY FRANZ VON SUPPE, PUBLISHED WITH BOTH GERMAN AND ENG 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, 4c. Titania Waltzes, 75c. WHITE, SMITH & CO., Pablishers, Beastom and Chicago. Geo. C. Dobson’s Kasy Method for the Banjo by Ear, WITHOUT LEARNING NOTES! PREFACE. The method of learning the banjo by ear ena- bles the beginner to master the instrument with- out the use of notes, and to acquire a practical knowledge of it with moderate application. The pieces given in this book are mostly those with the melodies of which al] persons are familiar. It will be observed that in writing each exercise or piece, the same has been divided in correct measure. | As this is a work designed to instruct solely by ear, no further attempt has been made to teach time; for it is believed that persons who would wish to go thoroughly into the study of the banjo would do so by the regular couise as laid down in all books of instruction, such as George C. Dob- son’s ‘* New School for the Banjo,’’ and the same author’s ‘‘ Complete Instructor,’”’ which treat fully of that subject. The principal object of this lit- tle work is to give the most popular pieces of the day, arranged for the banjo in the most simple form, showing where to obtain the notes of each given piece by representing the same on five lines by open and closed notes. (See explanation ) This work is intended solely for those who wish it and desire no other, and those who wish to learn a few pieces on the banjo with little exertion; and the author trusts that it will be the means of affording pleasure to many lovers of the banjo.. PRICE $1. WHITE, SMITH & CO., Publishers, BOSTON AND CHICAGO. SPEAR & DEHNHOFF, New Yorx. Birds in DreamlandSleep BY ©. Ac WHEE Soprano or Contralto. Price 75c. WALTZ, dUc. WHITE, SMITH & OO., Publishers
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POL. White's Male Quartette Book. Containing Compositions by many of the best Composers of the day, including a large num- ber by the America’s popular song-wriier, C. A. WHITE. r CONTENTS. Be BGA 6. CAs SS. BIA Zollner EA ars ¥o. & ie 5s Gere ee Committed to the 1 Re C. A. White Comrades in Arms.......- .....-- ag Adam Every Day ’1] be Sunday by and By....Sam Lucas ONE foe...) Sa ee Wilhelm Good-by, Loved Ones.............+.-- C. A. White God, in mercy hear our Prayer....... C. A. White God is a Spirit......... William Sterndale Bennet God Pity the Men on the Sea Tonight.C. A. White TODS DOVONG 25 cxiscer Fo 5 odie wp dante . A. White Land of Swallows..........scceseee- KE. H. Bailey a geass c's soe o's 0. 8's 82 C. A. White Medley Quartette............... .«...C. A. White My Gondola awaits Thee............ C. A. White BEY E.OV6 24-W-ROVOR cee o-r cece reece C. A. White Not a Sparrow Falleth .............. J. L. Gilbert Not Dead, but Sleepeth.............. C. A. White PE RNG So a. rane C. A. White O- OMOR ODN 16s si 0i0s 63 vce bc eek ©. A. White Only a Dream of Home.............. C. A. White a eee eee eee C. A. White Beat, Bowie, cet W7.65.. s8 e.5 Fc 8 C. A. White pa a) ee a eee Se eee Rooke Riding on a Load of Hay............ Harry Birch ERA ey AN a a ee Sg Re ee ee Marke Simon pre Cellarer... scs ot ce pae'otey Zollner. 15 Menuet from ‘‘ Don Juan’’....... Mozart. 15 “oC AS Rea Tes Paste Ee eee Fisher. § po Se Ee er tee ara Para Volgler 1b Ts ok eer errr eee Fleming. Bells of Corneville (Schottisehc).E:Jmands. 34 I would that my Love. ..... Mendelssohn. 