The Musical World (May, 1880)
The text was read from the page scans by machine (OCR), so it has mistakes and its columns may run together. See the pages · About this title · At the Internet Archive
Page 1
¥ No. 197. Wol. XVII. $2.00 Worth of Music in this Number. | MAY, 1880. | OF. = ONIN OSS ZX AAK ss Wan an oon x = Ds psi 1 | rittl | : —{—3-—_—__No — YY ae YZ ty iy YJ/;ff ty Y f; WY oe UW NIK ZS Vip That ahi <eennnttt TT err i i | CULT YY PEEL I COTES Ts = | | 6 Wii. 3 ms Original Miscellany. Editorial. That Old Love Song—Poetry................ Mrs. J. V. H. Koons Our Letter Box. May Again—Poetry............s..0c0sse00ees CASEWELL A. SHARPE Editorial Briefs. es rate | Be Fragments of Thought Upon Music............... C. H. BrirTan Henry Wieniawski. =e ee! Be Biographies of American Musicians—No. 31.....W. H. SHzERwoop Caught. Scenes From ‘‘ Golden Legend.”.................. H, E. Krewsiev Be Punctual. Cleveland Department.—The May Festival—Mlle. Marie Litta— The Tower of Babel—By Rubinstein. Cleveland Notes. Prizes or no Prizes? Chicago Department.—The Beethoven Society Concert—The Men- +» delssohn Quintette Club—Hershey Hall Chamber Concert—Cham- eaeenenet er eee ae ee Pn eee mprenty. ber Concert—Chicago Notes. Musical World Letters. Cincinnati Letter.—More Accusations—The May Festival—The Prize Award—Dudley Buck’s ‘“Golden Legend.” S Boston Letter.—The Concerts of a Month—The Pianists Busy—Pre- . : arations for the Handel and Haydn Festival—Organ Recitals— : Music in this Number. he Tourjee Excursions, etc. ; ; : New York Letter—The Last Symphony Concert—The Mapleson Little Florine—Song and Chorus............+.-08 Gro. W. PEersLey Opera Company—Piano icitaie Ballad Concerts, etc. Bear Gently, Time, on Those we Love Milwaukee Letter—The Arion Club—The Heine Quartet. Premdebetert Beets «is eivicccniikn as kao Sn Fe vad PauL WINKLER Musical Review of the Month. Clicquot Galop—Four Hands.............. Ge ava demaa SCHINDLER - Musical Gossip—At Home and Abroad. Sleigh Bell Polka Music Trade Notes. a ey tl ML tori litt etka $osevnee ene ed INSUTI REL Lai chess Cea Mee ew ORE Sokoaine <6 pes oa KoMSAKA Iron Crown Mazurka—Violin and Piano........ MoL_iiz E. ORNDOFF Price 15, cents. Subscription per Annum, $1.50 or $1.60 with choice of five Premium Books. o BRAINARD'S SONS. CLEVELAND &8 CHICAGO. fh : = i American News Company, | New England News Company, Western News Company, | Cincinnati News Company, =< \\———— 213 ecy Yor: peeres.: _.___ CHICAGO. "| —s«CCENCENNATI. } tus —HEIS : eer sb icsid ay ag ee 7 gee it pia we * <* -- ~ ; ¥ or.
Page 2
S. BRAINARD’S SONS, Descriptive Catalogues, Sheet Music 2 Music Books. No labor or expense has been spared in the preparation of complete DESCRIPTIVE CATALOGUES of our extensive stock of sheet music, music books, &c. In our music and book catalogues each song or piece has been carefully reviewed, - by a competent person,and the key, difficulty and price giv- en. Each book is fully described and, where advisable, the table of contents given. Our catalogues will be found of great assistance, especially for our customers at a distance, in making selections of music or books. We issue six different catalogues as follows: Catalogue No. tr. BRAINARD’S DESCRIPTIVE CATALOGUE of Selected Popu- lar Music and Music books This catalogue embraces about one half of our sheet music publications, being a selectionlof the dest and most salable music published by us. Each song and piece is fully described and a verse or two of many of the songs is given. It also containes .4ddendas, giving lists of all the latest publications to date of issue and Descriptive catalogue of all our music books, with contents, prices &c. Catalogue No. 2. BRAINARD’S GRADED CATALOGUE of Selected Popular Music and Music Books. A very useful catalogue for music dealers, teachers and musicians. The contents are about the same as Catalogue No. 1, but the same songs and ieces are all arranged according to their grade of difficulty. Fists of Concert Songs, Temperance Songs, Sacred Songs, Comic Songs, Vocal Duetts, Trios, Quartetts &c. are also given. This catalogue also contains the Addendas of new music and our complete book list, same as catalogue No, 1. Catalogue No. 3. Tue Musician's Guipe.—A book of over 500 pages giving full description of over 8000 pieces of music,vocal and instru-_ mental, being the catalogues formerly owned by Root & Cady and H. Tolman & Co. This book is indispensable to every music buyer. It is divided into six parts, as follows : rst. General Alphabetical Catalogue of vocal and instru- mental music. 2d. Classified Catalogue of Ballads, Songs and Choruses Waltzes, Polkas, etc. Each under.their appropriate head. 3d. Gems of Foreign Songs—Vocal Music with Foreign words, arranged under the Foreign title, the English trans- lation accompanying each. 4th. Operatic -Vocal_and Instrumental Music, classed under the name of the Opera or Oratorio from which it is taken. sth. Authors’ Catalogue, arranged according to authors and wherein nearly every composer of any standing will be found represented. Short biographical notices of all the more prominent authors, with valuable personal information and a careful analysis of their respective styles of writing, are given. This part of the GuIDE was prepared by Mr. W. S. B. Mathews, the distinguished critic and teacher. 6th. Graded course of instruction, showing what pieces are appropriate at each step of the pupil’s progress, and containing a sufficient variety both in style and kind of pieces to enable any one to select just what is wanted at any stage of a scholar’s advancement. This Graded Course was prepared for this work by Mr. A. Baumbach, which is a sufficient guarantee as to its practical value to dealers and teachers, in the selection of music for their customers. A full description of every piece in THe Musictan’s Gurpe is given, viz: first, name; second, kind of piece; third, the set to which it belongs (if any);-fourth, the key in which it is written; fifth, difficulty; sixth, author; and seventh, price. .The Guipe is sent free to any one on re- ceipt of ten cents to pre-pay postage. Catalogue No. 4. BRAINARD’S ORIGINAL CATALOGUE of Sheet music and music books, being a complete list of the original publications issued by S. Brainard’s Sons, which includes more popular copyright publications then any single catalogue in the United States. Catalogue No. 5. SpeciAL CATALOGUE of Non-copyright music. A list of standard'and popular non-copyright music, mostly old, but still salable. The music in this-catalogue is sold at special low rates; which will be make.known on application. Catalogue No. 6. BRAINARD’S DeEscripTIVE CATALOGUE OF STANDARD Music Booxs.—A complete catalogue of all our Music Books, including Instructors and collections of music for all instruments, Piano Studies and Exercises, Singing books for Day School, Sunday School, Choirs, Conventions &c. in fact books to supply every musical want, with full descrip- tions, price &c. Any one of the catalogues (except THE MusIcIAn’s GuipE for which we require ten cents for postage) will be mailed free to any address on application. If more than one is wanted, stamps should be sent for postage. Theven- tire six catalogues will be sent on receipt of 20 cents. “STREW BLOSSOMS ON THEIR GRAVES.” A beautiful new song for Decoration Day. Musicians, G. A. R. officials and the press have united in pronouncing this the most appropriate song for the occasion now published. Send 40 cents forasample copy. Liberal reduction to choirs | outstrips all other School Song Books. New Music Books. First Years (50 cents; or $5.00 a dozen.) For Day School and free Classes. Contains a well ordered course of essons and a large supply of ood songs for every department. Far Song-Land or G. A. R. Posts ordering a number of copies. | Contains 216 pages. Already the most popudar. Usual discount to the trade. Descriptive circular with flattering testimonials sert on application. Address, R. T. WILEY, Elizabeth, Penna. FREE Sample copy of BREHM’s MusiIcaL Address F. BREHM, Erie, Pa. JOURNAL. Send for illustrated catalogues and prices of these beautiful instruments to S. Brainard’s Sons, Sole Agents, Now NeAbY ! Karl Merz’ New Operetta KUNE DEAN, The Little Ragpicker. The announcement of Mr. Merz new work for Amateurs Societies, &c., will be welcomed by many. It is written in a style not too difficult for Amateurs of moderate ability and is full of taking airs and stirring choruses. Price, in paper binding, $1.00. S. Brainard’s Sons, Publishers, CLEVELAND AND CHICAGO. WELLS. Ia WZ ELASTIC TRUSS PH eSNG Has a Pad dif Bee iat ION iy fering from @, all others, is |, cup-shaped ) with SELF. ADJUST’NG BALL in the center, adapts itself to all of the body. »)\ while the BALL in the /}) Cup PRESSES BACK THE INTESTINES JUST AS A PERSON &N ENLARGED VIEW OF WOULD wa So area bg FINGER. With light pressure the Hernia is held securely day and night, and a rade . ical cure is certain. It is easy, durable and cheap. Sent by mail, postage paid, - Circulars free. Address, Eggleston Truss Co., Manfrs, Or ¢, H. EGGLESTON CO., Chicago, Ill, od By Geo. F. Roor. Palace of Song. Do not select a book for singing- classes until you have examined this. ‘Voice Culture” de- partment alone worth the cost. Man of the ew pieces already popular. (75 cents; or $7.50 a dozen.) The Last Will and Testament. “x... Comic Operetta for Amateurs. A rich piece of melody and amusement for drawing or concertroom. Plot ingenious, and lyrical parts marked by a quaintness decidedly refresh- ing. (Price, $1.00.) KARL By Gro. F. Roor. Song Tournament. (Si.66. A Cantata introducing the characteristic music of differ- ent nations. Splendid effects, thirty pieces, and may be given with or without costumes. % % %* The New Musical Curriculum *:,'". the head of methods for the piano in the simple system by which the pupil is led on from rudiments to proficiency. It is the only book that makes Aldaying and singing go hand in hand. (Price, $3.00.) The Model Organ Method };,""¢;?:,vo* instrument. Progressive and complete, it leaves nothing to be desired, and is deservedly popular. (Price,. $2.50.) % % FOR MUSICAL READERS. THE GREAT TONE POETS. Short Me- moirs of Great Composers. By F. J. CROWEST. (Price, $1.50.) ‘*The subjects are well chosen, the memoirs bristle with piquant anecdotes. From Bach to Schumann, he keeps our admiration at fever heat.”—London Academy. MENDELSSOHN. A Memoir. By Frxpt- NAND HILLER. (Price, Cloth, $1.50.) Not only to musical students, but to all persons of musical taste, this authentic memoir will be welcome. It should be attentively perused by all. NORMAL MUSICAL HAND-BOOK: A Book of Reference, for Teachers and Mu- sical Amateurs. By G.F.Roor. Cloth, $3.00. This valuable work should be in the hands of every teacher. It covers the whole ground of Notation, Voice Culture, Harmony, and Church Music. THEORY OF MUSIC. H.R. PAtmer. $1.00. Without a peer in simplicity and straightforwardness; opens a new road to musical knowledge. * * * . ? Pp BLISS The following well-known books of ode * sacred Songs need no words of praise; Gospel Songs, 35 cents; Gospel Hymns, No. 2, 35 cents; Gospel Hymns and Sacred Songs, 35 cents; Welcome Tid- ings, 35 cents; Sunshine, 35 cents; Each $3.60 a dozen. By H.R. Parmer. $3.60a dozen. Songs of Love. 83. & Pause, $3.60 dozen ns Every Sabbath. 8 7 C.O8axe $3.60 2 do. Single copies, 35 cents. Gospel Male Choir By Jas. McGRANAHAN, ; * Indorsed by D. L. Moody, and used in the Young Men’s Christian Associations through. out the Union. (Price, 50 cents; or $5.00 a dozen.) Millions of these books are in use in Sunday Schools and revival services. is the best work Any book mailed, post free, for the retail price. JOHN CHURCH & CO., CINCINNATI, Q. S. BRAINARD’S SONS, CLEVELAND.
Page 3
IN ADDITION To our own make of Pianos and Organs, we control the sale of the following well-known Eastern instruments: THE Kranich & Bach Pianos, Wm. P. Emerson Pianos, Hallett, Davis & Co. Pianos, Dunham & Sons Pianos, B. Schoninfier & Co. Organs, &c. It is the aim of the manufacturer of the Kimball Piano To make an instrument combining all the Valuable Improvements, Styles of case and finish, of all the leading Pianos. paki te a that skill and LONG EXPERIENCE Can suggest is employed to make these popular instruments, both musically and externally, the BEST PIANO FOR THE MONEY That has ever been sold in the market. 46,000 NOW IN USE. W. W. KIMBALL, COR. STATE AND ADAMS STREETS. _HLAGS, sede uti Bawer & Go. Manufacturers neburetsor the-E the Favorite PIANOFORTES, GRAND, SQUARE AND UPRIGHT Strictly first class instruments at. Moderate Prices, used and recom- mended by 25,000 professors and amateurs and fully warranted for five years. Zhe Patent Self-Bearing Agraffe Attachment Concave Name . Board, and Inproved Veneered Bridge, and valuable. improvements used in the BAUER only. The Bauer tabinet Grands, The newest and most perfect production in the art of Piano making. Prominent artists pronounce it a marvel of perfection. FACTORY, 127 & 129 E. 129th St, Cor. Lexington Ave., N. Y. Warerooms in Chicago, 182 & 184 Wabash Ave. IMPORTERS AND JOBBERS OF MUSICAL MERCHANDISE OF EVERY DESCRIPTION. Catalogues sent free to “PR Address ~ Junius Bauer & Co, & 184 WABASH AVENUE, CHICAGO, ILL. — Mention MusIicaL WorLD. S. Brainard’s Sons, CHICAGO. WE SHALL REMOVE OUR CHICAGO MUSIC HOUSE cee ist 136 State Street ‘hau cors Madison St, When with increased facilities and a complete stock of AMERICAN AND FOREIGN MUSIC and General Musical Merchandise, we hope to see our friends and patrons.
Page 4
THE CHICAGO Musical College Dr. F. Ziegfeld, ~ - President. J. J. Hattstaedt, - - Treasure. K. M. Castle, Yas . Secretary. BoARD OF DIRECTORS: Rev. Dr. H. W. Thomas, Gen. Anson Stager, Rev. Canon Knowles, James B. Runnicn, Rev. Dr. W. H. Ryder, Julius Rosenthal, Hon. William Bross, A. G. Fowler, N. K. Fairbank, Dr. P. H. Matthei, William M. Hoyt, Theo. Schneider, W. W. Kimball, Louis C. Huck. College Buildings, CENTRAL MUSIC HALL, Cor. State and Randolph Streets, and 44 Loomis Street, West Division. THE Summer Normat Session, 1s one of the distinctive features of the College. It will commence on Wednesday, July 8th, and close on Wednesday, August 18th. All the Pro- fessors of the College will be in attendance and contribute their services as in the regular sessions. Special terms of tuition are made for teachers. At the end of the session pupils will receive a cer- tificate of membership and those qualified a Teachers Diploma. Send for new Catalogue. Address, Chicago Musical College, Central Music Hall, Chicago, Il. MUSIC TEACHERS SEND FOR CIRCULAR OF THE SIX WEEKS SUMMER SESSION, OF THE OFLIO Normal Music School In the methods of instruction, in eminence of in- structors, course of study, and in meeting every want of the Piano, Voice and Class Teacher, this School is unrivalled. Among the teachers. already engaged, are Mr. E. M. Bowman, the Eminent Pianist and Theorist. (Author of Bowman’s Weitzman’s Har- mony and a pupil of Franz Beudel, Haupt and Weitzman.) : Mr. J. M. Nortu, the celebrated Voice Teach- er, and author of North’s Voice Method, etc. Mr. Lewis HAMMERSTEIN, Pianist, graduate of Leipzig Conservatory, etc. There are several features peculiar to this School which make it exceedingly desirable for teachers. Address, N. COE STEWART, (27incipai,) «CLEVELAND, O. BAXTER University s Music A full educational institution in every department of musical learning, voice and instrument. Regu- lar school formula with graded courses of study, daily instructions and all instruments free for prac- tice in its own buildings. Complete educational courses of intelligence and culture in theory, practice, interpretation and aes- thetic composition; for graduation in the music ot the Church, the Parlor, the Orchestra and the Band; the cost being little more than learning to play an instrument by the common ‘‘lesson” aadlind. JAMES BAXTER, Pres. FRIENDSHIP, N. Y. BOSTO Conservatory > Music ESTABLISHED IN 1867. Fifteen to twenty Dollars is the highest charge for the study of any branch, including a free course in Harmony, Thorough-bass, Musical Theory, reading at sight, etc. The Concerts, Mat- inees, Lectures, etc., also daily Organ practice, are free to pupils. Not more than four pupils in a class. The regular terms begin in September, February April and an extra Summer term in July. Send for circular to. JULIUS EICHBERG, 154 Tremont St., BOSTON, Mass. OBERLIN fonsarralory=dfusi Over THREE TMOUSAND students have received instruction in this Conservatory since it was estab- lished. Its faculty consist of six Professors, five of whom were educated in the celebrated schools c« Leipzig and Paris, and all of whom give their en- tire time to this institution. Instruction is given in class or private lessons, as prefered. The rates of tuition are exceptionally dow—fifteen dollars a term paying for tuition in piano-forte, organ, violin or singing, with other ad- vantages of Lectures, Concerts, Recitals, Chorus singing, etc., making a total of from one hundred and twenty to one hundred and thirty hours of in- struction in various branches each term. All living. expenses in Oberlin are also very low. The Conservatory is one of the departments of Oberlin College and under the direct management of its Board of Trustees; by virtue of this connec- tion it offers greater advantages for both musical and literary culture than can be obtained elsewhere. Diplomas are given tc all who complete in a satis- factory manner its course of study. The terms ot study begin in September, December and March, each continuing three months. For fuller partic- ulars send for catalogue, F. B. RICE, Director, OBERLIN, Ohio. THE WORLD'S GREATEST VIOLINIST. The most eminent Musical Critics have recognized JULIUS EICHBERG’S Violin School, CONNECTED WITH THE Boston CONSERVATORY OF Music As the only Violin School in America. Address, JULIUS EICHBERG, 154 Tremont St., BOSTON, Mass. CINCINNATI Wfusical ngtitute! No. 137 West Ninth St., Miss HATTIE E. EVANS, - Directress. A complete course of study in the special branches of Piano and Organ and Vocal Music. Instruction given upon other Musical Instruments and in Elocution if desired. Evening classes formed for the accommodation of those whose business avocations prevent their attendance during the day. Thorough instruction given in all departments by competent teachers. Application can be made at any time. Accomodations made for the reception of board- ers. ‘Terms moderate. For further information and for circulars apply to MISS HATTIE BE. EVANS, CINCINNATI, O. NORMAL Musical Institute Canandaigua, N. Y. JULY 7th to AUGUSF roth, 1880. MR. Wo. H. SHERWOOD, MR. EUGENE THAYER, MR. HARRY WHEELER, MR. L. H. SHERWOOD, and other eminent instructors. Full Normal Course, jncluding Piano, Organ and Song Recitals and Concerts $15. Board, $4. per week. For circulars send to WM. B. SHERWOOD, Direcror, 157 Tremont Street, Boston, Mass. DANA’S | usical [nstitute, WARREN, OHIO. An institution devoted exclusively to the study of music—embracing systematic courses of study for — and Theory, and all instruments in use in the Church, Parlor, Orchestra & Brass Band. Daily instruction in each branch pursued, and free use of instruments in practice. The school maintains a superb Orchestra and a Brass and Reed Band. Daily rehearsal in Oratorioat 9 A. M.; Or- chestra at 5 P. M.; Brass and Reed Band at 7 Pp. M. TUITION, $150 PER YEAR. Send for an elegant Catalogue to JUNIUS DANA, Sec. ddress E. TourjJEE, NEW ENGLAND ) Furnishes and fills Situations, MUSICAL Music Hall, Boston. ge Conservatory, BOSTON, EMPLOYING EDUC ATT ON 75 Eminent Professors. Has a reputation unequalled for furnishing a Complete Musical Education at merely nominal rates, combined with RARE collat- eral advantages. For prospectus, address, E. TOURJEE, Music Hall, Boston, Mass. AXTER UNIVERSITY or MUSIC. Unequalled for Perfectness of Educa- tion and Economy of Attainment. JAMES BAXTER, Pres., Friendship, N. Y. Teachers of the PIANO -FORTE IN BA Sy, Schools, $ Conservatories, NEW METHOD Collezes, Ranro-roS Seminaries, = &e,, &C., All unite in pronouncing Brainard’s New Method ! for the PIANO-FORTE, far in advance of all other Instruction Books. It contains no useless matter and is the result of thirty years’ practical experience in Piano teachin A careful examination will all cases. PRICE ONLY $3.00, by mail, sql with a liberal discount to teach- ers and the trade. S. BRAINARD’S SONS, Publishers, CLEVELAND AND CHICAGO. insure its adoption in
Page 5
S. BRAINARD’s SONS, CLEVELAND. No. 197. MAY, 1880. S. BRAINARD’s Sons, VOL. XVII. CHICAGO. Original Wiscellany, [Written for BRAINARD’s MusicaL WORLD.) THAT OLD LOVE SONG. INSCRIBED TO CLARA A. HICKMAN BY MRS. J. V. H. KOONS. O, sing again that old love song Dear sister, once for me; For in its melody Some sweet entrancing spells belong, That wake the memory Of happy hours in the olden time, When joy, to you and me, Ran as the rills in rippling rhyme Run homeward to the sea. There are some thoughts so full of light, ‘Lhey bridge the dark abyss ’Tween the Upper World and this; They dawn upon our inner sight, Foreshadowing the bliss That we shall taste unmixed with grief; And th’ soul thro’ its prison bars Looks up with love and would drink relief From its fount beyond the stars. oe eereenteenanansar tional ancllpiaenaes aaeatetasiigesinclenet MAY AGAIN. CASEWELL A. SHARPE, "Tis sweet to watch, along the bowers, The sorcery of the May-day showers, Adorning all the heads of flowers ith glistening beads of light ; Or see the rose-buds coyly glinting From canopies of gorgeous tinting, And flinging out chromatic hinting Of the Summer’s old delight. The leafing trees, erewhile so bare, And shivering in the frosty air, Now pulse with life renewed, and wear Their modest suits of green; And birds, among their waving boughs, In musical accord carouse, And plight, in plaintive accents, vows ey never will demean. The month that gives the flowers birth; The month when Nature, full of mirth, Flings o’er the warm and pregnant earth A robe of grass and flowers ; The month wherein the flowers renew Their promise to the morning-dew To sparkle with a brighter hue, Along the floral bowers ; The month when a fancy comes and goes, When a maiden’s heart opens like a rose, And drinks the sweet vows of her beaus, Like a thifsty flower the rain; The month wherein the young man’s soul Flows out like the song of the oricle, And will not brook a slight control, cam: Nor reason entertain, O mild, sweet days of sweeter May, When breezes, with the flowers at play, Catch in their arms and bear away A wreath of vernal perfume, And spread it, with a grateful hand, O’er all the sunny, smiling land, And fill it with an odor bland, That dissipates all gloom. Sweet month of May! it seems to me Thou hast a kindlier sympathy With poor, heart-sore humanity, Than e’en the joyous June; For, with the birth of bud and bell, Along the bowers and through the dell, Our Spirits know the sweetest spell That month hath for a boon. Then fling thy beauties far and wide; Throw blossoms on the passing tide, That they may emblem, as they glide, Our peaceful lives in May. Our spirits own thy sweet control ; A calm and beauty fill the soul; And swiftly may the season roll Wren thou art passed away. Thoughts Upon Music. C. H. BRITTAN. Fragments of Man comes with his reflective thought into the great material world, and tries to evolve from its forces and matter forms of beauty. The spirit of the poet, the painter, the writer, the sculptor, and the musician, is animated by the wondrous influence of the beautiful. The poet feels the beautiful in nature, and in idea, and makes his verses its responsive echo. The painter is attracted by the glories of a lovely landscape, and givesit an unfading form of beauty upon his canvas. The writer comprehends the beauty of truth, and re-echoes its precepts in his written words. The sculptor feels the nobility of the sou; of man, and endows him with the beauty of a God. The musician views the entrancing loveliness of the universe around him, and his soul pours out a song of praise. Light reflects beauty to the eye but the harmonies of music pass through the still night, and proclaim in sweet and tender notes the thought of love. The eye sees beauty, while the ear in music may hear its utterances. Music came into the sphere of sound, and ex- tracted its sweetest notes, and made them her willing cagtives forever. The sun sends his rays of light earthward, and each little beam reflects upon all nature the beauty of heaven. Music’s pulsations vibrate through the silent-air, and awakens the harmony of the universe into re- sponsive chords of praise and thanksgiving. Music c1lms sorrow and gives to joy its beauty. When sadness is changed to tenderness by the in- fluence of heaven, the heart can sing in gentle notes of the hopes of the immortal, When a| great soul gives its life to music, behold a Bee- thoven entrances the listening world! Music must have pure-minded followers, before she will give out her richest gifts. Selfish aims and worldly efforts for fame would never have produced such a gifted nature as that of John Sebastian Bach. When music -sings her sweetest song the busy world pauses to listen, and becomes better for the melodious influence that touches the heart. True music is like the diamond—pure and beautiful forever. Truth lives in the spoken word, and music in the murmuring harmonies that pulsate through the air. The aim of all human art is toward the perfec-. tion of the beautiful. There are colors so delicate that the eye even when aided by the most skillful inventions that human ingenuity can produce, can not see them. So also there are notes so slow and grand in their vibrations, and others so high and rapid in their pulsations that the most perfect ear cannot hear them. Man’s comprehension of the immensity of the universe of truth with which he is encompassed, is but an infinitesimal fragment. Human inventions, our knowledge of the beau- tiful as seen in our arts, and our discoveries of laws as revealed in our sciences, proclaim us to be but at the very doorway of the great universe of progress which lies just beyond our little present of accomplishment. Thus art, like eternity, is unending. Music’s meaning is too deep for human words. We catch its beautiful melodies and treasure them in tender memories, and are held spellbound by its deep harmonies that chant of awe and wonder; and its tuneful influence falls over us like a mystic charm, and we are calmed into a state of restful- ness by its invisible power. But its meaning we only feel in the heart. The student of the musical art should realize that there is no end to the possibilities of attain- ment, and thus cultivate his talent to the utmost, as if perchance it were god-given for a purpose high and noble, even that of advancing the beauti- ful to a lovlier state of perfection. Composers create tone-pictures that are as beau- tiful as any painted in colors by the great artists o1 the world. . Beauty has many forms in which she manifests her power. In the world of nature we see her smiling face reflected everywhere. We observe the purity of her presence in truth, we see her rer- sonated by the human form. We hear her very voice in the rich tones of music’s sweetest har- monies. Beauty in the absolute is the great spirit of God. . Thoughts made to order, unlike garments sels dom fit, 3
Page 6
66 Biographies of American Musicians. Number Thirty-One. MR. AND MRS. WM. H. Though young in years, Mr. Sher- wood is by all critics acknowledged and received as the most impressive and original pianist ever heard in this country. He has attracted much at- tention in Europe and upon his ar- rival in his native country quickly made for himself a reputation. Mr. W. H. Sherwood, was born in Lyons, N. Y., in 1854. His father, Rev. L.. H. Sherwood, M. A., a gentle- man of high literary, as well as musi- cal cultivation, is the founder of the Lyons Musical Academy. From him Mr. W. H. Sherwood inherited much of his musical and poetical sensibility, and through his father’s training he learned both to enjoy and develop musical ideas, and to form serious habits of. practice. Mr. Wm. H. Sherwood made much progress between his 9th and Iith years, being at that time con- sidered a- most astonishing young pianist, and appearing with gratifying success in concerts in Pennsylvania, New fork and Canada. From that time until his 17th year, his time was mostly employed in common school studies, combined with more or less employment as teacher in his father’s ‘school. Not until the summer of 1871 was his mind made up to follow music as a profession his studies having been pursued in other branches until he was fully prepared to enter college, being especially proficient in mathe- matics and Latin. During five weeks of the summer of 1871, Mr. Sher- wood enjoyed the instruction of Dr. Wm. Mason, at a Normal music school held in Binghamton, N. Y. played with such marked effect, seyeral times, and received so much encouragment from Dr. Mason that by the latter’s advice his father was induced to go to Berlin with him, to study with Theodore Kullak, in the fall of the same year. He had for some time previous to this filled the position of organist in St. Paul’s Church, Syracuse, N. Y. His progress with Kullak was rapid and brilliant. Seven months afterwards, in March, 1872, his teacher selected him to play at his yearly concert in the Sing Academie giving him no less a task than the great F' minor Fantasie, by Chopin, Op. 49. Herr Moschkowski, Nicole Zacoby, Scharwenka, Martha Remmert, Adell aus der Ohe, and others of repute took part in the con- cert as pupils of Kullak. Mr. Sherwood received the most enthusiastic applause of all, and the best criticisms for his musical warmth, execution, and interpretation of this beautiful and difficult work. Kullak considered him his favorite pupil, and seems to have retained his high opinion of him to this day. Mr. Sherwood’s health became somewhat im- paired during this first winter in Berlin, and he went to the Rhine, and after a few weeks of re- cuperation in company with his father and an eminent Cincinnati pianist, Mr. Armin W. Doerner, a fellow student with Mr. Sherwood, all three located in Stuttgart. Mr. Sherwood, senior, soon afterward returned to America. After some six or more months spent in Stuttgart, during which time he made rapid progress in composition under Carl Doppler, ard at the same time was the organist of the English Church at Stuttgart during most of his stay there. Mr. W. H. Sherwood next returned to Berlin, and to his formerteachers, Kullak and Weitzmann. Under the latter he soon completed several piano compositions which have been the occasion of urgent advice from such | SHERWOOD. men as Rubinstein, Liszt and others to devote himself exclusively to composition. These works stirred up a greater interest in his talents than even his piano-playing. A ‘‘Caprico” Op. 4, pub- lished by Breitkopf & Haertel, Leipzig, two or three years later was the occasion of most enthu- siastic encores and encouragement. Mr. Sherwood being particularly successful withit. Inamemorable matinee given by Liszt in Weimar, and in a Phil- harmonic Concert in Hamburg. , During his second winter in Berlin Mr. Sherwood was en- gaged to play the Emperor Concerto, (No. 5, in E-flat), in a symphony concert with the ‘‘Berliner Sinfonie Kapelle,” orchestra. This performance was his greatest triumph yet, and led to his en- gagement shortly afterwards to render the same work at a ‘‘Beethoven Feier,” in the concert Hans under the direction of the Royal Music Director, Richard Wuerst. This second perform- ance, before an audience of 3,000 or 4,000 people, was an ovation from German Connoisseurs and people to American genius, Mr. Sherwood being repeatedly called out and cheered, and forced to make his bow no less than eight times. This con- certo was subsequently repeated in three more symphony concerts in Berlin, making five in all, during a period of two years. This conspicuous beginning, would, in many cases, have been the signal for a concert tour, but Mr. Sherwood began to get greatly dissatisfied with his own touch and technique, and went from the concert room into a schooling of fingers and wrist, which for over a year caused him to neglect the study of musical works, and desist almost wholly from playing. He considers some of this time clearly wasted, but recognises many good results from the formation of very exacting and strict habits of self-discipline, and fine shading and qualities of touch. Becom- ing impatient of some teachers and principal which seemed to make an end of mere mechanical preci- sion and to dwarf the inspired ideas of the music studied, he went to Leipzig where, for several months, he studied counterpoint and composition with E. F. Richter. This sojourn, from February to May, was soon broken up by the arrival of Liszt in Weimar, where Mr. Sherwood soon fol- lowed with his wife, a pianist of marked ability, to whom he was married the Autumn preceding. Very seldom in musical history is it found that husband and wife excell in art, the most remark- able instance of this kind is that of Robert and Clara Shumann. Mrs.. W. H. Sherwood, zee Miss Mary Fay, (not related to the celebrated pianist, Miss Amy Fay, of Chicago), had made a sensation in Boston by recitals and performances with the Mendelssohn and Harvard Societies there. She was a pupil of Wm. Mason, also of Richard Hoffmann, Gustav Satter, and of Ruben- stein during his sojourn in America. Through the advice of Rubinstein, she went to Kullak in Berlin, who spoke of her to Mr. Sherwood _ before their acquaintance, as his most satisfactory lady pupil. In Weimar they enjoyed many privileges of hearing and studying under Liszt’s guidance. The great master had many words of encouragment, and showed many courtesies during their six or seven months’ stay in Weimar, and upon the birth a —————————————————— of their first child in Weimar he offered himself as godfather. At Liszt’s last matinee of the season prior to his departure for Pesth, Mr. Sherwood was asked to play twice before a distinguished audience of artists, which he did with eminent success. A Philharmonic Concert in Hamburg followed, where Mr. Sherwood introduced Grieg’s celebrated con- certo in A minor, meeting with the most enthusias- tic approval from the Hamburg press and public, repeated recalls, a salute from the orchestra, an honor seldom conferred, and a large voluntary in- crease of the generous sum offered in advance by the Board of Directors for his services. Mr. Sherwood gave his own concert in Hamburg a few days later, assisted by a. fellow student and artist from Weimar, Herr Paul Toepffer, to a fullhouse. He appeared six times in Hamburg in two weeks, then went to Berlin, February 18, -1876. Mr. Sherwood gave his own concert in the Berliner Sing Akademie assisted by Mrs. Sherwood, to a full house. It was a season of financial depression and of disaster to many concert enterprises, but, though quite. neglected by most of the resident musicians, Mr. Sherwood hada large audience of some 1,800 or 2,000 people, and in every instance received eminently favorable criticisms from the leading German papers and. musical journals. The only known exceptions to the gratifying opinions of the press, expressed at that time, were a few Jetters in American papers from Berlin ‘‘Ameri- can” correspondents. The Berlin papers-spoke of Mr. Sherwood as one of the greatest pianists of the age, in regard both to execution, touch, power of contrast and shading, of intellectual conception, and musical feeling and poetry. Mr. Sherwood soon after made preparations to sail for New York, leaving too soon to be able to accept engagements offered by the symphony Societies Bremen, Cassel, Gera, Lubeck, at the Courts in Berlin and Weimar and from the directors of the Gewandhaus in Leipzig. Having arrived in America in May, 1876, Mr. Sherwood was immediately engaged to make his debut in two grand Cary, Kellogg, Brignoli concerts and ina Boylston Club concert, (the leading singing club of Boston), at which _ his reputation was at once established. He was. in- vited by the citizens of his native town, Lyons, N. Y., to give a recital there, where he was received with many marks of distinction. A visit was made during the summer to Kansas City, Mo., where a concert in the Opera House drew a large audience to hear their first programme of classical piano music. One of Mr. Sherwood’s arguments has been that music oi the great composers _per- formed by a live musician should be as much, in fact more calculated to satisfy and please an un- cultivated audience than so-called ‘‘popular’’ music, either vocal or instrumental. He has demonstrated this theory to his own satisfaction and to that of his listeners as well, in many recitals in smaller
Page 7
07 towns, many out West, where severe programmes have been ventured upon ‘‘for the first time,” with entire success, arousing the highest enthu- siasm from the public assembled. In the fall of 1876 Mr. Sherwood settled in Boston as a teacher, his services being at once in demand. He con- ducted several classes fortwo or three seasons at the New England Conservatory, some of his pupils proving the most successful and satisfactory per- formers at two or three of the quarterly concerts of that institution. He has since withdrawn himself from conservatory teaching, claiming that pupils cannot receive proper or sufficient attention in the short time allotted to each in the classes, nor can they be thoroughly well graded for piano instruc- tion, if it is to be artistic and thorough. It is never- theless true that a spirit of competition is aroused and much of a pupils diffidence or nervousness can be overcome by habits of associaticn with others. Mr. Sherwood never became a conservatory pupil him- self, prefering private instruction. Nevertheless with Kullak and Liszt he enjoyed the benefits of recitations in company with other students, but although without the disadvantage of the 15 minute restrictions of the conservatory plan. During the Centennial Exhibition in Philadelphia, Mr. Sher- wood took part in the memorable concerts at the Philadelphia Academy of Music, in the latter of which, ‘‘The Centennial Musical Festival,’’ con- ducted by. Theodore Thomas, his playing of Schubert’s grand Fantaisie in C Op. 15, by Liszt, for piano forte and orchestra, earning an enthusias- tic, double re-call before an audience of 8,000 people, Mr. Thomas, Orchestra and Chorus lead- ing in the applause. The same fall, 1876, this performance was repeated with Thomas’ Orchestra in Boston with equal effect. At another Thomas concert in Boston, the same autumn, Mrs. Sher- wood played with Mr. Thomas and also at a Har- vard Symphony concert, and Mr. Sherwood found himself in immediate demand as both solist and teacher, fulfilling engagements with the Harvard Association, with Mr. Thomas in New York and other places, and giving with his wife five recitals with highly interesting programmes in Boston which were well attended. The season following, 1877 and 78, showed a great increase in the in- terest manifested in another series of five recitals, numbering as many triumphs, and containing pro- grammes of almost entirely different material from those of the first series. An especial triumph was the playing of Shumann’s A minor concerto with Thomas’ Orchestra in Boston Music Hall, Feb- _tuary 13, 1878. Dutfing this and the preceeding season, Mr. Sherwood had many engagements in New England towns. His tworecitals in Chicago at the inauguration of Hershey Hall, January 23 and 25, 1877, at once established the knowledge of his powers throughout a large western territory. The Summer of 1878 gives us three recitals. given before the National Music Teachers’ Association, convened at Chautauqua Lake, N. Y. A five weeks’ Normal Music School summer session fol- Academy. The attendance was good, the interest great. Of recitals Mr. Sherwood gave nineteen playing in company with his wife, to the assem- bled students, who came from all parts of the country, one hundred and seventeen works selected from the best composers. A general invitation from the citizens to repeat the session another sum- mer, kindly offering the free use of the public school building, was followed by a similar invita- tion signed by the leading citizens of Canandaigua, N. Y., with a second paper pledging the names of about eighty students in case Mr. Sherwood would hold the next session in that town. The letter was accepted. The season of 1878-79 opened and continued with such a rush of pupils that that both Mr. and Mrs. Sherwood gave up the idea of any extended tour. A series of ten recitals was given during the space of twelve weeks, all of which were favorably noticed. Mr. Sherwood’s performance of Beethoven’s’ Empire Concerto at the Harvard concert December 5, 1878, was decided to have been one of the finest performances ever heard. His engagements in Boston for three seasons have been more than those of any other pianist. His recital of April 29th, at Steinway Hall, New York, was listened to by a large audience of the cultivated musicians of that city, eliciting almost universal expressions of equal satisfaction, pleasure and surprise. Mr Sherwood was recalled at the close of.a long programme and forced to play again. Soon after thisconcert, Mr. Sherwood left a class of nearly seventy pupils for a tour of recitals, partly to fulfil engagements offered during May and June, 1879, playing almost continuously as follows; Three concerts in Bos- ton, one in Providence, R. I., Portland, Me., Cambridge, Andover, Bradford, Taunton, Lowell, Mass,, three recitals at the University of Oberlin, O. Pittsburg, Pa., Lexington, Ky., two recitals in Cincinnati, six in Chicago, four in St. Louis, two each in Milpaukee, Wis., St. Paul, Minn., and Cedar Rapids, Iowa, one each in Burlington, Dubuque, Davenport, Ia., Owatomca, Minneapo- lis, Minn., Evanston, III., Detroit, Mich., Buffalo, Auburn, Syracuse, and Wells’ College, (two recitals), N. Y. He played also in Cleveland be- fore a select audience on the way through. But we have given enough statistics to show the won- derful activity and popularity of this young pianist, though much material is at our hands that would interest our readers. | Musical Review of the Month. SILVER Cire, Cot.—Mrs. W. W. Rose} Jr:,*the finest soprano in Colorado, has. removed to Silver Cliff. . Kart Merz’ MopDERN: METHED FOR REED ORGAN has again been enlarged by the addition of sixteen pagess of the ‘‘Elements of Harmony,” thus making it one of the largest and most: complete Reed Organ Methods in the market. Piqua, O.--Mr. F. G. Webb, of Lima, O., gave a fine organ concert at Piqua on April 8th. The programme was excellent. We enjoyed even looking at the name of the first piece. The question is how were they pleased? All credit to Mr. Webb for aiming so high. SEVEN Miz, O.—The choir of the Universalist Church of Hamilton, O., gave a concert on the roth of April, under the auspices of the Seven Mile Cornet Band. The:choir was assisted by Mr. Laury Jakson, Mr. Paul Robertson and Master Harry Blum. The programme was good. WapswortH, O.—Prof. W, A. Ogden just closed the most successful musical convention ever held in this part of the State, rendering with the Medina County Association his splendid oratorio “Josiah.” Miss Maud M. Boise showed excellent qualities as pianist. The concert was grand, and the noble harmonies in Fugue, rolled out in such ‘manner as to elicit repeated applause from the large au- G. . CR. ATLANTA, Ga.—Three complimentary concerts were given to Madameand Mr. Schultze, Principals of the Musi- cal Institute of that place. The attendance, so the reports say, was good, speaking well for the popularity of the above named lady and gentleman. The programmes con- tained much than is good. Works by Beethoven, Mozart, Mendelssohn, Haydn and Weber greet one’s eye. In one of the concerts the entire Mass in G, by Weber, was per- formed, also Haydn’s Children Symphony. Mrs. and Mrs. Schultze aim to move to Cleveland soon, expecting to make dience. that city their field of labor. lowed in Lyons, in connection with his father’s | THE catalogue of the Chicago Musical College (Dr. F. Ziegfeld, President) has just been published for 1886, and gives evidence of increased prosperity and usefuless. This College, whichis now in its fourteenth scholastic year, is located in the new and elegant Central Music Hall Build- ing, with a branch in the West Division of the city, and has better facilities than ever. before for giving instructions in all branches of music and to all grades of scholars. Partic- ular attention is directed tothe Summer Normal Session, which begins Thursday, July 8th, and closes Wednesday, August 18th. The full faculty will be in attendance at this extra session, and special terms will be made to teachers and those who are fitting themselves as teachers. Woopstock, Vt.—The golden wedding of Colonel and Mrs. Orson Perkins, of Taftsville, town of Woodstock, was celebrated April 5th. These veterans are the parents of several musical children as tollows: H. S. Perkins, of Chicago, W. O. Perkins of Boston, A. O. Perkins of Santa Barbara, Cal., E. H. Perkins, of Woodssock, Vt., Mrs. Geo, S. Cheney, of Cambridge, Mass., and Jule E. Perkins who become famous as one of the leading bassos of of his time in Europe. He died, it will be recollected, in Manchester, England, in 1875, at that time the husband of Marie Roze, and a member of Colonel Mapleson’s company. The special exercises consisted of a presentation address by the Rev. Moses Kidder, of Woodstock; response of thanks by Colonel and Mrs. Perkins; welcome song, ‘‘Welcome Here,” composed by H. S. Perkins and sung by the sisters and brothers; ‘‘Family Reunion,” a poem by H. S. Per- kins; general address by Capt. E. Vaughan, (a nephew), U. S. Consul-at Coaticook, Canada, several compositions sang of Col. Perkins, and a. ‘‘Golden Wedding” poem by W. O. Perkins. Colonel Perkins was for thirty-three years a successful singing master in Vermont. The presents were numerous, valuable and appropriate. Fort THomrson, Dakota TrEr.