25 Prayer frou ‘* Der Freischutz’’.... Weber. ‘ Minuten WaltZee: 2... ccc eee eee Chopin. 25 a ee paren Woaldteufel. 30 White, Smith & Co., Publishers, BOSTON AND CHICAGO, The Offering of Praise. A Folio of Antyems, Responses, ard Sacred Songs, for the use of Church Choirs and the Home Circle. Selectel, Arranged, and Composed by E. H. BAILEY. CONTENTS. Amen, our Hearts with Faiih Reply....... Builey A Loving Father e’er is Nigh.............. Bailey A Walt, MV Soul. 3 ....0n cs cpncwepscs cc cen Horsley An Endless Allelujah...............2..08- Barnby PGS Withy Me 5 ie ce Th ni s dee se taeeeeed Bailey Be Thou our Light and Guide .......... M. E. H. Chriat.our Passover vic cnyeoe ns base opine sereisd Danks LIONEL SIAT ¢-5'n aun teenie Meats + 0 bast eh ane Sanders Echoes from the Sky. Easter carol........ Bailey From Thy Love as a Father.............. Gounod God is our Hope and Strength .......... Wiseman God shall Crown thy Work at Last ........ Bailey God «f our Life (23 .. fhe. Oya. ISA Hosmer God, that Madest Earth and Heaven..... Hopkins Guide us to the Better Land .............. Bailey Help us to Accept Thy Sovereign Will... .. Bailey Hark, the Herald Angels Sing............ Sanders He Leads us On......-.ve0e mewn ds .. Bailey Hear Thou our Prayer.........cckecccect Pearson Heavenly Father, Hear our Prayer ...... O. A. B Holy Father, Cheer our Way...........0-- Bailey Holy God of Heaven and Earth......... EK. M. H. He shall Feed his Flock..............ee00- Brown Inguity eK. PALES oS SS, we STA, Sanders I would Trustin Thee.........sceccssceves Bailey I will Bless Thy Name Forever ........... Bailey Keep us ever Nears: .. ...... cscs cwesecs Swabian Lo! Day’s Golden Glory..........5.ssees. Barnby Lord, upon thy Throne we Bow........... Bailey Large are the Mansions...+......+..eeee8- Bailey Lord, Have Mercy upon US............- Schubert Look from on High... ...ccessceescegeecess Bailey Mighty Jehovah ..........cccecccsegeseces Bellini BT Be) a. ae Ven Gtekoeses Bailey Gust Hurdle PAPO... 2... cece gee gees .. Tyler Oh, Rend the Clouds, and Light our Way..Teburs O.Holy Pathver leis .ii1css1ss0sss—oseseer Knight Our Father, God, who art in Heaven..... Hosmer Oh, come, Every ‘One that Thirsteth. Mendelssohn Oh, give us what for us is best............. Bailey Praise ye the Lord in His Holiness ......... Bailey Praise the Lord... 1.2.2... eee Gewese Randegger Ponder my Words, O Lord............. Colburne Riemer DANS +... occ cceces cose Othe ++ Wallace Rest, Spirity-t6entesis? . wtp. 056. ase. ocene Rooke Rejoice; O ye Shepherds... ... esccervdeees Balley ae ee OE EO. sain ng dunes teed Seabee Copison Siw, O Heavens. coc cee ccc nes ccveccasecve Tours Sweet Rest at Last. nvreewr, ... ccc cccccens Bailey Through Life’s Vapor Dimly Seeing ......... Raff The Lord is my Shepherd............eee06- Jones ST BOO PIAGET os iss sss Saeed sep e gos Hunt Talk of-vieapewase 12) . Kos RE Tate Eee Res Sanders The LOrG: Breas THCG.. oo ecco cces sens Bailey The Lord is my Light. Solo............. Sanders The Lord keep 1 ERI FOES. Broad Thy Will, O God! be done............... Gleason Thy Love Divine. . ...idebs BA <ddehds 06%.26 Bailey The Parading Of Cia io Kin preg os scusens panes Bailey The Sunbeams of Morning. ............... Bailey “EUiG 000 TH TAU. CSS Tors ys as oe ko00 Cee Jones Unveil thy Bosom, faithful Tomb seein Handel Vesper Hymm ......ee cece eeee de eeeeeeee Sanders We Ik Bust in Tis LOVE . « ¢ + n5.0+ ds v0 00-4810 White Waichman, tell us of the Night.......... Sanders Why art thou cast down?................ Springer When the Hours of Life are Past........ Willings PRICE $1. WHITE, SMITH & C0., Publishers, BOSTON AND CHICAGO. The Berry Pickers. Parties desiring to bring out ‘‘ The Berry Pick- ers’’ with orchestral accompaniment, can procure the parts for small or full orchestra by applying to the composer, E. Street, Boston. H. Bailey, 516 Washingto~-. The Boston Quartette and Chorus Book. FOR MIXED VOICES. Selected and Compiled hy C. A. WHITE. CONTENTS. A bhderettie Be svicy. ... 8... 0%... SR Goss Alleluia, Song of Sweetness.......... .. Hopkins hE SM Saunas an tag t ¥r sou Pinsu'i Blessed be the Lord God of Israel......... Darks Cast thy Bread on the Waters............ Hodges RST, Co vas Cr ki ond vi04 Am O89 Aue ie Rossini Christ being Risen from the Dead.......... Danks Christ our Passover. Easter Anthemin E..UDenks Christ our Passover. Easter Anthem ip G..Danks Come, Hoty Spirit..’: oiesssccadercacs J. L. Gilbert IQUE ROAE OF TTT Os een ninbt'x Witenes nada Bishop Down the Dewy THR. vs. ccccvcevvcisunes’s Smart Glonia,Patrias: Bbs saudi Sioadi oie ceed, Danks Good-night, Beloved............00eeceee Pinsuti 1 will Arise and go to my Father .......... Danks Jesus, my Lord, my God, my All......... Barnby Joy to the Victors USAR In 20. O98s Bis s Sullivan Lei the Words of my Mouth............ . Danks Loiiin his Holy Temple............... . Danks Lor! is my Shepherd........c.cecuescee oe Jones Make a Joyful Noise unto the Lord..... .. Danks Oh, b3 Joyful in the Lord.............000. Danxs Once inore with Solemn Tread.......... Springer Onwat 1, Christian Soldier............... Sullivan Peasan . ‘Wedding tae yeh deste Soderman RU RCO AM CEO BOON cane ao cnn 5008 he cee *s Danks Rest on his Mossy Pillow................. Smart Wet CO STD Sa saves bith saae chee eee Sudds CE CO AME Cain coca conaen 0) €6 Meeks Canon (ye ee ee. ee ee Clapesson The Sea hi: th its Pearls..........ccnccces Pinsuti Tell Me, Bumess.. ase ied. oye PSEA. Tae Barnby ORB Be EE OTE vin ons vkne mcr schanede Beuson When Evening Twilight................6. Hatton With Sheath d Sword. Damascus Triumphal March Ye Shepherd. , tell me........ cc cencsvs Mazzinghi Price 75 cents Sample copy sent postpaid on re- ceipt of 60 cents. WHITE, SMIYH & CO, BOSTON AND CHICAGO. Four lmmensely bus Pieces for Piano Publishers, Charles D. Dlake. TREMBLING DEWDROPS. Summer Idyl. Full of beautiful tremolo effects. tice. 60 cents. Fine for prac- PEARL OF Love. Valse elegante. 50 cents. One of the most showy and brilliant waltzes ever publishod. Sure to please. MOTHER’S EVENING PRAYER. gieuse. 50 cents. A sweet song without words. Full of grand and inspiring harmony. An established favorite among the best teachers. Send for it. Melodie Reh- MOBNING PEARL. Fantasie eleginte. 80 cents. A gem of the first water. One of Mr. Blake’s best compositions. Made up of brilliant arpeg- gios and runs. Just the piece for concert or ex- hibition use, Of all American composers of the popular class Mr. Blake stands today foremost in the rank as the author of such wor’d-renowned compositions as ‘‘ Waves of the Ocean’’ march and galop ‘*Clayton’s Grand Mar-h,”’ ‘‘Shepherd’s Evening Song,’’ ‘‘ Silvery Echoes,’’ and many others tha: have sold by hundreds of thousands. WH:iTE, SMITH & CO, Publishers, BosToN AND CHICAGO.