—Being an interested reader of the Musicat Wor Lp I trust you will pardon the liberty I take in writing you. We often hear the wild chants of the Indians,(in whose midst we are situated), and they are really more varied than one would suppose from a people who do no not in the least understand music-as an art. The wail forthe dead are slightly varied, and the words which are improvised to suit the character of the deceased are peculiarly touching often mildiy poetical. In song he expresses his joys and sorrows, his hopes and aspirations, and is quite sure never to forget his exploits or deeds of prowess. We havea school of twenty-four native Dakotas who are learning English. Sometimes they indulge in a native song. They never so fully betray their enthusiasm for music as when singing in their native tongue. The Indian, to be fully appreciated from a picturesque point of ‘view, should be seen in his native wilds with the sur- roundings of forest and’ stream. Here we see him in his various moods with only nature for a guide and teacher. There is much in his character from which we may profit. One thing has impressed me much with them. There is no need for orphan asylums, there is always some kind- hearted woman to care for the motherless waifs and no child is ever neglected or ill treated in any way. We have an organ and the children often sing with me, and I can truly say that there is much more heart and expression of sentiment than one often hears from well-trained choirs. I | have witnessed your patience with correspondents or would not dare to write you at so great a length. Allow me to subscribe myself your friend and admirer, MULOoRA MATHEWws. To the Editor of Musical World, U. S.: Sir:—It will, I am sure, afford you much pleasure to know that your MusicaL Wor tp is finding its way to this side of the Atlantic and gaining many readers on account of its undeniably merit. Several of the recent numbers have come into my hands, and what at first impresses me most is unbounded admiration at the quantity of really interesting and instructive matter you furnish to your readers at such a small cost. How you are able to cull such a mass of fresh material every month, it is difficult to understand for in these times of “dailies,” “weeklies,” ‘“monthlies,” ‘‘quar- terlies” and “‘annuals,” when every conceivable subject is written about, one wonders the supply does not get ex- hausted; and of late years no subject has been written more about than that of music. It is surprising, therefore, that you are able to keep up the interest of your journal from mem to month, and more surprising still that every new number seems to rival its predecessor in the richness and variety of its contents. You in America have such an enterprising way of going ‘about things that were it merely for the sake of contrasting your musical efforts with ours, your publication would on that account alone be very valua- ble here. Our musical publications here are not by any means numerous, and with one or two exceptions their ef- forts are on the one hand weak and puny and on the other appeal too exclusively to the highest class of musicans. It appears to me that you keep to the happy medium so that the successful professor as well as the struggling amateur need not be ashamed to consult your pages. I have enlisted in the ranks of your subscribers and when I get better acquainted with your columns may perhaps, with your permission, give a further expression of opinion on the relative merits of your endeavors in the Musica. Wor bp and what we are doing in the same line here. Yours respectfully, TARANTELLA. Glasgow, Scotland, April 10, 1880. NaTIoNaL NorMAt Musicat InstituTe.—The circular of this institution announces its summer session as follows: ‘There can be no more fitting prelude to the announcement of our coming session, than the following paper, which was so heartily read and eloquently seconded by Prof. Love, of the Jamestown High School, at the closing concert last year: To Dr. Geo. F. Root, Principal of the National Normal Musical Institute: Dear Sir :—The citizens of Jamestown having had full opportunity during the past four weeks to observe the meth- od and work of your Normal Musical Institute, ask the privilege of giving this testimonial of our appreciation of our labor. The elevating influences of your work have been impressed upon our whole community; anew impulse has beeen given to the study of the divine art of music which will tend to a higher musical education. You and your worthy assistants may feel assured of our high esteem, and we earnestly request that you will again honor our village by selecting it as the seat of your Institute for the next year. We trust it will be your pleasure to give this request your favorable consideration. Dated, Jamestown, July 30th, 1879, and signed by Rev. Spruille Burford, DeForest Weld, Gov. Fenton, and sev- enty-four others. The Principal replied that the Institute was honored by the invitation, that there was no pleasanter place than Jamestown for the work, and that if all continued of the same mind when the time came to prepare for the session of 1880, the Institute would be glad to return. It is there- fore announced that the invitation is heartily renewed, and that the session of the National Normal Musical Institute for 1880 will be at Jamestown, on Chautauqua Lake, N. Y., from July r2th through August 6th, four working weeks. Instructors and soloists: Geo. F. Root, Emil Liebling, Frederic W. Root, W. C. Coffin, C. C. Williams) Emma Hovey, Helen C. Root and Mary O. Root. Circulars of particulars on application to W. A. Lafferty, Jamestown, New York. =
Page 8
SAN vig KARL MERZ, - : MAY, 1886. FES IPR PME PT LE Se RC RN ee TO Brainarpbs’ Musicat Wor tp Zs published on the first of every nuonth. The subscription price is $1.50 per an- num, or $1.00 with one of our five premium books, in- variably in advance. Single copies 15 cents. Subscrip- tions may begin with any number. Subscribers changing the address of their paper, must give the old as well as the new address, or no change can be made. Contributors de- string the return of manuscripts must enclose stamps for pre-payment of postage. We desire an active agent for the MusicaL Wor LD 7x every town, to whom we offer liberal terms Rae Subscribers finding a blue mark opposite this notice wll understand that their subscription expires with that number. The paper will be discontinued unless the sub- sez “Ation ts renewed promptly. ae vi'e send no free sample copies of the Musicar Woriv. AdZ orders for specimen copies must be accom- panied with 15 cents. Address all orders and communica- tions to the publishers, S. BRAINARD’S SONS, CLEVELAND AND CHICAGO. OUR LETTER BOX. Lucia.—See your doctor. N. C.—Gottschalk is dead. T. C. C.—Rossini was an Italian. READER.—M.G. means left hand. Canapa.—Nocturno means nightmusic. History.—Beethoven wrote but one opera. TEACHER.—Craeovienne is a Spanish dance. . E. N. J.—Count twotoa measure. Why ignore our name? Compton Str.—Mozart’s first name was Wolfgang Ama- deus. _ W. H. R.—The Sonatinas are study. . PIANistT.—Liszt will spend this summer in Weimar, if, we recollect right. Mipp.EportT, O.—Do not know the merits of the instru- ment you mention. Penny BAKER.—For answer to your inquiry read edi- torial on ‘“Tower of Babel.” B. M.—Good or rather correct fingering is absolutely neccessary for your success. Ronvo.—The last we heard of Tom, was to the effect that he was giving concerts in Arkansas. worthy of your attentive LExInGTON.—That’s just the question over which schol- ars quarrel. Couldn’t you decide it? ApoL_o.—Sullivan is a very respectable composer. have too light an estimate of the man. TrutH SEEKER.—Use Richter’s or Marx’s book. For the second object try Bassini and read Mad. Seiler’s book on the Voice. OnTario.—A good.ear enables a person to catch a tune, but good taste enables a person to decide whether a tune is good or not. R. T.—The opera ‘‘Faust” and the ‘‘Damnation of Faust” are not the same thing. The former is by Gounod, the lat- ter by Berlioz. Dramatic CLus.—The “Katy -Dean” is out. Send for a copy, you will not find it too difficult, nor. does it require many stage preparations. VioLIn.—It is too far ahead to say who will likely con- duct the next May Festival. Probably the person who will take Thomas’ place in the College and perhaps not. Can’t tell anything about it. SuBSCRIBER.—Gluck’s music is not forgotten, no, by no means. Theodore Thomas was the means of having some of his operas performed at May Festivals, of course only as concerted pieces. Gluck’s music will outlive you, sir. Hamitton, Ca.—The higher notes should not be pro- duced by chest voice. your questions you must ask a teacher. _ things by letter, questions; We cannot explain Always sign your name when you ask as the book-borrower. Make it a rule that you will neither borrow nor lend, and stand by it. Those that borrow generally are too stingy to buy. Be po- lite, but also firm in saying Vo! of Glendale, Ohio, now traveling in Europe, for a bunch of leaves plucked from the grave of Chopin, You. For an answer of the balance of CAMBRIDGE, ILL.—The music-borrower is as great a fiend Neither deserve much sympathy. Music is cheap and can readily be had. —_—_———_~>_¢ 2 ————— OUR sincere thanks are due Miss L. K. Potter, at Pere la chaise, Paris, France. We need not assure the fair giver that we appreciate her remem- brance of us not less than the gift itself. Pein PEER ERC RE ais RY A NEW musical journal calling itself simply J/z- sic, has been started in London, England, and has asked to be put on our exchange list. We welcome the JZusic in the family of musical journals, and shall look with pleasure for its weekly visits. Judg- ing from its appearance the J/uszc will be an excel lent periodical. Success to it. ae RussIA is gradually increasing her repertoire of national opera. How would it be if Mapleson were to give us a little of Glinka or other Russian composers? It would at least interest us even if it would not awaken the greatest enthusiasm. Russian art as well as Russian literature is not re- ceiving that attention which it deserves. + _______ Dr. F. L. Rirrer’s book, ‘‘History of Music of this Country,” is progressing. The second and augmented edition of the first two volumes of his history will soon appear. There are some decid- edly new features introduced in the book. Mad. Fanny Raymond Ritter’s second volume of Schu- mann’s writings is in press and will be soon ready. - a THE Dramatic Mirror denounces the piano ar- rangement of. Wagner’s Centennial March as a bad one, and furthermore asks by what right Mr. Thomas keeps the MSS. in his possession. The National Centennial Company had better look after that valuable production, for by selling the sheets of that march as manuscripts there may be a handsome sum realized. Let nothing go to waste. —_——____»_-¢@ - THE music trade in England is resorting to very doubtful means of enriching itself. Complaints are raised about a publisher using the same melody to two different sets of words, and selling it as dif- ferent music. Oh, that we could export some of our untamed amateur composers, who can turn out tunes by the yard. They might help the dis- tressed publisher out of his difficulty and rid us of a nuisance. ® Not satisfied with the dispute about the Requiem, there are some English lovers of debate who have the heart to raise the question whether Mozart’s Twelfth Mass was really written by the great German composer. Wouldn’t it be just as well to discuss for a while the question whether there was really such a man as Wolfgang Amateus Mozart living in this world, and whether he wrote music or made cheese and butter for the Salzburg market? ———_—__—_~--_4. THE founder of the American Sunday School, Rev. Burr Baldwin, lately died at Montrose, Pa., at the age of ninety-one. , Yale, and belonged to the class of 1808. His first school was organized in New Jersey. Out of the Sabbath school sprang a freely flowing foun- He was a graduate of tain of music, that has well nigh revolutionized the ancient music of the church, and bids fair to run on until the church shall dry it up or turn its channel out of the sanctuary. -_—-+—_—_+ @ Every lover of art who can command the time and the means should attend the May Festival at Cincinnati. Do not say that you will go the next time, but endeavor to go this time, for not only is each festival worthy of your attention, but it might so happen that the next festival will not be what this one is going to be, to say nothing of the changing of circumstances, which may make your attendance at a future festival impossible. Who- ever caz do so, should be in Cincinnati this month. ETRE ER eI T a ot Se For the benefit of such of our readers as may desire to secure for themselves the title of Doctor of Music, we will state that the machine made to grind out that precious article will be set going at Oxford, England, in October next. Applications must be sent in before next June. Let us have enough Musical Doctors, one for every singing society, one for every female college, one for every choir, and a few that shall have no situations. How much England does for musical art by mak- ing musical doctors! ES ile OSES OE AT LAST Chopin has been honored in his native country. A bust of the composer has lately been placed in the Church of the Holy Cross at War- saw. Oh, Poland! Thou art not yet lost! If po- litical existence is denied thee, thy best singers and poets will keep warm the love for the name of Poland. ’Tis true the kings are dead, the nation is in bondage, yet we venture to say that in that bust of Chopin’s, at Warsaw, many a good Pole thinks he can see.a distant glimmer of the future greatness and political revival of his country. a a WE ARE glad to notice that the musicians of Paris propose honoring the memory of Romeau, the Freneh organist and theotist, by giving a con- cert for the benefit of his grand-daughter who is in indigent circumstances. So it pays after all to be related to a musician, even if he was but-a dry old theorist, whose bones have been lying in the ground for a hundred years. We respect the French for their good taste and generosity, as well as their determination to keep green the memory of one of their most distinguished countrymen. a? THE Royal Normal College of Music for the Blind, in London, England, has lately given ad- ditional proofs of its efficiency as a musical institu- tion. The pupils performed a lengthy programme made up of works by the best master., and did so in an excellent manner. ° We, as Americans, have a special reason to be interested in this institution, because its Director, Mr. F. I. Campbell, is a na- | tive of Tennessee, who struggled long and hard for health and education. present high position, credit to himself. AND now comes the news that two young Amer- icans are carrying en two successful art schools at Florence, Italy. These schools are so well organ- ized that they almost rank as academies. Why cannot Dr, Tourjee, while on his European tour, At last he rose to his which he fills with great
Page 9
60 drop here and there a young American or two, for the purpose of organizing or conducting conserva- tories, for as far as numbers are concerned we are far ahead of Europe in such institutions, and doubtless there may be found a few who would be willing to try and teach the European mind a new idea on music, etc. _———_> 0 PRODIGIES, as a rule, are not worthy of much notice. Like unseasonable fruit, they are not al- ways palatable, nor do they often attain their full growth and ripeness. When, however, a little girl like Julia Folville, aged nine years, plays Mendelssohn’s piano concerto, and then takes up the violin and performs Alard’s Faust Fantasie, one may well stop for a moment as before a great curiosity, and wonder what manner of child this is, and what manner of life she must have led, when at such an early age she can perform such extremely difficult music. Still we are of the same opinion we always were, that there is nothing gained by forcing a youthful mind, nor by exhibiting its ac- complishments in public. PP a his eer tenis STUDENTS of German literature will be pleased to learn that there is being published now 9» series of works designed for those who have been impressed with Schopenhauer’s and Wagner’s theo- ries. Among these will be a number of Hindoo metaphysical works, with notes, as well as a series ot Hindoo dramas. The publishers will pay special attention to Hindoo literature and aim to bring to light everything that is of value. Among the works we notice ‘‘The birth of the drama as the outgrowth of the spirit of music,” ‘‘Richard Wagner in Bayreuth,” ‘‘The Assalayanasutta,” *‘Sakuntala,” ‘‘Meghaduta,” a Hindoo poem by Kalidasa, also a work entitled ‘‘Wagner’s relations to Schopenhauer and the fundamental principle of Christianity, etc.” We feel that we dare not al- low so important a publication of works pass un- noticed, and hope that our readers will secure them, for they are worthy of a place in the best libraries. Fee Sa SNE er” ONS Ee PSE ‘*THERE is but one imperial city, there is but one Vienna,” is a saying of which her citizens are very proud. Ever thoughtless and ever slow, that city allowed fifty years to pass since the death of Ludwig von Beethoven, before. she recognized her obligations and erected to his honor a monu- ment. At last the city on the beautiful “blue Danube has honored the name of one of the greatest men that ever lived within her walls, and on the Ist of May a monument to the great musi- cal emperor. will be unveiled. But how about Haydn, Gluck and Mozart and Schubert? Should not the musical world at large erect to the honor of these great men a suitable monument, just as Protestantism erected a monument at Worms to the honor of Luther and those who labored with him in the cause of Reformation?. The names of Gluck, Haydn, Mozart, Beethoven and Schubert belong to mankind, and there ought to be erected to their honor a monument so grand and beautiful that strangers coming to Vienna would go to see it, before they would examine the many palaces and gardens that adorn that city. ee ee RC Ha PE GN tN a THIs is the year when the Passion play at Am- mergau, Bavaria, Germany, will be given. These events take place every ten years. They area dra- matic representation of the sufferings and death of our Savior. The town of Ammergau made the ‘vow to perform these plays every ten years, in hopes to stay the hand of God, who was then af- flicting the country with a fearful pestilence. Only citizens of the village are allowed to take part in the play. It requires some six hundred or seven hundred persons to perform it. There has been erected a new theater with increased seating capacity. The stage is divided into three portions. The first performance will take place on the 17th of May, and then on every Sunday and holiday until the play shall have been given twenty-three times. Each performance begins at 8 A. M. and ends at 5 P. M. Many strangers have announced their going, and the attendance this year will be unusually large. Anyone wishing to read more on this subject will find full accounts among the Letters of June, 1878. By sending for a copy, a historic sketch of these ancient plays, attracting the world’s attention, may be obtained. SL SEES Se PS Sees THIS year the May Festival, like all its prede- cessors will begin with a concert on Tuesday night, after which follows a matinee and a concert on each successive day, closing on Friday. The fes- tival begins on Tuesday, May 18th, and continues until the 21st. The first concert presents Bach’s Cantata, Eine feste burg, Mozart’s Jupiter Sym- phony, Handel’s Jubilate. In the second concert Beethoven’s great Mass, Op. 123, and Schumann’s Symphony, Op. 120, will be performed. The third concert will be devoted to the performance of the prize composition, Mr. Dudley Buck’s ‘‘Gold- en Legend,” Berlioz’ King Lear overture, and the third act of Wagner’s ‘‘Goetterdaemmerung.”’ [The fourth and last concert brings Beethoven’s Fifth Symphony, and the Missa Solennis for the second time. The whole Festival will close with Zadoc, the Priest, Handel’s coronation anthem. [he matinee programmes are full of good things, while the professional musician may attach unusual importance to the second and fourth concerts, the werage concert goer will find any or all of them interesting and profitable. Every lover of art should avail himself of hearing these excellent con- certs. The preparations are upon a much larger scale than at any previous festival. ———_____+-9¢ 2. ______. CINCINNATI lately gave a grand reception to Southern merchants.. About eighteen hundred persons sat down to dinner in the Music Hall, while the band, directed by Mr. Brand, played many familiar airs. Suddenly there was heard the Southern melody known as ‘‘Dixie.” Like an electric shock this tune was felt by the fiery South- erners. ‘There was heard shout after shout, and after the band had finished there was given a regu- lar ‘rebel yell,” such as was often noticed on the field of battle. While this same tune no doubt often before produced a warlike spirit, it was at this time the harbinger of peace and good feeling. Scarcely had ‘*Dixie” ceased when the band played ‘*Hail Columbia,” accompanied by the great or- gan. The excitement which this melody now pro- duced beggars description. The Southern guests as well as the Northern spectators sitting in the balconies, shouted themselves hoarse, while thous- ands upon thousands of napkins and white hand- kerchiefs were waving in the air. Evidently the ‘‘Dixie” had disappeared in the ‘‘Hail Columbia,” and the familiar old national tune touched every heart. This is an illustration of the power of na- tional music, which speaks a language more pow- erful than words. Who can tell how much kindly feeling was called forth by the Southern Dixie, as it was played on that memorable occasion; and who can tell how much the sentiments of loy- alty, the genuine love for a united country, were strengthened by the familiar and good old tune, ‘*Hail Columbia.” May our country be a happy land indeed. ———_____ 9 THe American musical profession often com- plains about the ignorance which prevails as yet in this country concerning musical matters.. Doubt- less we need a great deal of light before we may call ourselves truly a musical people. But what . does it mean when an English professor advertises a ‘‘fork lightning system” of musical instruction, by the aid of which any person can immediately, after reading the lessons, and without ever hav- ing touched the keys of a piano, play this in- strument. The method is doubtless well named, and bears on its face the marks of imposition. What, however, must be said of a people for whose benefit such an advertisement was published? What shall we say of an art journal that publishes it? We doubt whether our musical journals would have sold their pages for such an advertisement. But lo! here is another, showing plainly in what a low regard music is held as yet by many. ‘‘Wanted—an organist, who can also take the village blacksmithing.” We have a high regard for labor and honor the blacksmith, but black- smithing and art ought not to be put into one measure. The Musical Times of London thinks that the advertiser is after the harmonious black- smith, and suggests that whoever becomes the un- lucky organist be allowed an assistant whose duty it shall be to blow the bellows for the forge during the week, and the bellows for the organ during the services on Sunday. It is no wonder that there are efforts made to checkmate such ignorance, and that the aid of Parliament is invoked. When first meeting an American ‘‘professor,” who had been enlightening the youthful mind somewhere in In- diana, and who was then visiting his native country, we made many. inquiries about this land of wonders. We learned with surprise that he dealt in pianos and in sewing machines, and no matter how clever the ‘‘professor” was toward us, our heart protested every now and then, and si- - lently said, pianos and sewing machines! a hum- bug you are, sure! Well, we have since met other people who dealt in pianos and sewing machines, and the combination doesn’t shock us quite so badly. We have seen too many such unusual com- binations to be shocked much by them. May be if we were to dwell in England the combination of blacksmithing and organ playing would not seem half as ridiculous and inartistic as it now appears. We wonder what a man like Mr. Best says to such advertisements. Henry Wieniawski. The name of this celebrated violinist is no doubt familiar to most of our readers, for during the winter of 1872-73 he gave concerts in. this country
Page 10
* nini. /0 with Rubinstein, and was much admired. He died lately at Brussels where he was engaged as Professor at the Conservatoir. Wieniawski was born at Lublin, on the toth of June, 1835. He received his musical education at the Conservatory of Paris. He was for a year or so solo violinist of the Emperor of Russia, and was much admired for his technique, which was very brilliant, a la. Paga- The American Art Journal, when speaking of the deceased, says, ‘‘That those who knew him while at New York, and were acquainted with the life he led, were not surprised to hear of his un- timely end.” We are sorry that so brilliant a player had to succumb to-the great destroyer at so early a period of his life, and that so bright a light went out so suddenly. Artists, more so than any other class of peoyle, should carefully avoid ex- cesses of every sort. —_—_—_—_————e0o——____—— Caught! Who? A swindler, a bogus subscription agent. We have been for some time on the track of this rascal, and were, therefore, glad when we learned that the publishers of the oo finally tracked him to Groton, Conn., where they arrested him. His name is T. Leslie Emmons, alias Emerson or Les- lie. He was taken before a justice, and being un- able to pay his fine was put into prison. This is beyond a doubt the same man who has defrauded the MusIcAL WoRLD of much money. He was at work in New York, Pennsylvania, New Jersey, Rhode Island, Connecticut, and even carried on business by mail. He evidently took subscriptions for less than the regular price, which fact induced many to trust him. Emmons no doubt could af- ford to take less than the regular subscription price, which we can not. The Folio gives the following particulars about this scamp: ‘Emmons, at one time, kept a drug store on Washington, near Dover street, in this city. He is about 30 years of age, of small stature, weighing about 125 pounds, of light complexion. with reddish brown hair and moustache, and eyes of about the same color. He wore a dark suit and slouched hat, and always carried a thorn switch cane. When arrested he had no overcoat. This was found, with his trunk, to have been detained by a sharp Pennsylvania landlady, some weeks since. He originally came from Col- chester, Conn., where he is respectably connected.” There is another one of these rascals operating in the West. We hope our readers will furnish us with descriptions and full particulars, so that he, too, may be brought to the end of his career. Thanks are due Messrs. White, Smith & Co. for their prompt action in this case, and all the * more so, because they are not suffering from Em- mons’ rascality. They were simply prompted by a sense of justice and the desire to do the public good. Be Punctual. To be punctual in all thingseads to success. Punctuality is honesty as well as politeness. The teacher of music should be punctual in his attend- ance at lessons. ‘To come late to lessons, to stay away now and then, will soon produce indiffer- ence in the pupil, retard his progress, and, if per- sisted in, will lead to change of teachers. Pupils also should be punctual! Knowing the hour of their lessons they should be ready for that lesson. : Keeping the teacher waiting irritates him, robs him of that. pleasantness of temper so necessary for a successful lesson, and what is more it robs him of much precious time. other lessons to give—do not keep him waiting while you attend to your toilet. practice one day and neglect that duty the next. Only the student who is punctually at the post of duty, will accomplish much. Punctuality in keep- ing practice hours is the beginning of musical success. yield to social duties or enjoyments, the pupil’s chances for success have greatly lessened. erywhere been received with genuine enthusiasm, except in the French capital. fared in the same way, the greatest sin both men were probably guilty of in the sight of the Paris- The teacher has Be punctual! Be punctual at your practice hour. Do not When once the practice hour is made to Be punctual in paying your teacher, do not keep him waiting over time, when it is convenient for you to pay him. need their salaries. the discharge of this obligation, and not. only Remember, teachers usually Be punctual, therefore, in punctual but cheerful. If you are an organist or a member of a choir or singing society, be punctually at your post of duty. Your tardiness may keep a congregation or a society waiting. At any rate it is very apt to irritate the leader, and to disqualify him from doing his duty in the manner in which it should be done. Many a singing society ultimately broke up because a few took the liberty of being tardy. Such conduct demoralizes and discourages. If you belong to a choir or a society make it a con- scientious duty to be punctual. Be punctual at concerts. Some people imagine that it is fashionable to be late. They are never in time and enjoy nothing so wells to come late and have every eye turned towards them. Such people betray their ignorance and lack of good breeding. Most generally the late comers belong to that class known as shoddy, who have no other way to grat- ify their aspirations for distinction. It is just as easy to be punctual, to begin your preparations in time, as it is to wait until it is too late. With many a lack of punctuality isa habit. We have known persons with whom it seemed an impossi- bility to be in time anywhere, be it at the concert or at the bank. Others again are so afflicted with thoughtlessness that they never seem to think of the proper time to get ready. Be punctual, for by coming late you disturb others who come early to listen to the music, and moreover you keep your escort waiting, which is, to put it mildly, very tiresome and provoking. It is a mark of polite- ness for a gentleman to invite a lady friend to an entertainment, and it is a sorry way of reciprocat- ing his kindness by being late. Lastly, when your subscription to the MUSICAL WORLD runs out, be prompt in renewing it, for thereby you save yourself and the clerk who mails the papers a good deal of annoyance. punctual ! Be always The Tower of Babel—By Rubinstein. This sacred opera or oratorio will be the princi- pal representative work of modern composers, at the next May Festival, excepting of course, ‘“The Golden Legend,” which has been composed es- pecially for this occasion. This remarkable work of Rubinstein’s (‘‘The Tower of Babel’’) has ev- But then Wagner ians was, that they were not French born. When ‘The Tower of Babel” was performed at the festi- tival of the lower Rhine, at Dussuldorf, in 1872, where the composer himself conducted it, the ef- fect was electrifying. Prior to that performance it had been rendered (in 1872) at Vienna. After the decided success at Dusseldorf, ‘‘The Tower of Babel” was rendered by other German societies, as for instance, those of Magdeburg, 1872, Karlsruhe, 1875, Barmen, 1878, and so forth. The sacred opera in the form of ‘*The Tower of Babel” and the ‘‘Paradise Lost” is altogether Ru- binstein’s own invention. It is an oratorio that may be represented on the stage, and admits of scenic effects. The ground work of the text is the familiar Bible story of thé tower of Babel. The oratorio opens with the assembling multitudes at- tempting to build a tower that shall reach into the very heavens. Nimrod, (basso) the mighty hunter, rules over the whole and evidently exults in the greatness of the work. Abraham, (tenor) the faithful servant of God, chides him on account of his pride, and points him to the Shepherds, who in their humbleness and humility live nearer to God, than the great, self-willed, aspiring ruler. This enrages the masses, who become angry at Abraham, and throw him into a fiery furnace. The flames, however, touch him not, for he is pro- tected by angel’s hands. Next follows a double chorus, in which part of the populace ascribe the honors of this miracle to God while others ascribe it toidols. A terrible storm destroys the tower, and the horrified people desist from their foolish, vain-glorious work of building a structure that shall reach into the heavens. Abraham explains the mysterious ways of God, Nimrod’s heart is soft- ened, he obeys, and raising his eyes towards the heavens he sees the very glory of God itself. The people now divide and leave in three great parties, namely, the Shemites, Hammites and Japhetites. The whole concludes with a grand chorus of three parts, the angels verifying God in the air, the mortals on earth joining in, while the demons under the earth rejoice at the destruction they have brought about. Having said this much about the text, let us now turn our attention to the remarkable music. The whole is a work of art worthy of the closest study. All the points of the text which admitted of special display of musical gentleness, grandeur or power, have been seized upon and diligently worked out. There is so much in and about this great choral work that is really beautiful, that one cannot enumerate all the points that deserve special mention. The chorus at the very opening, ‘*To Work,” the chorus of the people, has great power and spirit. One of the most curious features of this sacred opera is the strains sung by the Shemites, the Hammites and Japhetites (see page 95, Brainard’s Edition). The first is sad and mel- ancholic, full of peculiarity. Evidently Rubin- stein is no stranger to the subject of national music. Doubtless in the plains of Russia he has ample opportunity of studying the wild strains of nomatic tribes, if, like Liszt, he has a roving dis- position. There is a sadness about the odd strain which is only heightened by the singing in unison. The song of the Hammites is wild and just as peculiar. The orchestral effect must be
Page 11
7} grand as it heightens with each repetition of the air. Whether the original Hammites ever. sang or not, judging from the songs of their successors of to-day, the song of the Hammites ‘is consistent. Next follows. that beautiful chorus of the Japhet- ites,which is a most agreeable relief from the al- most painful monotony and melancholy of the previous two strains. These three choruses no doubt -will attract a great deal of attention. The final chorus will also be found most effective, and will no doubt be pronounced among the best that the May Festival brings. The same is also true of the double chorus, with its pedal point on B. In regard to the solos it must be said that they are less lyrical and that more of the recitative element pre- vails. For. all they are beautiful. The great scene by Abraham will never be without grand ef- fect. When Rubinstein wrote this he was un- doubtedly inspired. The entire work, though somewhat difficult, is not beyond the reach of our societies, and it is to be hoped, since a good English edition may be had, that many may take it in hand. It may well be said that whenever or wherever Rubinstein’s ‘‘Tower of Babel” will be performed, it will pro- duce genuine enthusiasm and art pleasure. We hope to hear of many societies studying this ora- toria or sacred opera. . Since writing the above it has been decided to postpone the performance of the ‘“Tower of Babel” until some future time, in order to gain an evening on which to perform Beethoven’s ‘Missa Solennis” for the second time. It has been claimed that one performance of so stupenduous a work would scarcely be sufficient to let the audience measure its grand proportions just as a person must go several times to the Niagara Falls in order to fully per- ceive their majesty. The ‘‘Tower of Babel” has, therefore, been taken off the programme and the ‘*Missa Solennis” is placed on the second (Wednes- day’s) and fourth (Friday’s) concert.. While we regret the postponement of the performance of Rubinstien’s work, we rejoice that Beethoven’s Mass is the gainer, or rather that the audience is the gainer by the change. For the same reason we suppose also that the Stabat Mater by Palestrina is to be omitted. We are very sorry for this change, and so will many others be, who are interested in the works of this master. Prizes or no Prizes? Prize compositions and their public performance are somewhat of a novelty in this country. Their time seems to have come to a close in Europe, while in this country it is evidently only approach- ing. Having on a previous occasion touched on this subject, we would not at this time have taken it up again, were it not for the fact, that the thou- sand dollar prize, said to have been awarded to Mr. Dudley: Buck, and the performance of the prize composition at the May Festival, have made the question of prizes or no prizes one of general interest. | The offering of prizes has been as strongly rec- ‘ommended as it has been condemned. It is the object of this article to bring some of these argu- ments before our readers. Prizes have been of- fered ages ago. They were a prominent feature of the ancient Grecian plays or games, and have ever since been regarded as an excellent stimulous for artists, well calculated to spur them on to their best efforts. Doubtless.artists are at times fond of allowing outward conditions and things to influ- ence their imagination. It might be interesting reading were we here to give the various methods of stimulating their minds, resorted to by great musicians. But no matter what itis that prompted composers to write, we doubt whether any of them were ever actuated purely by the love of money, when they went about to produce an art work. We will not say how great a love for distinction and honor composers have in their hearts when they brood over great works, but the great dollar is the last object that stimulates them. When compos- ers, therefore, contend for a prize, the honor of gaining it is the first consideration, the money is the second. Doubtless it is true that the win- ning of prizes has given artists the means to ad- vance themselves, or to relieve themselves of an- noyances arising from financial embarrassments, the winning of a prize may also have stimulated some young writer to such a degree, that he event- ually accomplished much more than was antici- pated, and there are also those who claim in favor of prizes that, through offering them, many musical works are produced, which would otherwise have never been written. These are among the best arguments that have been and probably can be offered in favor of prizes. Let us now view the opposite side of the question. While no doubt artists need stimulants, it will be found true, that in the end pure love for art and a certain indescribable and irresistible inward power prompts them to work. If this power is not inherent, the true elements of the artist, the genius is not there. When Mozart was asked by Hofmeister, the publisher, to write in a more pop- ular style, else he could not buy anything of him, he remarked, ‘‘Then I’ll suffer hunger, and never- theless I’ll write in that way.” Even public rec- ognition is a secondary consideration with the man of genius. Beethoven was often told that the people did not appreciate his works, for all this he never made any sacrifices for popularity sake. When Schupanzing told him that his quartets did not please, he calmly remarked, ‘‘They will like them after a while.” ; While artists love money and honor, while the old proverb says that art goes after bread, it must also be said that the true genius is above money and mere desire for honor, and that an artist will be faithful to art without these. The great art works that have been produced 1n that long period of time from Bach to Wagner sprang from the pure love for art. None of the masters were in- cited to higher exertions through prizes. Weknow nothing personally about Mr. Dudley Buck, but we make free to say that his ‘‘Golden Legend” would in due time have been completed without the offer of a prize, nay, we believe that it would have been just as good a work without the offer of a prize as it is in its present form. It is not going too far to say that without the offer of a prize, which perhaps forced the composer to have his work finished at a certain date, he might have de- voted more time to it, and made it perhaps even more beautiful than it now is. These are mere suppositions of ours, for we have heard that Mr. Buck was exceeeingly fond of the text he had used, ‘and if this be true, he would have sooner or later done the very work for which he obtained the prize, without any such inducement. Only one can obtain the prize, only one can be the best, and the others are inferior, secondary, they are unsuccessful. The question is; whether such a distinction is not unjust after all to some competitors at least. It requires no great stretch of the imagination to believe that with another set of judges another composition might have been chosen as worthy of the prize. Such a thing is possible and reasonable. In the case of the Cin- cinnati prize Mr. Whiting’s composition is said to have been rejected in common with many others, thus classing it and the most deficient together. This cannot be just. When speaking of art works is it necessary to say which is the best? - The question is can it always be fairly done? Can there not be several best ones, each differing in style and conception. Surely there were very few if any prizes ever given which failed to produce dissatisfaction. Not only is there danger of jeal- ousy and ill feeling towards the successful one, but also against the judges themselves. Nay, more than that the profession and the public will more or less always take sides, and somebody is sure to be hurt. As long as prizes are given, there must be some disappointed ones. May it not be possible, how- ever, that sueh a public defeat will wound the feel- ings of some to such a degree, that all ambition is crushed out? The mere possibility of such an event ought to be well considered, for one such in- jury would more than counterbalance all the good that may ever have been done through prizes. It has been said that the prize system has been the means of calling into existence much music that would otherwise never have been written. This is doubtless true, but the mere multiplicity of works will do art no good, yet the advancement of artis in the main the object of offering of prizes. But, say some, did the great masters not write for money?. Doubtless they charged for their com- positions, and tried to get as much as they could, but this does not imply that they wrote for money, or that the probable price of composition was a stimulant for them. Behold Mozart who had al- ready received. payment for his requiem, and see the utter forgetfulness of himself and the world while he was at work at the remarkable composi- tion. While Mozart and Beethoven and other masters may here and there have written for the market, their great and good works were not tinc- tured with the love of or desire for money. There is one point we wish to touch upon, namely, the thankless and disagreeable duty of ‘a judge. There is already a state of dissatisfaction in the case of the Cincinnati prize, and the judges will no doubt come in for their share of criticism, whether it be deserved or not. We doubt whether any person will be willing to continue in the dis- charge of such onerous duties. _The gentlemen who acted as judges in this case were among the best musicians this country can boast of, but that supply will soon be exhausted, and where are judges then to come from? We would rec- ommend to the Festival Committee the plan of abandoning prize compositions altogether. We think more good could be accomplished and that in a quieter way, by ordering for each festival one or two original works from American composers. Many of our best musicians may have tried for the prize, but we never heard of Mr. Paine being among the competitors, yet a composition from his pen, would be an ornament to the Cincinnati pro grammes. By this course the people might have the pleasure of hearing works of all our native writers, which would not be possible in case if a person would be winner of successive prizes, and such a thing is possible. We throw out these hints without wishing in any manner to find fault with the action of the Committee, or without im- puting the purity of their motives in offering a prize. We think what has been said is worthy of being pondered upon, at any rate our plan seems to us to be more just and far less calculated to pro- duce ill feeling and disappointment.