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White, Smith & Co.'s Popular and Standard Books. VOCAL METHODS AND EXERCISES. Bonaldi’s Six Studies of Vocalization, soprano Gk GOMGPAlIO.. Vo sedaerielcece ks cae ou Keeler ewe Concone’s 50 Lessons, with Words, Book 1, MiGAte BeaC00G sok cess vedo can) Gace wemmae 2 00 Concone’ s 50 Lessons, with Words. Part 1..1 25 " Part 2..1 25 The same. Bar. PRPe Bigs atecleenaens ee 1 50 % SS) PEND 5 Sick aantio aie bem Pater 1 50 Concone’s Lessons without ‘Words. Part 1. Op. 9. Middle Register... .........-seees 50 The same. Part 2.......... He Ghia ace Ae tered 50 Concone’s Exercises. Op. 11...............- 1 00 st 25 Lessons, .Book 1. Op. 1!'....... 1 50 _ + & 45 Voealizes, Book 1. Op. 12.....1 50 a 50 Lessons. Book 1. Op. 9...... 40 a 30 Lessons. Op. 2l.............6. 50 The two above reprints from Litolff Edition. | leanings for Vocal Practice. Mrs. J. H. Long.2 00 Marchesi’s Exercises Elementaires Graduas. APRN: Binh taeinsh ode vole eek ape meen “ Twenty Vocalizes, English and Italian words. Soprano or tenor, alte or baritome. Each........ Twenty-four Vocalizes, soprano or MEZZO-SOPTANG. .... 2. e ee eeee 2 Panofka, H. Op.85. Booki............... 1 25 24 Progressive Vovalizes. Op. Bhs OG Bosses ca ess were 1 75 Standard Vocal Exercises. Selected and re-— vised by W.C. Tower. Selections from Paer, Bordegni, Concone, Rossini, Quattrini, Ban- Ge OA, Pamseron. 2 o.c..0 ins is 00k e 8 Re eo eos 2 00 Vaccai’s True Italian Method of Singing. So- PIANG.OF BUCO oo ois sie ois Sac cies e cc cieeee 1 50 | Vaccai’s Italian Method, with Addenda. Ed- ited by Dr. C. A. Guillmette.......... 0.0. 2 50 PIANOFORTE METHODS. Beyer’s Method. American fingering. Boards.1 2h ie : f a name ii — Cloth ..1 50 Blake's New Piano Method. Boards ........ 1 00 3 PODER as ack 75 Wi Primary Method. SIONS. ania a). ok 75 ms MIO gk a's sallg a ak “ane 50 vs International Piano Method. Boards.1 50 ss x Paper..1 25 Boston Conservatory Method. Revised and en- larged edition. 100 pages added. American and foreign fingering. Boards............. 2 50 Wirst Lessons for Piano. By the Sis*ers of Notre Dame, Cincinnati, 0. American fin- gering. POOF soi bso ses Se Olin we Caloniatnte 90's 1 50 Hunten’ s Method. COTTON GS sie. Baie Gores 1 25 . RAE ia aie tiie ep a ia's 75 Kohler’ ~ Practical Method. Volume 1....... 75 y Volume 2....... 75 {Reprints from Litolff Edition. | Lebert & Stark’s Method. Parts 1 and 2 ....3 00 BOOK: Ti. wise oases 1 00 DORR e uses eae a ears 2 00 a CHO ka, SS Oe ak yaad OO i s MUL ick ctaeeeees 3 00 Old-Time Favorites. Boards...... ihceh tug ney a 1°25 = CIOED eo a ee nak s 1 50 a " Scar Pee ean 2 00 Scenes from Childhood. Schumann......... 50 Schumann’ s Album. ,Paper..,.....:.. pees 50 sg RPE ary os SOR Ee 1 50 Sonatine Album. Reprint from Collection Pe- | ters, No. 1283, Ed. White-Smith, No. 129 .. 650 Strauss’s Dance Music. Paper.............. 1 50 . = +4 CHOU us Gee es 2 00 CHURCH, SINGING SCHOOL, CHORUS AND CONVENTION BOOKS. Americar Singing Book. S. P. Cheney...... 1 00 Bailey’s Collection. Revised and enlarged. TROREOG bo EU CSE Oa aOR ES CS 1 50 Brothe1 Cheney’s Old Fclks’ Collection ...... 35 Choir Bell. Sacred music. L. Marshall..... 1 00 Choir Favorite. L. Marshall................ 75 Dulcet. Marshall and Hodges............... 1 00 Echo. Singing schvol and church book. L. POPRNALE ils is ok ies hak ee th ee ene w ei Reet 65 Golden Treasure. T. P. Ryder..........00. 1 00 Graded Anthems. D. F. Hodges............ Td Harp of Praise. Leonard Marshall.......... 