Page 12
: SY hk 2: Editor of Brainard’s Musical World: Is it correct that Beethoven’s Mass in D is the largest that has ever been written by any composer? Please state facts and oblige A CINCINNATIAN. The Mass is not the largest. The statement has been made by some writer, that the Missa Solennis by Beethoven contains 1929 measures, while the Mass in B by Bach contains 2261, and Cherubini’s Mass in D 2563 measures. To the last named composition, therefore, belongs .the distinction of being the longest. ——l—_—— Mr. Kari Merz: Dear S1r:—How long should a well built pipe organ last? Reply through your valuable paper, and oblige, Truly yours, | ORGAN COMMITTEE. A great deal depends upon the condition of the church, and the. manner in which the organ is used and-kept. Good and well made organs have stood a hundred years of use without needing any very material repairs. Many organs in European churches are several hundred years old, and are still in good condition. An organ placed in a damp corner of a church, or against damp walls, - will decay quicker than one that stands in a dry - gallery. ——-0—-—-—— Mr. FE. Z.3 When did you begin to write the Letters? have you written and what are the subjects. Please reply in full and oblige A NEw SvuBScRIBER. Springfield Mass., March 24, 1880. K. Z. began writing his letters after closing the series of papers known as Musical Hints. The first letter was written in February or March, 1871. I cannot tell you how many I have written but will endeavor some day to count them for your special benefit. For the present I am too busy to do so. They number probably six hundred. To give you an index of the subjects would fill a page or more, and as our space is too valuable I must decline’ answering you this part of your letter also. Sorry, but it cannot be helped. ) How many Editor Musical World: Can you tell me where cheap fiddles are made? Are they ‘made anywhere in this country or do they come from Eu- rope? Please also tell me where violin strings are made and which are the best. Tell also how they should. be wrapped up so as to keep them in good condition. I never asked you a question before and hope you will pardon me for asking so many at one time. New Haven, Conn., Feb. 29, 1880. FIDDLER. Cheap violins come chiefly from Saxony and Tyrol.. In the small town of Neukirchen there are manufactured yearly over a thousand dozen of them, and while speaking of that place let me add that it also furnishes from five to six thousand cheap brass instruments. Bear in mind that this is only the product of one town. There are others equally active, as for instance Addorf, Her- mersdorf, Pilsen, Leitmeriz, etc. These instru- ments literally go to the ends of the earth. They are shipped to Spain, where the Gipsies use them, to Russia, where the peasants buy them, they go into all European countries and are largely shipped to this country, where farmers’ boys generally buy them for they always wish to try their skill on a cheap violin before they invest in something bet- ter. These instruments are also shipped to Africa, they are sold at the Cape of Good Hope, in Au- stralia, India, the Sandwich Islands, in short, wherever the violin has gained a foothold. They are made by machinery, and have been known to be sold for as low a price as ‘twenty-five cents a piece. Violoncellos. were sold at $2.50, guitars and flutes at $1.90 a piece, while a shining cornet was offered for $2.50. These prices have, how- ever, of late been changed if I am correctly in- formed, for everything has risen in Europe, labor as. well as material. Such cheap instruments are very roughly made, though they bear the outward marks of a good deal of polish, which deceives many aneye. The tone is a mere secondary con- while these cheap instruments are all made by the aid of machinery. While a Gemuender carefully scrapes out a piece of wood until it has the proper” thickness, these instruments are generally made by steaming the wood and pressing it into shape. Whether cheap violins are made in this country K. Z. cannot tell you. ‘There are, however, very fine violins made in the United States. Those made by Mr. Gemuender of Astoria, N. Y., are doubt- less the best. At a future day I will give you the life of this man and many particulars of his work. The manufacture of violin strings, like that of violins is also an important item of trade for Eu- rope. As a rule Italian strings are considered the best. The cities of Naples, Rome, Venice, Padua, Treviso, Milan and and Verona sell immense quan- tities of them. Violin strings are made out of the intestines of sheep, and it is claimed that the in- testines of animals raised in Italy are better suited for the manufacture of violin strings than those of animals that were raised in more northern countries. Hence the superiority of Italian strings. It is, however, claimed by manufacturers that there are strings made in Germany which are equal to the best Italian strings. Others are of the oppo- site opinion. Otto says that the best strings he saw came from Milan and were known as Roman strings. They are said to be very clear and trans- parent, like glass, but they are not polished like other strings. A good test for an Italian string is to bend it close together, if it springs back to its former position like a watch spring it may be ac- cepted as genuine. Otto further adds that every string, the G of course excepted, should look like a strip of glass on the fingerboard. A string which is dull and opaque is not to be trusted. There are, however, other styles of Italian strings that are favorites. Thus the A#rible string was liked by many. K. Z. is too little of a violinist to know much of the trade to-day. Germany made violin strings ds long ago as 1782, and they were then considered as equal to the Roman or Milan string—yes, it was claimed that they surpassed the Italian string in durability. German strings are now sold everywhere for Ro- man or any other sort of Italian strings, and in order to get the genuine article, you must address a reliable dealer. K. Z. recollects well when violin E’s were some five or six yards long. They are considerably shortened now. In France also many violin strings are made. Jt was in that country, I believe that they first made strings of silk. In order to preserve strings in a good condition it is necessary, says Otto, to keep a small piece of taffeta, moistened with almond oil, in the bladder containing the spare strings, and each time after playing to rub the strings with it, from the bridge to the nut, before putting the violin away. Of course when the violin is used again, the oil should be carefully wiped away from the strings, particu- larly at the place where the bow touches them. By this method the strings obtain some nourish- ment, they will not become dry, and retain their clearness and smoothness of tone. Moreover, by oiling them, they will not draw dampness nor ab- sorb the perspiration of the hand which makes strings dirty and false. This, my Fiddler, answers all your questions. If I were, however, to write about violins I would sign myself ‘‘Violinist” and not ‘‘Fiddler.” The term fiddle is doing the violin, one of the most no- ble of instruments ever made by man, a great deal of harm, and those who love it should always be jealous of its good name and reputation. Bear this in mind, my friend. reel O eons Karl Merz, Esq.: DEAR SiR :—Can you give me some information about the Oratorio of ‘“‘The Seven Sleepers?” It is to be performed in Providence, R. I., about April rst. I would like to know who wrote it, also something about the libretto and the composer. Shall look for your answer in the Musica WorLp. Ce. 2. Jewett City, Conn., March 23d, 1880. The Oratorio of **The Seven Sleepers” is by C. Loewe, the words are by Giesebrecht.. The text is based upon an old legend. The seven sons of _ sideration. Good violins are made by hand, | Anicianus of Ephesus fled during the persecution : of the Christians and secluded themselves in a cave. Decius, who was searching for them, sus- pecting that the brothers had entered the cave, had the opening walled up, so as to starve the fugitives within. God, however, wrought a mira- cle and caused the seven brothers to fall asleep, not even knowing that the opening to the cave had been walled up, and in this condition they re- mained for 190 years. At that time Theodosius, who. was a pious Christian, had the cave opened, whan the brothers awoke and stepped out as if they had been asleep but one night. Not know- ing anything of the great changes that had taken place during the 190 years, the brothers. were greatly surprised to find the cross exhibited on churches and by the wayside. Seeing this they praised God. The Oratorio is divided into three parts. It be- gins with the opening of the cave by the order of the Proconsul, Antipater, and his..wife, Honoria, who had the walls removed in order that the cave might afford shelter to their shepherds and flocks. After the cave is opened there is heard the prayer of the distant brothers just getting awake. First one voice is heard, then two, then three, until at last there is heard a chant of praise sung by seven voices. This part of the oratorio has a charming effect. The workmen, imagining that the tones come from a distant church, retire, when the seven sleepers come out of the cave. Being hungry the youngest of the brothers, Malchus, offers to go into town for bread, while the others pray for a time. This ends the first part. The second division lays in: the city, where a bishop is engaged in blessing a flag: that is to be taken into a war against the Persians. Malchus is astonished when he observes the great changes in the city. The cross is noticeable everywhere. His clothes as well as speech attract a good deal of attention. He is at once suspected as a spy of the Persians, and is taken before the Proconsul, Antipater, to whom Machus reveals the true story. The people doubt, but the bishop declares all things to be possible with God. The whole as- sembly decide to proceed to the cave. This ends the second division. The third part opens with a scene at the cave. It is evening and Malchus.is not yet back from the city. Honoria, with other women appear, carry- ing myrrh and spices in order to gather the bones of the brothers, who were supposed to be dead. When the brothers see the women they imagine them to be heathen, and at once proclaim them- selves to be believers in Christ. Then is heard the chorus of the approaching procession from the city. The Proconsul, the Bishop are there, and Malchus declares that these six men are his brothers. They of course know nothing of what has transpired, and speak even of an eighth brother, who was still a baby in the arms of his mother. All believe it to be a miracle. The brothers, however, are anxious to go to sleep again, so that they may rest until the last day, and to the surprise of all present they fallasleep. The Proconsul then has them carried back into the cave and has it walled up again, so that nothing might disturb their rest. This closes the oratorio. The composer, Dr. Johann Carl Godfried Loewe, was born at Lobejuen, Germany, on the 30th of November, 1769, and died on the 20th of April, 1869. He was first instructed in.music by his father. When older he studied theology at Halle, where he took music lessons from the celebrated Turk, in whose house he also boarded. During that period he wrote his prettiest ballads, among which is the Erl King. In 1822 he was appointed as Cantor and teacher at the Gymnasium of Stet- tin, and also became director of the choir of St. Jacob’s Church. He was a noble man, a fine composer, and also an able writer. He published a vocal instruction book and also a commentary on Goethe’s ‘‘Faust.” The oratorio of ‘‘The Seven Sleepers” is one of Loewe’s best productions. It appeared in print in 1836, I believe. 0 Mr. Kari Merz: I come to you, dear sir, for advice and aid. I have a pu- pil who is the very incarnation of laziness. That girl gives
Page 13
Little Florine. SONG @ CHORUS. — Words by JOHN B. SHAW. | | Music by GEO. W. PERSLEY. Moderato. od ——s ~ —— ——— = —— ——_ a 5 e—-_s__. 1. Lit -tle Flo-rine with gold - en hair, With heart so true and free from 2. Lit -tle Flo- rine thy years’ have _ been, Like _ sun - shine’ on the mead - ows 3. Lit -tle Flo - rine like bud - ding flow’rs, Thy life per - fumes the pass - ing i still shall be my fair - y queen, gold - en clouds with sil - ver _ sheen, day thy .lov - ing heart is seen, 15384—-3. COPYRIGHT, A. D., 1880, BY S. BRAINARD’S SONS, PAGE 3.
Page 14
Se eee we ye ORAS RH oe eee cae =e WEN A Sy oon 8 Fain pe Bright sun - ny smiles for all you meet, Thy ~ voice like 1 OD eg ae Like rip-pling wat - ers gen - tle flow, In eve - ning PIG. Sh, Senn snes As glid-ing down lifes on - ward tide, May = an [1 ee ee ae ae =f ar eS: —— Se we e <_< LTE A mur-mur -ing wat - ers sweet, Lov - ing kind is thy heart e’er seen, sun - set's rud - dy_ glow, Free from care be thy spir- iv’s dream, bands be ‘near thy side, Guide thy bark a down life’s stream, Ao Mae The ae ae Ree eR So mer eas: ‘ | rv | —. Pe TES Ae A ae ae tie 8 a aa 3 +—{— i RS % AO RY KS ae —_¢—s eeet eo euew ieee eee eesee pee @8 08 ee eepeseeeeervreeee PAGE 4. ; LITTLE FLORINE,
Page 15
—___- HORUS .—_— Beauti - ful queen, You shall be a re mg a eas HFK “Ke at Hence = gas seers oss. asym se oe oe “A ee ee I ee ee aoe meee ~ me enn I eee ee ere oe Lit-tle Flo - rine, Beau-ti-ful queen, _Lit-tle Flo - rine, | Beau-ti- ful queen, You — shall be my - ere ee ee - as ev “feta a 8%... pees nea Cee) pee Sere A Ee ant Senate seaman RLS | = = y 2 ee j— exniiiios! ae eon 2 LS SEE ey eee ee eeee zea a ree ee ~ i a ss ee ee J a - ee Se Em ener eee Be ern pms aoe ha OR a CA sete SMS TS AAS 2 MT PM ite les a3 3 fe = Sie ss ‘ . ‘ . _——— — Fair - ry queen, Lit e ~ pee Lit - tle BG. PBIB. s:n esses as bo ——9—- aon Raa -o -—. ni) SOSTENE SELES. OLR ARS 27 ETRE Se a 8 er an ee Fre free terrence frame mame = — Beet ee es Fair - ry queen, Li Fig = Ane, .. 235, oat — —- ee ee a ee eee ee SG IS : ee ae © e —— reese o- “5 ee o--—-ea— ——|-@ ~g-—|- ¥ Sec aia gine ea aa oe te et we es ae o | we 15384-—3. JuITTLE FLORINE, PAGE 5.
Page 16
BEAR GENTLY, TIME! ON THOSE WE LOVE, (SON G4.) WORDS BY CHARLES J. ROWE: bias MUSIC BY CIRO PINSUT:. Andante Moderato. ; : ee re ee dolce. ei N mi IE UE ERAGE Ss! BRS Se SE: ¥ 6 | fav’ : " REEReaT RSE id a ae | ! i c =. | ¥ + eo o | , ee ed ee ee ee > 1. Bear 2. Bear oe re Sa CEN. apenas i un poco rit acess: CARRS POTD —— af oP oo | ee zs 3 aes henaet ae ns UN P00 CE ——— | ZEEE SN TS LOMA SOT SS ey “Sas? BRE ASAE eer NDS NER ASOT MeCN SEE FANS i SEAT, aD : 2 6 _ EES 8 PENILE SO TTE gent --. ly,. - ‘Time! on those we love, With ten - der care gent - ly, Time! on those we love, For Kind - ness cheers the Page 3. 14208—3
Page 17
era ee NES AES REYES STE ANOMNE | ee NSN NN Tee SINEINONE alee a eo eee 5 ae {a ane PTS NRE Sy 2 ‘ am ri ae rr Rene ater la te, “tem pee all “ : : 5 kinds... Let not the cur - - rent of i their life Be soul;... Should e’er a chord be , Yude _ «+ - ly struck, Thine _—_ aS Se Laat DiNe, TERENCE BOS, SOol Re s Se Goi ae ® oO AEN o— aciiade fe — a = gy Fy +—~+ &€ + F&F + Fi — | — <= - = 7 me WO (od -.. sicmpnindaectls canted Pe ee RS en ree ce ARNE ease Pie MARE Ee os | | se : a ; chafed by an - - gry wind. | But let sweet balm .- y aid will make - : it whole. And when our trea - gsur’d 2 b = Wh et <i f cj : SR ACR law Sp MRO RRS AEN EPR STRATEN DA f May —ta a | Ea IRES ISR a SS Sa ae ms \ i Sp +- = gone, Animando e cres. IRE EN RR EE mnake the years as they roll on, But one long sum - - mer’s | barb should rend the heart, Then ! time ! thy heal - - ing 3 ye —— it’s a ee ae j oe Ree a ES et, oe sae g ae a -—_g-—_—_———_—_—_—- -——_—_——_ SATA S Viss sia EL ol ~ Sore een RE ornament mamma ca Page 4. 14208—3 BEAR 3ENTLY, TimE! ON THOSE WE LOVE.
Page 18
éon animé. con — _ en] EPR heal - ing bring! a tempo < . eae —-—-f--. a < . €- $—-€---——___ deci ees mf er ee —}-——— gp ig a 9 t ’ : un poco rail, Page 5 14208—3s BEAR GENTLY TIME ON THOSE WE LOVE.
Page 19
PENDULUM SCHOTTISGH, Composed by PAUL WINKLER. ell ait ree wll hill gan Bes AS kth MMS : cae oe 2 —x g _-a___|___ = — _—---—— . —@ — wv COPYRIGHT, A. D., 1880, By S. BRAINARD’S SONS. PAGE 3. Y 5382—3.
Page 20
i ; | | . a beaae | y 1 }@ ' é i Li |] " Wit itt | ‘e bul ali a.) s shar z ul ean Pea ——-@- = =e- 2 E eee = pe - — . ete: - PEROT! 452 ae ——— ae 4 ¥ o____» _» | -»— E ical ng al RS ae Seectree — i. . Se. ) ? -|_—__# ane oan = a. — ad 8 ; | ROR eet ae TRIO. ih iil Hiei | Fl th at lh, —=——fe-e eee eat > IN INET ee ——_-——__—_ H eee = atin ——@9--+ ms 5 . 1 dee eae Hy | @——_6—6-—6 . ple SE Seana, — SDS q / 15382—3, PENDULUM SCHOTTISCH, PAGE 4,
Page 21
& —4—~---=— —. —@¢@--— sms Se b et ey Cd Jag as —_@——_6—_a—@-—_--— ee | ; + _—_- He TTT i! uit aril - steamer a is % mj ad ~<a ee ne , es eget BL asy” * Goa aa DE CR Meth we <7 = HT dll vil Till * vital Hit teal) ul ui pn me ee ee —te ) oe c —— ——— PAGE 5. PENDULUM SCHOTTISCH. 3 15382—3.
Page 22
3O IRON CROWN MAZURKA. THE » iene a aire. PIE ES is wie ; MOLLIE E. ORNDOFF. No. 15. oe ee Ce = me i 4 le i { We T : it ne nl eee 2 eee —— ' ele le =} } ae 4 = = 4 asia —_—— ,—---—_-—_——- -——— -~- -- — ee a, —_ BBE” Wd t I! es oe --— - | ‘0-p- _— —— ee —_——-— a — ie - _ - a oe fe 15184—2. COPYRIGHT, A. D., 1880, BY S. BRAINARD’s SONS, -~ PaGE 2,
Page 23
wesetteve i feene i. as ee . ee : PY | co ae | Tue IRON CROWN MAZURKA, PAGE 3. 15184—2.
Page 24
222 CLICQUOT GALOP Secondo. SCHINDLER. Allegro. = st: wv MS ERB ag Sea SE Be: Recrodt BEY BAY ve a - | a erie RATE BETH a eo a ———— ae J] ij | i f | ¢: a | ant il ui Hl yes KE = o—o—3— ee a3 2 =-— 5— Lh ciccenlll Pre el eA g—|--“-- 9 oir a fe. a“ @ D- rektowe —_—g§—_---_- - --g--~— < 2 fl. 4 15048, Copyright, 1878. By S. BRAINARD’S SONS.
Page 25
223 CLICOUOT GALOP. Primo. SCHINDLER. Allegro. a ame See <p oe —-@— | r Tae t al ai) 1H me aul! oH] MU) mie gil Mall Uy Ni al efile Hit. f il 4 Hatt | i SH ape lt) Ma it een ay vii | int Si IES. itive Int | Gis GNIS Sl wi Copyright, 1878, By S, BRAINARD’S SONS. 15048,
Page 26
19 SLEIGH BELL POLKA. By KOMSARA. . ee L Te Sees gp ot a ee a eee {Sage See SESS se SS * —o et ae Se Oe A ea nee SE a TE a ——— ss SS sa Tide SET RS “Mntered according to Act of Congress, A. D, 1674, by S$. BRAINARD’S SONS. in the office of the Libravian of Congress at Washington. 13964—3
Page 27
i ill} tall [Ba At i moh ee et a it AL ttt LY Ml it Pa Susan Th Hii eerste pall patti - {| ell : iit | felt 0 eet 4) mill St Tn mH ||! | iN | SU SOU cl gS in | 1 a rm ay Hf eT] S ve) ay eed HT alll a ee tl itn my At tee te i - il ea il nN oe Nit mot an SA im am an i Th ue iy th ol aie QU aH 4 me ctr fy el ik tH tt ra Hdl i i ae tte ow Mit Me at ae ny - | TH sup I U | ‘Ul hy Mee: SLEIGH BELL POLKA. “. 18964—3
Page 28
a TRIANGLE, = es © ———— Fe ne ee tr —— Se ee ee = a — Pe am - —-~#—*-—- —_.___-______ SRR: ERR NEN. oie a : : ATEN "PRP TS TRE BET AG MATA AN HITE OM GS ee == re en ee A rn ER ee en ee ee ee cee Nee reer see Ne nn RS NS NY Cc LO SS te ES a Se ES a ee pe ee ne HS a ae rm en a it nn ee ne ttaeg eh @ SERS. Menenerieeaar an ;—|-—— hi ieee te iaieig 2 aun ana — oo a oe = 2 GE ETRE ESR, Ia ARENT a FES FAR... TOUR SEG IRR A fee eee SS SsiS SSS LSS Fed. % ee ae = ——f cenemsicnigeamre @ neammennet anemlnennaaiee aptincand SLEIGH BELL POLKA.
Page 29
: ] ) ee ee ee ee Fe ES Gl AGREE STG HOT CY Rees ea * ne (3 me more concern than all the other scholars put together. What to do with such a pupil is the question now? I am distracted and worn out, and in my distress I come to you for counsel. Please tell me what to do with such a pupil. I am a young teacher and may lack experience, if so, I hope you will let me have some of yours. Do not drop this letter into the waste basket, favor me with just a few lines by way of encouragement and advice. I hope you will not give my name for the pupil reads the Musica Wor LD and she would know right away that I refer to her. When you write omit my name and address, and simply sign my letter DIsTRESS. Keep calm my young friend, keep calm, for while this may be your first indolent pupil it will not be your last, provided you will continue to teach. I agree that indolent pupils are a great, a very great trial to any teacher, old as well as young, for teachers with or without much experi- ence. Lack of ability, irritability, thoughtless- ness on the part of the pupils are at any time a trial to the teacher, as well as a hindrance in the pupil’s progress, but laziness and indifference is the quintessence of all bitterness a teacher has to swallow. I am glad you wrote to me, for let me tell you that there is not a music teacher who if he has a large class, has not a lazy pupil if not several of them. Our correspondence may, therefore, be of interest and benefit to others. Let me then give you a few hints. You did not ‘state the age of your pupil, hence I must be gen- eral in my remarks. First let me ask you to ex- amine the nature of the lessons you give. Do you not perhaps ask too much of your pupil and then are impatient when that which you have laid out for a lesson is not accomplished? Stop and think now my young friend. Long lessons mean much work, and no one likes to be over- worked. Too much criticism, too much spurring on, too much work, are apt to rob a pupil of love for work. May be your pupil has but little time for study, for practice, and an average lesson even may be too long under certain circumstances. If your pupil attends public schools, and is kept in daily until 4 P. M., there is very little time left for the study of music. This leads me to say that we overtax pupils, we attempt too much, we attempt to raise the standard of our schools to those of high schools. The pupil is compelled to sit in the schoolroom eight hours a day. This is simply too much., The grown man only works two hours longer per day, and he does no brain work. Is not eight hours of study and recitation too much for young people? Would not five hours be enough, thereby giving more time to play and recreation? Is not the physical development of the child a part of education? Surely it is, or at least ought to be regarded as such! Now another point. Do you not give your pupil too difficult music? Many teachers in their anxiety to advance pupils give them difficult music, thinking that thereby they have actually advanced them. They fail to see the error of their way until too late ; the pupil works at the piece as patiently as a baby chews at an india rubber ring, making no impression, never getting it down, only wearing it out. So the pu- pil plays and plays and makes no progress, only wears out the music. Is it not natural that a pupil should finally become discouraged and lose all en- ergy? Or may it not be that you keep your pupil back and refuse to give her what she feels she can accomplish? Examine into this. Indolence and diligence, are habits that are cultivated. The first is going down the hill, and, therefore, is easy and quick, the second is going up the hill, and is at times difficult and slow. It is very seldom that a pupil becomes suddenly lazy. That habit is formed by degrees. If the teacher fails to see when the habit seizes upon the pupil, it will be all the more difficult to correct it. When the pupil slackens in her accustomed pace of advancement, then it is the time to apply proper means. These means are rather limited, for the music teacher has not as much scope for discipline as the teacher in the public schools,, who can demand a good lesson or keep the pupil in until the neglected work is done. The music teacher cannot inflict punishment, and unless he enjoys the co-operation of the parents, he is almost helpless before an ill behaving pupil. The youth of our time is much inclined to insubordination, and correction even is often resented as punishment or scolding. What then can you do with an indolent pupil? Reason with her, manifest your interest in the pupil’s welfare, ex- plain to her your aims, your purposes ; show her the desirability of a musical education, of its ad- vantages, etc. Next draw the pupil’s attention to the time and the amount of money that is being spent in her behalf, and picture to her the great wrong of wasting these means, as well as of ne- glecting her precious opportunities. All this you must do in the spirit of kindness, avoiding all ap- pearance of impatience or anger. Abuse will only harden your young criminal. Bear in mind this fact that the worst cases always need the greatest care for severity or even an approach to it leads to stubbornness, and if persevered in will produce a rebellious spirit. The pupil who was first simply indolent may by such a course become determinate in her laziness, she may become unruly, and act the part of a balky horse. Balky pupils, like balky horses, are of very little value. At any rate there is very little pleasure to be had out of such. Every pupil, no matter how indolent she may be, no matter what faults she may have, may be reached and overcome by kindness, and to find out the avenues to her heart and reason, this must be one of your first studies, One teacher has more ingenuity in finding his way into the hearts of pupils than another. One teacher has the fac- ulty of subduing or winning over fractious children, while another has it not. That faculty is a gift, yet with earnest endeavors much may be done by any one who is fully in earnest to do good, and to subdue with kindness. There is another danger to be guarded against. Some pupils feed largely on praise and are unduly sensitive to correction. Beware of the extremes in the use of either. Be always just, but also mod- erate. The superlative of praise leaves nothing for the teacher to bestow. By praising too much, pupils become indifferent to praise, and soon also to study. When your pupil has lost ambition, it may be a wise plan to allow her to play something at a soiree or a musicale. By this method you appeal to her ambition, and may produce a greater love for work. It may also be a good plan to bring other pupils into your indolent pupil’s lesson, thereby stirring her up to greater activity. Such means must, however, be used judiciously. I know not the age of the pupil you refer to, but it is a point, a very important one for teachers to take into consideration, namely, that sometimes love affairs are occupying a pupil’s mind, destroy- ing all interest in her musical studies. All usual means of correction will then fail. Again, your pupil may have fallen into bad company, may have become intimate «ith lazy children, who lead her astray. In either case consult with the parents, and ask for their co-operation. Do this privately, and be cautious how you express yourself. If, however, at last all your efforts fail, if the pupil is absolutely incorrigible, then advise a cessa- tion of lessons for a while, or stop altogether, for the teacher will be the gainer by relinquishing such a pupil, while he is apt to be the loser by keeping on with his lessons without success. A teacher should consider his reputation as of more value than money, for with reputation no teacher can af- ford to trifle. If you are, however, a teacher in a seminary or a female college, then is your condition pitiable indeed, for the teacher has no discretion- ary power as to whom he will teach, he must in- struct whoever has paid for it. Under such cir- cumstances the pupil as well as the teacher are bound to continue in a work that had better be suspended. Is it not unjust to blame a teacher if he fails to govern pupils whose parents had lost all control over them, and who nevertheless lent an open ear to their children’s complaints against a teacher. x I hope, ‘‘Distress,”” the advice here given you will be of practical value to you. I am somewhat interested in your pupil’s case and hope to hear from you again. Let me know how you succeeded. A PupiIL_:—Having told you in the last number the story of Schubert’s life, it only remains for me to mention his works. And first I will speak of his songs, for as a song writer Schubert is specially great, and of him it may well be said that he cre- ated German song. Germany had been great in the field of symphony, in church music, the opera, oratorio and chamber music, but up to Schubert’s time she had done very little in the field of song. Tis true a Mozart had written his ‘‘Violet”—ever fragrant, and Beethoven had written his ‘‘Ade- laide’’—ever noble, but these were only single pro- ductions. Schubert gave us whole volumes of songs and they are so varied that in them every im- aginable sentiment is expressed. Though there came after him Mendelssohn, Schubert, Franz and Loewe, all great song writers, none have surpassed Schubert. In his songs he never sinks to a. low level.. The poems he uses are always dignified, he never aims at popularity nor are his accom- paniments imitations of the guitar. Schubert’s heart was indeed a great harp, said a writer, to which the world was the poetry. No nation pos- sesses such song treasures as Germany may boast of, yet when he died only about one hundred out of the five hundred of his songs were published, and these were known but little. Not until a Liszt family played Schybert into German hearts and ears, not until a Schumann said the noblest words in behalf of the German song writer, did Germany realize what legacy Schubert left her. Schubert wrote quite a number of operas, but none of these were very successful on the stage. Some of them were never completed, while others were not performed until long after his death. I see that one or two of his operas have lately been put on the boards again, with what success I can- not tell you. : Schubert also produced much church music. There are many masses, offertories, psalms and hymns, but all these works contain but very little genuine religious sentiment. There is more God- liness in the introduction to his great symphony in C, as well as in many strains ‘in his other works, than there is in his church music. But then we must make allowances for the pantheistic or realis- tic tendencies of his times, which no doubt also influenced Schubert and which is also averse to the expression of true Christian sentiment. More- over when a genius like Schubert worships accord- ing to the prescribed rules and forms of the church, he is not half so devout as when he says he feels and thinks in his own free language. I must also briefly allude to Schubert’s choral works, which are partly written with and partly without orches+ tral accompaniment. not of as great interest as his solo songs they nev- ertneless are worthy of Schubert, the stamp of whose genius they unmistakably bear. Schubert left us many sonatas, fantasies, im- promptus, variations, dances and marches for the piano. Unlike Beethoven he wrote for all grades of players, and for this reason it is surprising that Schubert’s sonatas and piano compositions are not in as general use as they deserve to be. Schubert: began to write for the piano when quite young, and, says a critic, his piano compositions are writ- ten more for that instrument than many of Bee- thoven’s sonatas are. He has written sonatas, which are equal to Beethoven’s; especially is this true of the ones, Op. 42, Op. 53, Op. 120 and the fantasie, Op. 78. His dances are the common root out of which Strauss’ and Chopin’s waltzes sprung. His piano duets are a special literature in themselves, which he cultivated more extensively than any master before him. Among these duets this fantasie in F minor, a rondo, Op. 107, and his divertisement'a la hongroise, deserve: special mention. ey eh aes Between Schubert’s piano compositions and _ his orchestral works lie many fine quartettoes, etc., each of which deserve the musicians closest atten- tion. ButI must not make my letter too lengthy and must proceed to his orchestral works. These consist of overtures and symphonies. Of the former I will ‘say nothing here, for my space is too limited. Schumann when he went to If these compositions are ~
Page 30
/4 Vienna found seven symphonies by our master stacked up in one pile. The eighth was merely . sketched, and was given as a present to Mendel- ssohn. I would like to say something about the B minor symphony, but must confine myself to ~one—his last in C. _ It is Schubert’s greatest work, and of it Schumann says that he who knows it not, knows nothing as yet of Schubert. The mas- ter had received a hundred florins from the Vienna Mnsical Association as a token of their apprecia- tion, and in order to show his gratitude he wrote this immortal work. The Society tried the sym- phony but found it too long and too difficult, and laid it aside. Schumann brought it to Leipzig where in the winter of 1839 it was first played and became the object of general admiration. Says a writer, this symphony is once like a dome of a ca- thedral where one hears pious organ tones, and again it dashes on like a Bacchanalian song. The symphony begins sadly, the sound of the horn seems to come from a distance, as a writer says, like **The horn of Elfland Faintly blowing.” That theme is tender in the extreme. It grows in power, until it rises as a strong forte, dashing with impetuosity into the first part of the symphony. This allegro is full of brilliancy and ‘‘ festive sound.” The melodies are fascinating, the rhythms are striking and of a most singular character. The whole is unique, it is cut out of block. But hark! here comes the sweetest strains man’s mind can imagine—the andante. In those strains one can hear Schubert’s heart beat, in them one can hear him sigh. Again you may notice his defiance, which is, however, easily yielding like that of gentle woman. Again and again is heard that beautiful theme, and well may Schumann speak of a ‘‘heavenly length.” With a sigh one says, ‘‘Sing on, dear Schubert, yes sing on, I love you.” Clear to the end is heard that theme. Singing and sigh- ing.it passes away, as.if kissing the hand to you again and again, as if saying forget me not, until finally all dies away in long chords sighing like gentle zephyrs in pine trees. Oh, that it were given me to tell you the thousandth part ot the beauty of this andante. A German-American critic once wrote, evidently with some spiteful feel- ing, that unless Schubert is Hungarian he is noth- ing. This was.a most unjust accusation. The andante is beautiful and must be regarded as one of Schubert’s greatest productions, whether it be Hungarian or not. Some one has said that the whole symphony is a picture of Gipsy life. Be this as it may, it is beautiful music and as such I prize it. The sherzo, like the preceeding parts, is a won- drous piece of orchestration and composition. It is worthy of a Beethoven. The grand finale is a most remarkable composition. It is more dra- matic than the other parts, yes, a writer said it is the finale of an act. The ideas are wonderful and follow each other with the rapidity of a mountain stream. The basses toil for the mastery, and the chords tower up sometimes as if they become high as pyramids, The basses seem fairly to stamp the ground, like wild and restive horses ready for the race. Mr. Charles Tretbar, in his excellent Analytical Reviews, when speaking of this great. symphony, compares the finale with the story of Phaeton and the horses of the sun, The opening of the finale, says the writer, with its sonorous clang and its dignified movement well suggests the assembling of the gods, and the interview between Apollo and his son, Having obtained his father’s permission Phaeton mounts the chariot and tries a canter around. Then off they go, the team at once set- tling to their stride, not with the ease, grace and motion of the coursers in Guido’s well known Au- rora, but pulling hard as horses of the sun should pull. Jove and the Gods seem to call him and warn him out of heaven. Once or twice the rash driver seems to check his horses, but only for a time, for they soon resume their furious career. The afternoon wears on, and evening approaches, the long day wanes, the slow moon climbs, the deep moans with many voices, the chill evening air begins to blow from the ocean and Phaeton and his team enter the downward path of the west and the real difficulties begin. The steeds not only be- come fast, but restive, they wil! not pull together, they begin to plunge and kick, they snort and stamp the ground, and at last they start off again. The luckless youth, "however, cannot hold them and the movement ends with a tremeduous plunge of team and chariot and driver into the Adriatic. Phaeton or no Phaeton, all who have heard this remarkable finale will agree that it is a perfect mar- vel of spirit and impetuosity, worthy of being con- nected with this story. My task is done—I have said all that I eould say in the space at my command. I hope my let- ters have been instrumental in awakening in you love and admiration for Francis Schubert. Educational Hints. UsrEFuL Hints To TEACHERS, PUPILS AND PARENTS. 311. Many music teachers are merely practical singers or players, totally devoid of method, going onward in their work without system, rhyme or reason—teaching at randoin. 312. Who derives most pleasure from music, he who sings and plays well, or he who listens well? He who feels the most, he derives the most good from music, whether he plays and sings, or whether he silently listens and admires. 313. Do not insinuate to reporters that you ex- pect praise in return for your musical performances, for you give yourself into their power, and gener- ally reap the contrary from what you desire to get. Let all praise come to you as a free will offering, and then itis worth something and will give you pleasure. 314. Unless you are hungry, so to speak, for your music lesson, unless you are anxious to learn something, both you and your teacher waste their time. What is the use of trying to feed people who are not hungry? What is the use of trying to teach those who are not anxious to learn? Are you anxious to learn, do you crave for instruction? 315. Some children show early talents for mu- sic, while in others the evidences manifest. them- selves later. Remember that the child which de- velopes slow and late, may be the superior of the one that shows its talent early and unfolds its powers quickly. Young blockheads sometimes make great men, and smart children have been known to turn into old fools. . 316. If the face is the outward indicator of our inward thoughts and feelings, it follows that teach- ers should at times look into mirrors, not for the purpose of admiring their beauty, but to see their sour or pleasant expression. A bitter thought, a sad feeling, is apt to produce a bitter or a sad look. Children know nothing about human nature but they read with unerring certainty our state of feeling from our faces. Teachers try all in your power to remain young and fresh—and when in the presence of you pupils watch your face as well as your speech and manners. 317. Lichtenthal says that some men are called great on the same principle that people give the centiped credit for having a hundred legs, when it has only a dozen or so. The multitude of the legs impresses them, and being too lazy to count for themselves, they say the animal has a hundred. So the presumptuous talk, and uncommon acts of some impress their neighbors. Being either un- willing or unable to judge correctly they straight- way calla man great. It is just so with the word genius. Let a man be able to play a few notes on each of the horns belonging to a band, and he is called a genius, simply because people do: not know what the word genius implies. Htevelarl Hepartment, Music in Cleveland. THE MAY FESTIVAL. The arrangements for a grand May Festival in Cleveland under the auspices of the Cleveland Vocal Society, being now complete, the executive committee have issued a public manifesto, inviting a generous public to be present at one of the most attractive series of musical entertainments ever pre- sented in the City. In the fewest words the society modestly refers to its organization as fol- fows: | Thd Cleveland Vocal Society was organized in October, 1873, with a membership of 50 voices which has from year to year been increased, until it now numbers 85. These will be the first series of Concerts ever given to the general public by this Society. The excellence of their programmes and their admirable discipline have merited the warmest enconiums of praise from their subscribing mem- bers and from representatives of other societies throughout the country. VOCAL SOCIETY ORCHESTRA. The Cleveland Vocal Society in 1877, feeling the need of an orchestra to better render such works as were deemed desirable to place before their mem- bers, organized an orchestra out of the amateur element of our city, and from such an organization have centralized the amateur talent is such a way as to bring forth the happiest results. It will be increased to 45 pieces and will prove a valuable and enjoyable portion of the festival. With commendable zeal the committee have ~ augmented the chorus by an auxilliary company of ninety picked voices, thus bringing the number to one hundred and seventy-five. This portion of the chorus, the prospectus states, has been selected with much care as to voices and musical profi- ciency, and has assimilated itself so thoroughly with the society that it seems an integral portion of the same. There will be two miscellaneous concerts, and one evening devoted to oratorio on which occasion the master piece of the immortal Handel, ‘‘The Messiah,” will he given in full. The following eminent soloists are engaged: Miss Annie Louise Cary the distinguished Contralto, Mr. Myron W. Whitney, the peerless Basso, and Herr Edouard Remenyi the celebrated Hungarian Violinist. In addition the following prominent members of the society will appear in solo parts. Soprano, Miss Birdie Hale, Miss Dora Henninges, Miss Marie Suggett, Mrs. Herman Ahlers, and Mrs. A. W. Wheeler; Tenors, Mr. John Spindler and Mr. Chas. Jaster. The concerts will be given at the Ontario Street Tabernacle, the first on Wednesday evening, May 12th, the second on Thursday afternoon, May 13th, and. the great. oratorio on Thursday evening, May 13th, upon which occasions the following programmes will be observed: WEDNESDAY NIGHT. 1. Rebekah—Sacred Cantata.........:.... ene Barnby Miss Mary Suggett, Mr. Cae Jeu. Mr. M. W. Whitney, Chorus and Orchestra. g. Concerto Violins... <sscwewast Sess 3% Mendelssohn Andante, Rondo, : t Edouard Remenyi and Orchestra. 9. Mew Veure Bat, iv tides co05k Cote b ees aus B. Tours Part Song, composed expressly for and dedicated to the Cleveland Vocal Society. Chorus. 4. Aria—Honor and Arms—Sampson............ Handel ; Myron W. Whitney and Orchestra. 5. Unfinished Symphony in B minor............ Schubert Allegro Moderato, Andante Con Moto. : Orchestra. 6: Viole Same 55155 <a ica er te iar ee cose ubeetaccs An Unfinished Opera. Mrs. H. Ahlers and Orchestra. MATINEE.~-THURSDAY AFTERNOON. 1. Song of the Vikings—Part Song............ .. Fanning . Vocal Society and Orchestra. 2. In Mamre’s Fertile Plains—Joshua..... Fike Handel Myron W. Whitney and Orchestra. Fo: gE ig ARS SOUR criti scnniencs Seong Wie Cooke ocal Society.