1 00 Hodges’ Anthems. D. F. Hodges. 2d Coll.. 75 Model Class Book. H.S8. Perkins........... 75 Offering of Praise. HE. H. Bailey............ 1 00 Perkins’ Choir Anthems, H.§. Perkins .... 75 Perkins’ Festival Choruses. Book 1......... 75 ‘The Champion. For singing Schools. Leon- Bra Marae ics 2b se eves bho 6 Hl be Be alee 75 The Church Quartette. Sacred collection by various authors. Boards.).........cecees.-2 00 The Climax.’ H. 8. Perkins........... mye HE! The Convention Gift. Leonard Marshall.. 75 White’s Sacred Quartettes...............8.- (otk 50 (= SUBSCRIBE FOR THE FOLIO. ‘The same. | George C. Dobson’s New School for Guitar... 75 Guitar Made Perfect. OPERAS, OPERETTAS, AND CAN- TATAS. A Night in Venice. Strauss. Full score ....1 00 " rr ee Piano score... 50 oh = = Gems... 5.555 25 A Trip to Africa, Strauss. Full Scoe...... 1 00 S ies Piano score..... 50 S i s Gems... .. 0... 25 Beare Student. Millocker. Full score ..... 1 90 Piano score. “A _ ie ne Genes ces Black Mantles (Manteaux Noirs). Full score.1 00 Gems..... 25 Fair Ellen. Op. 24. Max Bruch............ 50 Falka. \F. Chassaigne. Full score .......... 1 00 ie x Piano scere..... ‘inset AE cy ft Gemma evi conse 25 Festival Iymn. C. P. Morrison............. 30 Golden Hair and the Three Bears.. Operetta NT PB EOT TOTOGG Ys iva wid. s'g 50 4a Gig Bees 7 Star Method for Banjo. George C. Dobson... 25 Winner’s New American Schoo! for Banjo . 75 GUITAR INSTRUCTION. Carcassi’s Method for Guitar. Complete. No. 260. Edition White-Smith................ 3 00 Abridged. No. 261. Ed. W.-S..2 00 Guitar Gems. Vocal and ha dagbeticietia By WL. Siegen: :2 Olt ious. caw ees 2 00 THe Sane). THO ee So irate vs conan 1 50 New Method. for Tun- ing. By Camp eoeoetoeveeeevaseeeeeoeeeoeeeaeves 6 -~Winner’s New American School for Guitar... 75 ——w ee a ee An te lt, RE en a i SUNDAY-SUHOOL BOOKS. Boundless Love. D. F. Hodges............. 15 Buds of Promise. H. F. Wight ............. 35 Glorious Tidings. Perkins i Bentley. Bds.. 35 flymns and Harmonies. CatholicS.S....... 35 Murray’s Songs for Sunday Schools and Gos- DOL MGCHIUG: 5. ia) oe wae bis aten fasaee 35 Shining Strand. D. F. FEOUR GR ee nls eee ope 15 Watchword. J. Astor Broad..........0006. . 85 World of Gold. Ji (A. Buswsiite nce asc. is ao
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LEAVITT’S CREAM SCOTCH POLISH, FOR PIANOS, FINE \ ESTABLISHED FA VORITES BRIGHTEST . MUSICAL | MONTHLY T. Pp. RYDER. | BIRD SONGS. ) 1. Bobolink’s Song. 3 Robin’s Song. | a. Canary’s Song. 4 Cuckoo’s Song. . 5 Whip. poor-wil!’s Song. - Price of each 40 cents. Ne ORNS ee ae 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 beautifu! lithograph title. Blush-Rose Polka..........35 Fuchsia Mazurka,..s.. ..2...3§ Forget-Me-Not Waltz,.....35 Red-Pine March............38 White rink Redowa .......35 Honeysuckle Schottische....35 Lily-Bud Barcarolle........ 35 White-Rose Nocturne....... 35. Verbena Galop. ..siv.s..... 35_ Moss-Rose March .:.. 061. 4.38 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. lal eS At iy ot IN AMERICA.” We want, 50,000 new subscribers. Three reasons why we should have them. 1. We give in every issue from 18 to 20 pages of new music that retails for about $2 at music stores. 3 2. We give every month an elegant lithograph- ie picture of some noted musician or actor, which is worth more than the price we ask for the whole book, FURNITURE, HTC. ‘AND RELIABLE JER Bree “Sting | ai 3) ¥t, : A set of six. easy and progressive pieces for the ianoforte earefully fingered, and especially adapted for the requirements of beginners. 