Page 31
LF eR RE TRNAS POE IN REN ETS EIR AE TE! REY PE EEA AL AES TET ee ree =. 4. Aria—Don Carlos.......... SEE SS ae AEP is 5 Verdi Miss Annie Louis Cary and Orchestra. 5. Overture—Prometheus..................05. Beethoven Orchestra. i eine RIG ala oN oars oa nus Wha ccninic-d-n. Sch views Ardtti Mrs. A. W. Wheeler and Orchestra. 7. Where Wavelets Ripple Gaily—Part Song..... Pinsuti Vocal Society and Orchestra. 8. I’m a Roamer—Son and Stranger....... Meudelssohn Myron W. Whitney. g. The Nightingale—Part Song Vocal Society. 11. Polonaise—Opera ‘‘Life for the Czar”.......... Glinka Vocal Society and Orchestra. THURSDAY NIGHT. ee Miss Annie Louise Cary, Miss Birdie Hale, Miss Dora Henninges, Mr. John Spindler. Mr. M. W. Whitney, Grand Chorus and Orchestra. The above brief synopsis of the musical treat to be afforded will convey some idea of the magnitude of the risk undertaken by the society in the interest of the divine art and for the advancement and ap- preciation of music in this city. Itis pleasing to hear that public feeling and interest is indicative of a most successful result, and there seems but little doubt but that the entire series will be overwhelm- ingly patronized, so that the vast auditorium of the Tabernacle will be tested to its utmost seating capacity. The rehearsals, which although demon- strating the fact that all are perfect, yet go on with undiminished energy and will do so until the day of performance. The soloists are all enthusiastic, the chorus in superb practice and the orchestra straining every nerve to fully sustain its fine repu- tation on so momentous an occasion. The pro- grammes need no reference, every number is a work of the very highest grade of art and many of them remarkable gems of beauty. In the recital of ‘‘Handel’s” glorious oratorio of the ‘‘Messiah,”’ a degree of excellence will he attained which will far outrival all p:evious efforts in this city, and present this world-renowned work in the most tell- ing manner. The solos in the hands of two such artists as Miss Birdie Hale and Miss Dora Hen- ninges will give more satisfaction to a Cleveland public than is possibly conceived at present, and Mr. Spindler’s tenor voice is so admirably adapted to the music that much is justly expected of him. Of Miss Annie Louise Cary and Mr. Whitney it is unnecessary to speak, their reputation is so great that it has become a matter familiar as household words. Cleveland thus wheels into line, in the foremost rank of musical cities, the credit of which. is undoubtedly due to the Cleveland Vocal Society. MLLE. MARIE LITTA. The Sunday Votce -recently republished from a Bloomington, IIl., paper a paragraph that has been going the rounds of the press to the effect that Max Strakosch, owing to the last unfortunate season, left an indebtedness to Mlle. Litta of ($52,000) fifty-two thousand dollars, and that the talented prima donna was being placed in a very embarras- ing position in consequence, owing to the fact that her family were entirely dependant upon her. We most deeply sympathise with so gifted a vocalist that Cleveland may almost call her own if even a portion of such liability does exist, but the above statement is so manifestly absurd and unjust to both parties that a correction is certainly not out of place. Ifwe are not mistaken the past season of the Strakosch Opera Company did not last more than 20 weeks,if as many. We are not curi- ous as to the salary of Miss Litta, as we are sure it could not be too high where Max Strakosch is concerned in the contract, but if the irrepressible impressario had shirked his contract entirely and never paid his best drawing artist one cent, rather an unlikely operation; at the stated amount of in- debtedness the salary must have been nearly ¢hree thousand dollars a week, a sum we hardly think has been contracted for even in these days of ex- horbitant salaries for star artists and if contracted for surely without any idea of paying. There is evidently a mistake somewhere, probably the sum should have been stated as $5,200 which in any event is far too large a sum for Miss Litta to lose and the manager whose reputation heretofore has always stood well on such matters should see to it that so valuable a member of his company should not be placed in such a position as the press of her native city attribute to her. re) Cleveland Notes. Mrs. J. W. Wabel has been singing in public recently with marked effect. Professor Henninges’ Bass song ‘‘Ivy Green” is destined to become popular. The Liedertafel Quartet have been serenading during the mild weather of April, Mrs. S. C. Ford has made Molloy’s composition ‘Kerry Dance,” quite popular. The orchestra of the Vocal Society is rehearsing twice a week for the May Festival. Professor William Miles rendered great assistance at the Veteran Soldiers’ entertainment. Mr. McKenzie’s triple movement on the Cornet was much applauded at the St. Mark’s Church Concert. ~ A very pleasant musicale was given at Rettberg’s Hall on the r2th of April, by the Germania Liedertafel Society. The Berea Musical Union under the direction of Professor H. A, Darby, gave a very enjoyable concert on April 18th. The Musicales given by Mr. G. T. Smith at his residence it is said are to be continued at intervals until the heated term. J. F. Isham and Charles Jaster are making an unusual success with the duet for two tenors from Rossini’s Opera of Othello. Miss Alma Davis furnished much pleasure to an audience by some instrumental music at a recent West High School entertainment. At a recent entertainment at the First Methodist Church the entire musical programme of eight numbers was sung by Mr. Frank Davidson. Mr. Geo. D. Duckett, the basso, par excellence, has been secured for the church choir of the First Presbyterian Church, for the ensuing year. A quartet composed of Mrs. J. C. Fitzpatrick, Mrs. Grace E. Cook, Mr. F. M. Nicholas and Mr. A. J. Cook, sang at the Veteran Soldiers’ Entertainment. The Broadway Orchestra have received much deserved praise for some good music heard at the Woodland Avenue Presbyterian Church, at the last social. The entertainments at the Depot Rooms for the benefit of the Railroad Women’s Union are very successful. The musical exercises being quite enjoyable. The Cleveland Gesangverein gave a pleasant Social on April 14th, at their hall on Ontario street, which was largely attended. Some fine vocal music was heard. Miss Dora Henninges has been engaged as leading soprano at the First Presbyterian Church for the ensuing year. The congregation may be congratulated. The talented rendition of such an ambitious programme as that presented by Signor Banfi at his last musicale by his pupils reflects the highest credit on both master and pupils. On April 15th a parlor entertainment was given under the auspices of the Superior Street Methodist Episcopal Church at the residence of Mr. William Simmons, 722. St. Clair street. The choir of St. Paul’s German Evangelical Church gave an excellent musical entertainment on April 8th, at the Church which was heartily enjoyed by a large audience present. Miss Clara Strong has returned to he: home in Cleveland and may be expected shortly to give a concert that her many friends may note the result of her recent studies under Kullak. A very pleasant entertainment was given on April 14th at the Lorain Street Methodist Episcopal Church. Music par- ticipated in by distinguished amateurs being the chief source of pleasure. At Miss Couthoui’s Literary entertainment at the Euclid Avenue Baptist Church, April 8th, Howard L. Smith and the Jolly Four Quartet furnished some very good as well as jolly music. Mr. George D. Cattrall, the young basso of acknowledged prominence, is much sought after for charitable entertain- ments. His fine voice and musical aptitude in vocal reading makes his public appearances very acceptable. At Signor Banfi’s Musicale, Mrs. S. C. Ford and Mrs. Stewart Chisholm sang the now famous duet by Millard, “Vieni almoi Sen.” The effect of the blending in harmony of two such perfect voices can well be imagined. Mr. M. Lathrop plays Cornet solos accompanied by Miss E. P. Wuertz on the pianoforte in a very pleasing style at the Reading Room Entertainments at the Union Depot. Miss Louisa K. Block has also been quite success- ful in pianoforte recitals. _ The simple announcement that Mlle. Marie Litta would sing the Oftetory at St. Paul’s Church, on Easter Sunday drew such a crowd of worshippers that the building was. uncomfortably full and it is said thousands of persons left unable to gain admittance. “The East Cleveland Cornet Band, on April 8th, had a very enjoyable meeting with their friends and gave a decidedly pleasing entertainment, discoursing good music sweetly and intelligently. A sextet of male voices. received a well merited encore for some really fine music. Signor Riccardo Banfi’s Sevata Musicale was a most pro- nounced success. All the pupils participating were enthusias- tically received by their friends while the prominent ones , who have well earned the title of artists were compelled to respond to numerous recalls for encores. Mr. Wilson G, Smith’s second musicale at 158 Taylor street was largely attended and very successful. Mr. Smith’s pupils displaying much proficiency. Able assistance was also rendered by Miss Flora Howlett and the Mendelssohn Quartet. Such contributions adding much to a very com- plete programme. The fifth anniversary of the Excelsior Reed and Brass Band was celebrated at Reichard’s Hall on the 13th of April. The instrumental music of the band was far above the average in quality and gave undoubted delight to the large audience present- The Cleveland Quartet sang several vocal selections. One of the most enjoyable musical events of the past month was the concert at the Tabernaclé for the benefit of the Scoville Avenue Methodist Episcopal Church. Mrs. S. C. Ford, the talented soprano, Miss Hattie McLain, the phenomenal contralto, the Mendelssohn Quartet, and a chorus of over 150 voices under the control of Professor N. Coe Stewart, furnished a most satisfactory programme. The present choir of the 1st Presbyterian Church is under charge of our favorite tenor J. F. Isham, and consists of Miss Dora Henninges, soprano; Mrs. M. E. Rawson, alto; Mr. George Duckett, basso; and Mr. Isham, tenor. The First Church are to be congratulated on securing the ser- vices of Mr. Isham as director and of the best of our Cleve- land talent for their choir. Mr. Isaacs continues at the organ. The first soiree musicale by Professor H. Alex. - Bischoff and his pupils, at Weisgerber Hall, on April 22nd, was quite an event in the annals of Music during the past month. The large hall was crowded, and the number of pupils present who interpreted such an elaborate program of choice gems contributed a surprising as well as enjoyable evening’s entertainment. Compositions from all schools of operatic and other music were rendered with a facility that speaks in the most telling terms of the skill of the instructor. No less than fourteen numbers were sung, consisting of solos, duets, trios, quartets, sextets and chorus. A galaxy of song that created the liveliest satisfaction to all present. Mrs. S. C. Ford has again enraptured the Chicago public who evidently appreciate the talent of our gifted soprano. At a recent concert in that city the Chicago Tribune said: ‘“‘Mrs. Ford, a very excellent vocalist from Cleveland, of whom we have had occasion to speak in commendation be- fore this, sang the Spinning Wheel Ballad and ‘Jewel Song,’ from ‘Faust,’ which were encored; Miss Bartlett and Mrs. Ford, the ‘Quis est Homo,’ from the ‘Stabat Mater,’ and an octet, the “Parting Kiss,’ of Pinsuti. Mrs. Ford’s singing was one of the most pleasant features of the concert. Her. stage presence was very fine, her voice a soprano of good range and very pleasing quality, and her style of singing shows a careful and intelligent study.” The Zymes said: “Mrs. S. C. Ford, of Cleveland, the very excellent soprano singer, who made such a good impression as Josephine, at Haverley’s, some time ago, made her debut in grand concert on this occasion. She sang the ‘Jewel Song,’ from ‘ Faust,’ in a manner which agreeably surprised even her most ardent admirers. The lady has a truly musical and sympathetic voice, and she sang so well on last evening as to entitle her to the verdict of having made a significant hit.” The Unity Club of Cincinnati gave Eichberg’s comic opera, ““Che Doctor of Alcantara” at Pike’s Opera House April 20th and 21st, and Saturday matinee, to one of the largest and most fashionable audiences. ever assembled in the House. The Axguiver, in its notice of the opera, thus mentions the performance of Miss Dora Henninges, of this city, who took the principle soprano part. ‘“The perform- ance of Miss Dora Henninges both last night and the night before deserves special criticism. When she sang the charming music given to her role, we placed ourselves upon the standpoint of judgment as if she had been in the opera troupes of Mapleson or Strakosch. From this standard of criticism there are only words of praise to be given. The ‘Doctor of Alcantara’ is generally underrated as a musical composition. In truth it is far superior to the most of the French operettas which hold the stage to-day. The music Miss Henninges sang embraced varied emotion, romantic grave and gay, and each ofthem were rendered with a nice sense of dramatic, lyrical art. The ballad, ‘“‘He Still was There,” was sung with exquisite grace and chaste expres- sion. It never became sentimental, although one not trained in the pure classic school of vocalization which Miss Hen- ninges has had for more than a year past at the College of Music, might have betrayed into sentimentality. She has a voice of sufficient range, even in all its registers and exceed- ingly pure and sympathetic in tone. ‘Purity of style, facility of vocalization, correctness of tone, and that nameless something which cannot well be described, but which we call ‘arcistic,’ characterized the performance of this young lady in every note she sang. She would not have suffered in comparison by the side of Annie Louise Cary and other brilliant stars of the operatic’ stage. She reflects credit of a high character upon the training of the College of which we in Cincinnati have every day more reason to be proud.”
Page 32
hitage Hepartment. C.-H. BRITT AN, - - - Editor. Concert Review. THE BEETHOVEN SOCIETY CONCERT. The last concert by this society occurred too late in the month to have any mention of the performance made in our last number of the Musica. WorRLpD. In many respects the pro- gramme was very interesting. The Society had the assistance of Mrs. Stacy, Mrs. Hall, Mr. Knoir, Mr. James Gill and an orchestra under the direction of Mr. Carl Wolfsohn. . The chorus numiered about one hundred voices. The works presented were as follows: Wain RAR Se hk Fan kni as dis tn hs Ce ae ae tek Rubinstein Rector pbiany Sa Pw: 5 ais asia nS PE CCAS RS weg 8 ss wens Parker ee hs |. eee te ers Pte Peet oe a eS Beethoven Mrs. Stacy. Festival Chorus, from the ‘‘Queen of Sheba.”....Goldmark The ‘‘Paradise Lost,” of Rubinstein did not interest as much as we had expected. The work contains some striking numbers it is true, and at some points almost reaches the height of grande ir, but often it returns to a commonplace character, so far removed from the great inspirations of art as to make one wonder what Rubinstein intended to represent. At some points in the development of what is called “the new school of music”’ there ‘are traces of a striving for new effects which be- come so very apparent as to impress the listener with a feeling of restlessness, for he realizes that the object of the composer was not one that had a positive aim, but rather an effort made in the di rection of the unattainable. When a love for art is founded upon truth it will incite the composer to give utterance to what has a positive aim, for there will be no desire to gain novelty at the ex- pense of higher aspirations. True inspiration is actuated by a love of the pure and the beautiful, and it never bends from its high purpose to reach results by mere displays. It is too true to itself to affect anything. Novelty in music has been the cry of many “a composer, and in seeking for it alone, ‘they have lost their best inspirations. When a lovely melody comes to the musical mind, it should be placed in form and considered even as a truth worthy of preservation, no matter if its content be free from novelty. There are many beautiful violets budding into being in these spring- time hours, and while each flower is like its mate, it also has a beauty of its own. Thus perhaps novelty is not always an interesting phase of art, unless the newness contains positive forms of the beautiful. So it was that Rubinstein’s work im- pressed us. © Had it been more simple in its beauty it might have been more impressive. As it was, it seemed to be striving to reach a something just beyond. One of the numbers, a chorus, descrip- tive of the awaking of creative life, particularly impressed us. The lines of the poem used run thus: : ‘fAll around Rose the sound Of the strife Of life ; How it rushed And roared, How it gushed And poured, All creation with life overflowing Through the ether High up flying, Through the water Swiftly drifting ; On the mountains, In the valleys, Life is forming ; In the caverns, In the forests— Insects creeping, Swift herds leaping Myriads swarming— Warbling and singing, Flying and springing, Lo! now with life earth is teeming.” The poetic thought is rich in suggestion, and the musical form mated to it in a pleasing har- their interpretations of chamber music. mony.. The work contains too many recitations, which, unless intrusted to a very dramatic tenor, impress one with a feeling of monotony. - Mr. Knorr has a light and sweet tenor voice, and while he sang his part with feeling and taste, yet there was not quite that fitness between the music and the singer to insure the best results. The music requires a voice of a different mold. Porker’s Redemption Hymn is a pleasing com- position. It contains a good solo for alto, which was nicely sung by Mrs. Hall. The grand Scena and Aria of Beethoven suf- fered in its performance. It is one of the great things in song and requires a voice and method of a Parepa to do it justice. Mrs. Stacy has not a voice of the dramatic mold, and to try to interpret an aria that requires great power when the singer has not the vocal means is only to impress upon the listeners the impression of deficiency. Al- though she was honored by a recall and received the congratulations of her friends, we half fancy that she will be tempted to believe that such music is not fitied to her powers, and wisely use other selections more adapted to her voice. THE MENDELSSOHN QUINTETTE CLUB. We had three concerts from this celebrated club, and it was pleasing to greet them again, and hear The club has changed its membership since its last visit to our city, and only the iaces of Mr. Ryan and Mr. Meisel were familiar to us. They brought with them Miss Carrington as concert vocalist. She is a pleasing singer with a large and telling voice. True, her method and school of singing are after the Italian order, and she -ucceeds best with mu- sic of a florid character. ‘Yet with care and study she may develop into ar artist of larger accom- aiishments. She can please an audience and wins her way into recognition. of one of the concerts : 1. Quintet in G minor, Noa eis ets Ee Mozart ; "Allegro. 2. Chaucon d’Amour, Solo for Flute............... Doppler William Schade. 3. ‘Cara Nome,” air from ‘‘ Rigoletto.”............. Verdi Miss Abbie Carrington. 4 ‘Qaartetin D, Op.-4@ ©. 0.0. sctavee dak ei se Mendelssohn Allegro Vivace—Andante—Finale—Allegro Vivace. 5. Romanza, from a Quartet with Clarinet Princi- ODE 0:5 05 9-0:6 sy cx en AR eee ad Sole Valea Cruse 6. English Song, ‘‘Bid Me’ Discourse,”............ . Bishop Miss Abbie Carrington. 7. Finale, Andante and Allegro, from the Quintet in G GAG, 25 isin eee Grecia oak Hach Beethoven THE APOLLO CLUB CONCERT. The last entertainment by this now famous mu- sical organization was one of much _ interest. They had the assistance of the Arion Society of Milwaukee, and presented the following pro- gramme: PART I See Ee ye Ppie pe pee Fee ssee, MS) Gounod te} Wanderet’s Song’, <os0kseterteibso Wi psace ess + Ganz Arion Society and Apollo Club. 2. By Celia’s Arbors. 5.00 i scake tine tweds sucess Horsley Apollo Club. 3. The Tove Grenadiers sss oe «stae ses tise tare ar's a Schumann F, Remmertz. a EEE Pe Cee re PIPE ere ye Epi Y Kucken 4 | The Get Pilgbions. i y)ii pens tang ses hes bs beset Arion Society. s. Dit Alinacht:); jv, s5o:ieis Sain aks ean stg os Gh Schubert Arranged by Liszt for Tenor Solo, Double Chorus and Orchestra. Dr. Chas. T. Barnes and Arion Society and Apollo Club. PART II. PriQhyjOls. 5 0/6 05 4s caw cls ¢ tlie wis Migs fas Coa eee Oe Max Bruch Frithjaf, F. Remmertz; Ingeborg, Mrs. A. N. Elliot; Chorus, Arion Society and Apollo Club. The most important feature of the concert was the performance, by both clubs, of Max Bruch’s ‘Scenes from the Frithjof Saga,” of Bishop Tegner, with Mrs. A. N. Elliot and Mr. Frank Remmertz as soloists, and a full orchestra. Dra- matically the work lacks consistency, for from the scenes used as a text for the music, but little idea of this celebrated poem could be obtained. The work only embraces parts of Cantos XII., XIII., XIV. and XV. of the poem, or ‘‘Frithjofs Re- turn,” ‘‘Ingeborg’s Bridal,” ‘‘ Balder’s Funeral Pile,” ‘‘Frithjof’s’ Exile,” and ‘‘The Viking’s Code.” Between these last two scenes comes We print a programme. ‘‘Ingeborg’s. Lament,” which in the poem is di- rectly after the parting of the lovers in the earlier part of the Saga, and. is not quite logically con- sistent here. Musically the work is very strong; the interest never weakens, and there is a rich cli- max at the close which is very satisfactory. Yet one can but wish that the composer had taken a large portion of the poem, which is so dramatic, of such beauty and strength that it should be made the text for a more extended musical work. Max Bruch would have been able to accomplish this in a most satisfactory manner, for the musical set- ting to the few scenes forming his cantata is dra- matic in form, rich in harmonic design, and mani- fests a sympathy with the characters and incidents of the poem in keeping with the mystical embodi- ments of the Norse Mythology. ‘*Frithjofs Farewell to the North,” the words of which we print, **Sun in the sky now mounteth high, The winds are blowing and ee, 3 flowing The waves advance in joyful dance, But Frithjof from his home must flee, Sadly he goes his way while morning gloweth, World’s grandest religion, thou mighty North! From thy dominions I am driven forth, Within thy border, I lov’d to awell, Midsummer sun, farewell, farewell. Thou mighty North, farewell. My love 1s foiled, my roof tree rent, Mine honor soiled; I in exile sent! Cheerless is my soul within me, Hopeless I must bear my lot. Ye rugged mountains where heroes dwell, And Thou commandeth clouds and winds; Ye azurelakes that [ love so well, Ye woods and brakes, farewell.” was grandly given by Mr. Remmertz, who took the title role. His powerful voice and his in- terpretation were in keeping with the idea of the character, and in this number with the chorus reached a dramatic climax of power and intensity of feeling that is pleasant to remember. ‘‘Inge- borg’s Lament” is a sweet and tender piece of melodic writing; and her pleading with the Fal- con to stay with her, even while ‘‘Frithjof is far o’er the seas,” is quite touching in its plaintive character. It was sung with feeling and taste by Mrs. Elliot. The last scene in the cantata, ‘*The Viking’s Code,” is a number of great power, and is trying in its demands upon the singers, being Jortisstmo all through; yet there is a fascination in the dramatic character of the music, so that the chorus is led up to the climax at the end impelled by the wonderful spirit of the words and by the grandeur of the composition. It isa work that a Meennerchor may well be proud to produce. The whole performance reflected credit upon the two clubs; the shortcomings were not of any great magnitude ; and the chorus, orchestra and con- ductor should be congratulated upon the success of their labor in bringing out the work. HERSHEY HALL CHAMBER CONCERT. The last programme offered by Mr. Eddy was notable because it contained some new works by two of our home composers. The following were the numbers : ee eo | (Pianoforte, Violin and Violoncello. ) Andante—Allegro moderato— Andante con tenerezza—- inale, Allegro maestoso. (First performance.) Messrs. Eddy, Lewis and Eichheim. 2. Song—‘‘Break, Break, Break !” (Manuscript)... Lac keae wews wed ee tewsccseeeseserer se Cd L. Morey Miss Fidella Densmore. . 3. ‘‘Berceuse,” Op. 6, (Manuscript)..... ...Fred L. Morey ' (Violin and Pianoforte.) Messrs. Lewis and Eddy. 4 Alk-and: VarigRoms cess pci xcae hae enetenn neces Rode Miss Fidella Densmore. 5. Grand Trio in B-flat, OD. OF «nas coven canton’ Beethoven (Piano, Violin and Violoncello.) 1770-1827 Allegro moderato—Scherzo—Andante cantabile, ma pero con moto—Allegro moderato—Presto. By urgent request. Messrs. Fda ee add Eichheim. Not being able to be present we take the liberty of printing the review of the new compositions made by the Saturday Evening Journal: ‘The Trio by Mr. Gleason was played for the first time, having been completed especially for this occasion. The style of this work - differs es-