7 t. Alic- March. 4 Emma Schottische. 2. Etta March.: 5 Annie Redowa. 3. Fannie’ Polka. 6 Katie Mazurka. +Price of each 30 cents. Be Any of the above mailed to any address on receipt of price. Standard Compositions. Forest Nymph. Valse Brillante. Op 107...... PPO ee ne 75 Ever Longing, _Mazurka:Sentimertale. ° looming Meadow. ' Rédowa Caprice. Op. r1o..........0- 65 : Warbling of Birds. ‘Mazurka Elegante. Op. 113s.) .s.005 75 of all musical munthlies — the FoLio? Annie Laurie. Fantasie de Concert. Op. 112.......eesee0- 65 La Gondola: Barearolle.. Op. 102.........cceeeccceccscuce 60 Bonnie Doon. Transtription Op. 105 .........cceeeceeces 65 Aw.srica. Grande Fantasie de Concert Op. 106 ........). 75 ’ Mr. Ryder is well known as one of the most popular teachers and piavists in Boston, and his compositions have taken high rank and become very popular among the best teachers of the country.. Each and everv one of the above mentioned pieces we can conscientiously recommend Send for them and you will not be disappointed. Sent by mail on recerpt of price. Address all orders to | | WHITE, SMITH & co, 8 BOSTON AND CHICAGO. SPEAR & DEWUNHOFF, New Work. 2) 5) cae 8 = : > Mm ' pages. THE PETERSILEA SYSTEM FOR THE PIANOFORTE. The Iatest or posthu- mous 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 instructlon ever prenared 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 2.02 sscssvsccsceees pide aka SuUGuE Md bee Le aGhn euhincsew sade without the FOouio. ++ wee FOR AMUSEMENT -3. In every number we give twelve pages of in- teresting musical gossip and news which cannot be obtained elsewhere for double the price we ask for the whole book. ! No person musically inclined can afford to be And what present can you make that woulc be more acceptable to a musical friend than a year’s subscription to this greatest Try it for one year, and if you are dissatisfied the publishers will agree to refund the amount of your subscription — $1.60 per annum, postpaid, 15 cents single number at all news-stands. 'RAYMOND’S REED-ORGAN GEMS. A standard set of favorite selections from operas and well-known works. with many new composi- tions, adapted to the cabinet or reed organ. Price $2. Se a a A ae ae Standard Collection of the finest Books ever Published AND INSTRUCTION. | \ i " : : ! i ‘ “If I could not get anoth ou give x mine for its weight in solid gold. For fifteen years I lost from three to eight days every month with stub- born sick headache. 2 bicycle I have lost only two days from that cause, and 1 haven't spent a dollar for a doctor.” | REV. GEORGE F. PENTEOOST. 14 Since I have been riding the lis || ane a __________S JUS ft MUSEO BY E. HH, BAILEY. ee ee go et ’Twasan in - no-cent flir-ta-tion, just for fun; WORDS BY EARL MARBLE. Popular Song. Catching on. (ae ** Send and get a cnpy—just fr fin. - 108 Price 40 cents. Chicago Daily Sten ee ee eee ee —_—,-- tf 4 JC UHLAU’S SONATINEN Edition Peters. A fire edition. ....cevesccevsvecseseseee 250 . t 3 QGCHUMANN’S ALBUM. Classicai music tor begimmers om the nianoterte. Beautiful | 9 CGUION .- ec ececcnnens cece erreereeeeereresersreees ve cesnsedtedenpererattenee vee of TE ) QLD-TIME FAVORITES. A collection ot old ana tamaliary tenes and melodies front : ell countries. Eavsily arranged for piano or cabinet organ. Boards......eeeeercesecee B25) | BLAKE'S MODEL SCHOOL FOR THE REED ORGAN. ByC. D. Blakeand 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, amd’is withal more plaiply arranged than any similar work. .........sesseeeveecrceeeees vive cay dott ehyn ae 3:OR ONGS OF ENGLAND. A companion to our ‘Cluster of Eng'ish Songs, iy ? : } ere EMS OF THE WALTZ. The most popular waltzes of Strauss, Waldteufel, Lamothe, had ge aap fae tl of aiee ee Bh ail the ‘Faust, Resch, Thorne. Blake, Zikoff, D’ Albert, and so forth........ssecccesaceeeeees 2.00 a eataia ana’ Ales ‘eile Rie cue a t dices a } QRGAN MELODIES. An tne new and standard melodies:are comtained in this volume, BOards. osccccccccoccseccccccsivvssebebcons Cdvwetactechoene ween properly arranged for tne organ «.++seee-seeeeeseeeeee Sis dd ck ten phe kee Wd evitbuds 2.00 BEETHOVEN SONA'PAS:. Vol. I., containing the first: steteetus FPVUEtT GEMS _ The popular works of Blake, Lange, Von Suppe, Budik, Soderman, Moonlight Sonata, op. 27, No. 2, andthe Sonata Pathetique. I ORS saa and orhers, for pianoforte, are here presented in the most pleasing anc sat- note and printed from stone.. The finest edition now published . -isfactory manuer ...... URI Tt Tet ts eeeee eee seen eneeenesceeeeererer cers eneteeee cs 2 00 KOHLER’S PRACTICAL METHOD FOR THE PIANO ({LUSTER OF ENGLISH SONGS. A carefully selected collection of the latest and edition. Voi. 1. 75 cents, Vol. II..... Leeann ee eeee eee neeaes must popular songs, duetts, and quartettes, Every PIECE BiWOM no ccveccccccecccccsce 2 00 BLAKE'S PRIMARY SCHOOL FOR PIANO. The You GEMS OF FOREIGN SONG. The standard German, French and Italian songs and Book. A clear and comprehensive method. Paper 75 cents, bo duetts. Englishtranslation........ ste eheceecesereceens eveseeresserersccseeeecess 2.00 ) \[ENDELSSOHN’S SONGS WITHOUT WORDS. From Edit PLANTATION SONGS ANT) JUBILEE HYMNS. By Sam Lucas, James Bland, a fram: stone, Paper scccice'c's wee on cnien’ | bien Webinne dS 0 Maen seeey UC, A.. White, Dan Lewis,: Harry Bloodgood — ail iavoriies: Paper $1.00, boards..... 1.25 ECHOES FRGM- EUROPE: XA. collection of fhtelgn pintaie BLAKE'S DOLLAR VIOLIN AND PIANO DUETTS. All the popular songs, best selection yet published. “Frem 1‘ « best G-rman and walizes polkas, galops, marches, ANd SO fOrth..eeeeerecceeererceerecerenvcencevecess 1.00 Lange, Oesten, Smith, Lysberg, Maltic, and others. Board MODEL CLASS BOOK. By H. S. Perkins. For elementary classes, conventions, FHICHBERG'’S VIOLIN METHOD. Used in Julius Eic "_. €hoirs, musical institutes, concert use, and the sucial circle. New—just issued..... «75 Conservatory, and by all the leading violin teachers....++- Sc NES FROM CHILDHOOD. ‘By Robert Schumann. The only correct. edition of K REUIZER’S FORTY STUDIES OR CAPRICES, this celebrated -work ecavtceb ooseetece Wisse 0. O50 0 eem6 6 0602 00 eeeree Py sity eecevrescecoreseore eve °59 : vivlin CCC SEER EER HERES HEHE EEEE Cee eeeeeressors Pertees EMENTI’S SONATINEN. Edition Peters. Without doubt this isthe finest edition BEYER'S METHOD FOR PIANO. American fingering published, and -itabsolutely correct.....00scseccessscccssenceess eee re oe seus 59 : ” AS 7? 7 Foreign m yi . ja ‘These editions are the latect lithograoh and printed from stone. N. B.— In ordering any of the above works be sure and state the publishers’ ame olaini,, as in that way you will avoid disappointment and _ WHITE, SMITH & COMPANY, Publishers. LN He sn ht ine eseese-nenasathftnesieenens a E*