Page 33
2A LETS EONS OEP AE IT (1 sentially from that of Mr. Gleason’s first Trio, which has been played here twice already, and seems to us much more mature. The development of the themes is more classical, and the true ‘Sonata form” is adhered to with greater fidelity. The modulations are rich and pleasing, and the ease with which the author glides from one key to another, is a matter of wonder and astonishment. The progressions are often somewhat startling, but the skill employed is invariably artistic, and one cannot suppress a feeling of satisfaction as he is conducted along through the varying changes of harmony. The second movement is a charming bit of writing, after the style of Schubert. It is simple in design, yet complete in its structure, and when it was finished we wished that it had been twice as long. The first movement is in accord- ance with the best examples of Sonata and Sym- phony form the strongest and most comprehensive portion of the composition, but the ‘*Finale” is the most brilliant, and brings the work to a satis- factory close. The manuscript compositions by Mr. Fred L. Morey, were listened to with much interest, inasmuch as they were novelties, and the author’s name was new to our concert programmes. We are pleased to accord Mr. Morey a genuine popular, as well as artistic success. Miss Dens- more’s* voice is not sufficiently robust to give ful! expression to the song, ‘‘Break, Break, Break !” but she sang with rare intelligence, and earned a well merited encore, in response to which the song was repeated. The ‘‘Berceuse” is a poetic com- position, and indicates talent of a high order. The priucipal theme is of a tender and sentimental character, and is accompanied by a quiet swinging figure in triplets, which gives it a charmingly graceful movement, and tends to stamp it as origi- nal. A short middle movement of a_ brighter character is then introduced, and this occurs again after a peaceful slumber, as if the object of atten- tion were restless and wakeful, the cherub in final- ly hushed to sleep, and the first theme is carried into dreamland.” CHAMBER CONCERTS, Mr. Lewis and Miss Ingersoll began a series of three aiternoon concerts at Fairbank’s Hall. At the first one they had the assistance of Master Banner, a boy violinist of little skill. This little organization has given us a great deal of good music during the past winter, and richly merit the support and praises of the public. The numbers offered for performance at this entertainment were all nicely played and were interesting to musical people. The following was the programme: Tie: Cin, Materiel eee i Sb a keh Beethoven Largo con expressione—Scherzo—Finale. Miss Ingersoll, Messrs. Lewis and Eichheim. 2. Romance from 2d Concerto................ Wientawskt Mr. Lewis. Mr II Sh et aah one gaa ae ee No Heed eo Fesca Miss Ingersoll, Messrs. Lewis and Eichheim. 4. Violin Solo—‘‘La Sonnambula.”...............45 Sinelee . Master Michael Banner. Re Fries Or 229. 5 3. Sa See Ore ey yeh Pee eter Raff Massig langsam Rasch, durchaus belebt. Miss Ingersoll, Messrs. Lewis and Eichheim. oO Chicago Notes. Mr. James GILL gave a pupil’s soiree’ recently, which was very interesting. ® Mr. Louis FAvLK has been engaged as organist at the Union Congregational Church. Mrs. JENNIE Kemprton’s ‘‘Musical evenings” for her pupils are said to be very enjoyable. Miss Fanny Roor has a large and promising class of vo:al students under her instruction. Tue Apollo Club of this city 7 : will give Berlioz’ ““Damna- tion of Faust.” It will be a rich treat. Master MIcHAgEL BANNER, a young violinist, has been playing in private circles in our city. He isa lad of talent. |. Mr. Emit LigsiinG continues his ‘‘Musical evenings,” which affords to his pupils and their friends much enjoy- ment. MENDELSSOHN’S oratorio, “St. Paul,” was produced by a musical Club at Hyde Park. Mr. Frederic Root was the conductor. Mr. PRATT gave a musicale recently, at which a number of his advanced pupils took part, The entertainment was highly spoken of; Mr.-E, Freiberger, was read at a recent reunion given by the Amateur Musical Club. under. the direction of Signor De Campi of this city. It was highly spoken of by the local papers. ’ Tue Chicago Musical College gave a soiree’ musicale on Thursday evening, April 8th. ing, and calculated to show the advancement made by the pupils of this school. elegant marble building, 136 State street, May rst. office of the Chicago Department of the Musical WorLpD will also be at that place. Some.improvement in church singing would not be amiss in this city. We have but few good choirs in our churches, although good prices are paid for singers. of her oldest musical instructors. large number of musical works during his busy life, and his name will long be remembered among the noted musicians of the country. sion the following pupi AN interesting paper on the composer, Haydn, written by A vERY enjoyable concert recently took place at Elgin, he programme was pleas- S. BRAINARD’sS Sons will remove their larze stock to Ls & A NUMBER of our churches are engaging new chorus. By Tue death of Mr. A. Baumbach Chicago loses one Mr. Baumbach wrote a Mr. NaTHAN Dyk, who has been a teacher of music in Chicago for over thirty years had a testimonial concert on the evening of April roth. A varied programme was of- fered to the audience, and we trust the financial return gave the beneficiary a handsome acknowledgement. WEDNESDAY afternocn, April 7th, the fifty-ninth pupils’ matinee of the neecee School took place, on which occa- s took part: »Mr. Hill Wild, Miss L. Lindsley, Miss Lily Graves, Miss» Mary H. Hamer, Miss Lottie E. Hoyt, Miss Jennie E. Safford, Miss May Phoenix, Miss Ella F. Danforth, Miss Hattie E. Lovejoy, Miss Fidella Densmore and Miss Eva Mayers. THE last reunion of the Amateur Musical Club presented this programme: 1. “‘Legende”—Violin Solo... .... .....00.... Wieniawski Master Michael Banner. 2. Fackeltanz—Piano Duo.,.......6......-s000- Meyerbeer Mrs. Birch, Mrs. Lydecker. iat Me NG OU DIE ids ia-c kwe es cep es cue peews Bishop Miss Ward. 4. Scherzo a Capriccio. F. Moll.:........... Mendelssohn Miss Rose Fay. 5~ Quis est homo... Stabat Mater...........%.....; Rossini Mrs. Clarke, Miss Ward. 6. Ungarische Suite—Piano Duo................ Hofmann Miss Parsons, Miss Morton. 9: §Vorrei Morit.” ).. 02055 0 ated ea eons Pees Tosti Miss Harmon, to Vogel ale PVOGuat is 9 81086 5 pa Schumann 8 {2 Trois Moments Musicaux, Op. 7, No. 2..Moszkowski So NRE EPRI LG. RONG ohn 5 o.0b Fado eee oe Moszkowski Miss Allport. eR MRE FM akg ic cs p'e'e d opine Os Gounod (By Request.) Piano, Violin, Organ and Voice. Solo by Mrs. Robert Clarke. ON THE evening of April 8th, Mr. W. S. B. Mathews gave a ‘‘Musical evening,” when the following programme was performed : * 1. Sonata in C minor, Op. 10, No. 12........:... Beethoven Allegro molto, e con brio—Adagio molto— Finale, Prestissimo. Mr. H. A. Kelso, Jr, SGM, NCA OUI 5). ee ose ca es va ew oe Schubert Miss Floy Van Patten. Be) Ae OEMOF BONIS, oe cee eta. Wines Mason Miss Margarita Gottfred. { Fantasie Impromptu, Op. 66......./......... Chopin 4- ) “Rigoletto,” Concert-fantasie........... rae Sate Liszt Nellie Good. Me MINS c ce ea katate gic Pi os ee a ik wok ves pes Miss Priscilla Owen. 6. Grand March from ‘‘Tannhauser.”...... Wagner-Lisat Miss Lillian A. Brown. 7. Etudes Symphoniques, Op. 13.............. Schumann (Theme, Variatons 1, 2, 3, 4, 6, 11, and Finale.) Miss Lydia S. Harris. 8. Song, ‘“The Morning Land.”............. Dudley Buck ' Miss F. Van Patten. g. Waltz from ‘‘Romeo and Juliet.”.......... Gounod-Raf Miss Minnie Adams. MGs Gren Pia h ste kobe sys btw k ac uate cee a Miss Priscilla Owens. tz. Concerto mm C mifor, Op. 37. -......55.66.05 Beethoven (1st movement with Reinecke’s Cadenza.) Miss Lillian A. Brown. Orchestral part on secon piano by W. S. B. Mathews. Tue following was the programme of a musical and lite- rary entertainment given by the young ladies of Park Insti- tute on the evening of April oth: 1. Concerto in C minor, Op. 37.............. .. Beethoven (F.rst movement with Reinecke’s Cadenza.) Lillian A. Brown. 2. Song, ‘‘Che faro senza Eurydice ”.....5....00.... Gluck Genevieve Gibbs. 3- Recitation, “A man’s a man for a’ that.”......... Burns Floy Van Patten. 4. Duet, ‘‘Welcome be thou, Light of Heaven.”.... etnies het ahh eA ee hs 3S Deas peveege Curschinan Hattie. Jamison and Bessie Van Patten. - 5. Recitation, ‘House that Jack Built.”.,../....... (The Girl of the Period. The Girl of Forty Years ago.) Mamie Brower and Gertie Qsborne, 6. Song, “‘To be sung on the Waters.”........... Schubert Floy Van Patten. 7. Instrumental, Polonaise Heroique in E........... Liszt Lillian A. Brown. G. Recitation, “iligh Piles s. bics sg: ceo bees sinsnis Ingelou Nellie Moore. 9. Song, ““Russet Leayes. 25s oy 0s si hace oan es Sponholtz Flora Sherburne. 1o. Recitations, Ode to the Passions................ Collins Prelude by Bessie Van Patten; Fear, Hattie Hurlbut; Anger, Emilie Schufeldt; Despair, Floy Van Pat- ten; Hope, Kittie Sanders; Revenge, Ida Ketz; Melancholy, Flora Sherburne; Cheerful- ness, Marv Reed; Joy, Addie O’ Hara. es SMS DUBS o. wclad'a anata ak nce Baik = anny eee Se Rossini Stella Clarke. 12. Recitation, ‘‘Daisy’s Faith.”......... da esate Anon Addie O’Hara. 13. Presentation of Musical Diploma to Miss Lillian Brown. 14. Instrumental, Grand March from Wagner's OPT MMR 3 Sos cid eG dn ERR ie Liszt Lillian A. Brown. Miss Lillian Brown, a pupil of Mr. W. S. B. Mathews re- ceived a diploma for musical advancement. The young lady has been a hard student and has taken every pains to improve herself in pianoforte playing until she has reached no slight degree of perfection. With an earnest endeavor still actuating her purpose she will yet reach a higher rank as a pianist. We understand she goes south te teach.. CINCINNATI. More Accusations—The May Festival—The Prize Award—Dudley Buck’s ‘‘Golden Legend.” It was the fond hope of all lovers of music here that’ the College discords would resolve themselves gracefully and beautifully into the perfect harmony of the musical festival. The resolution, however, is tardy and accompanied all along by passing notes of a disagreeable nature, whieh spring from that exhaustless fount of pettiness—human nature as is is in musicians. Just now, Mr. Thomas being in New York, Mr. Jacobsohn and Mr. Singer are before the public with a complaint that Mr.”Thomas has been cross to them, and at least one newspaper thinks the matter of sufficient import- ance to devote a column to it. The thing in itself is too trifling for even notice here, and I would crave the pardon of the Wor Lp and its readers for obtruding it were it not for the fact that it-has significance beyond its seeming. There is a very petty and malicious spirit at work in cer- tain quarters not far from the institution whose course is guided by the ex-President of the May Festival Association, and these two gentlemen, having personal grievances against Mr. Thomas which in that proneness of harmony makers to discord, are adroitly put forward to create.a prejudice in the public mind against Mr. Thomas, and through him against the Festival. There is a deal of significance in the fact that nothing of all this trouble was heard until after Mr. Thomas had given the last of the College Symphony Concerts on the 8th, and this concluded all his engagements with the College. The only prejudice that could result from mali- cious personal attacks thereafter would fall upon the Festi- val and the failure of this would be oil in the wounds of the ex-President, who would like to demonStrate his belief that he is the only man in the world who is wholly indispensable. It is gratifying to note, however, that a failure of the Festi- val is not within the prospect of the lookouts. On the con- trary the indications are that its musical value will eclipse all former efforts, and that the exhibition of interest on the part of the public will not be less than on former occasions, if indeed itis not much greater. The arrangements are rapidly drawing to a close. Mr. Thomas is in New York organizing the orchestra, and a magnificent one it will be, ‘quite without parallel in our past history. One hundred of New York’s best musicians will come and to these will be added our own organizations. ‘The band will number twenty-six first violins, as many seconds, and other strings and wind in proportion. To hear such symphonies as Mo- zart’s ‘‘Jupiter,” Schumann’s D minor, and Beethoven's C minor, rendered by such a band will be a treat such as is seldom enjoyed in a lifetime. The chorus has been studying very faithfully and almost wholly under the direction of Mr. ‘Thomas, and the result has been that the great Missa Sol- lennis of Beethoven, which at one time seemed to threaten disaster to the festival, has been shorn of all its terrors and will be given in an inspiring manner. This mass alone is enough music for an entire festival and in anticipation of the great impression which it is sure to make, and, as well as to gain time for its more thorough study, it has been resolved to repeat it on the closing night ot the Festival. The work, musicians know, is a monumental one. Beethoven himself considered it his greatest accomplishment, and the verdict of the musical «orld is with him. We have also had a little controversy on the award of the $1,000 prize for the besteomposition, offered by the Festival Association. Mr Singer, at one stage of the examination, inadvertently let fall the remark that the best he had seen was a cantata entitled ““The Tale of the Viking;” this was Mr. Geo. E. ‘Whiting’s work. When the decision was an- nounced, however, it turned out that Mr. Singer had given his final vote for ‘‘Scenes from the Golden Legend,” the successful composition. Mr. Whiting was disappointed, and a friend of his in Boston provoked a newspaper contro- versy which drew out a letter from Mr. Whiting in which he gave the grounds of his belief that Mr. Singer had changed his vote. The whole trouble rests ina little misunderstand- ing and is unfortunate as coming to swell the tide of our musical misery just now. The successful cantata has been printed and is being*studied by the chorus which find it easy work compared with the Beethoven Mass. It is so seldom in this country that a work of its dimensions is produced that T beg space to discuss it in the Werto’s columns,
Page 34
BOSTON. The Concerts of a Month—The Pianists Busy—Pre- parations for the Handel and Haydn Festi- val-Organ Recitals—The Tourjee Excursions, etc. The past month has witriessed the closing of the series of symphony concerts given by the Harvard Association, and of the regular season of oratorio performances by the Han- del and Haydn Society. The eighth and last of the sym- phony concerts took place on the 25th ult., the chief features of the programme being Schubert’s Symphony, No. 9g, in C, and a pianoforte concerto by Hans von Bronsart, played by Mr. B. J. Lang. The season has been fairly successful, and is especially noteworthy on account of the more liberal policy of the mariagement in admitting modern works into the programmes. The Handel and Haydn Society gave a performance of Handel’s ‘‘ Israel in Egypt” on the 28th of March, with the assistance of Miss Fannie Kellogg, Mrs. F. P. Whitney, Mrs. Frank Kinsley, Mr. W.C. Tower, Mr. John F. Winch, and Mr. Myron W. Whitney as soloists. Miss Kellogg ap- peared in place of Mrs. H. M. Smith, on account of the latter’s illness, and acquitted herself with much greater credit than on a previous appearance in oratorio. Mr. Tower made a splendid impression by his admirable render- ing of the tenor solos. The chief honors, however, went to the chorus. Nevertheless, the oratorio as a whole was not as well sung as on previous occasions. The audience filled Music Hall to overflowing. Since the Easter oratorio performance, the Society has paid its undivided attention to the festival music. The festival will begin on the evening of Tuesday, May 4th, and close on the evening of the gth. The list of musical works to be performed was given in my letter of last month. There have been added to that list G. W. Chadwick’s “‘Rip Van Winkle” overture, which is to be played on the after- noon of May 6th, and Dudley Buck’s Symphony-overture, ‘‘Marmion.” Mrs. H. M. Smith, Miss Fanny Kellogg and Miss Ida W. Hubbell have been added to the list of soloists. The sale cf season tickets has been quite large. ' The musical events of the past few weeks have been con- fined very largely tothe spring concerts of the pianists. Mr. Perabo has already given us nine recitals this spring, and before April is out will swell the number to eleven. Among his assistants have been Bernhard Listemann, vio- linist, Gustav Dannreuther, violinist, and Wulf Fries, vio- loncellist. Mr. Perabo’s programmes have run largely to modern productions for the pianoforte, or for that instru- ment in conjunction with violin and violoncello. Among the composers most largely represented have been Rubin- stein, Bargiel, Scharwenka, Ries, Kiel, Moszkowski, Brahms and Rheinberger. Mr. Lang gave the first of two pianoforte concerts April ist, and is to give the second next week. The most inter- esting feature at the first concert was a performance by Mr. and Mrs. W. H. Sherwood, Mr. J. C. D. Parker and Mr. Lang of a Concerto by Bach for four pianofortes. The work, which was heard on this occasion for the first time in America, has three short movements, szoderato, largo and allegro, and while a wonderful specimen of contrapuntal skill is at the same time melodious and fascinating. As a contrast to the older work, one of Saint-Saens’ works, a Sonata, Op. 32, in C minor, for pianoforte and ’cello, was layed by Mr. Lang and Mr. Wulf Fries. This, too, was Feard for the first time here, but it. failed to please as much as some this..composer’s other recent works. Hans von Bronsart’s Grand ‘Trio in G minor, for pianoforte, violin and ‘cello, admirably played by Messrs. Lang, C. N. Allen and Fries, and ten German songs charmingly sung by Mr. Geo. L. Osgood, made up the balance of the programme. Mr. John Orth, assisted by Mr. Osgood’ as vocalist, and Mr. Gustav Dannreuther as violinist, gave a very delightful concert on Monday last ‘The chief novelty was Brahms’ Sonata for pianoforte and violin, Op. 78, and this was not altogether new here since it had been —— a few days previous by Mr. Perabo and Mr. Dannreuther at one of the concerts given by the former. The work seems hardly up to the best standard of Brahms’ works. An adagio and allegro by Remeny)i, for pianoforte and violin, Schumann’s Sonata, Op. 121, for the same instruments, two German songs by Hauptmann and Reinecke, sung by Mr. Osgood, and a group of pianoforte pieces by J. K. Paine, Schar- wenka, Henselt, Liszt and Chopin, completed the list of selections. Mrs. L. S. Frohock, with the assistance of Messrs. Bern- hard Listemann and Wulf Fries, gave a concert on the 30th ult., with a rather too pretentious programme. With less exacting selections she would have met with better suecess. The pianoforte pupils of Mr. Joseph A. Hills gave a mat- inee on the 27th, which developed a much better order of performances than exhibition concerts sometimes give. Mr. F. F. Lincoln gave a pianoforte recital under the auspices of the New England Conservatory of Music on the 6th inst., playing with artistic-skill and nicety Bee- thoven’s E-flat Concerto and other selections by Chopin and Liszt. Mr. Harry G. Snow assisted as vocalist. ‘Ata concert given by the Boston Conservatory of Music on the 2d inst., there was some excellent pianoforte playing by Mr. H. P. Chelius, aid a good performance of a Bee- thoven trio by Mr. Chelias, Mr. Albert Van Raalt, violinist, and Wulf Fries, ‘cello. Mrs. W. A. Richardson sang on the-occasion. : Among the pianoforte concerts in prospect are two more from Mr. Perabo. in which he intends to bring out some new works by Scharwenka and Bargiel, and Mr. Lang’s ‘second concert. Mr. H. M. Dunham is giving a course of organ recitals at Music Hall with excellent success. Mr. Dunham is one of our best organists and his programmes no less than their Two interpretation evince taste and scholarly judgment. recitals have already been given and two others are to follow on the 2oth and 27th. At the first the selections included compositions by Mendelssohn, Mozart, Whiting, Lux, Wely and Thile, and at the second works by Merkel, Bach, Wag- ner, Salome, Whiting and one of Mr. Dudham’s own com- positions. Mrs. Jennie M. Noyes and Mr. Alfred Wilkie assisted as vocalists. The quarterly concert of the New England Conservatory of Music took place at Music Hall on the 3d inst., and was a most gratifying exhibition of the high state of cultivation attained by the pupils in the important departments of sing- ing and pianoforte, organ and violin playing. Some of the performances would have done credit to professional artists. The violin pupils of the Boston Conservatory are to give a concert on Saturday next. Mr. A. P. Peck’s annual benefit concert, always an event of great attractiveness, came off last evening, drawing a very large audience. Theodore Thomas, who conducted the orchestra, had a very enthusiastic reception. It was his first appearance in Boston fortwo years. Miss Gertrude Franklin and Miss Emily Winant sang, Ole Bull played a violin solo and Mr. Carlyle Petersilea contributed a piano- forte solo. Joseffy was to have played, but having got at loggerheads with Mr. Colell, his manager, he found it im- possible to carry out his contract with Mr. Peck without compromising his legal interests. He was also booked for another series of concerts under Mr. Peck’s management, but these are likely to be given up. The “‘Ideal” Opera Company is to begin an engagement at the Boston Theater on the 26th, when ‘‘The Sorcerer” will be brought out. Suppe’s ‘‘Bocaccio” will follow, or, if not performed this spring will be added to the company’s repertoire for next season. The company has been doing a good business on its western trip. The Tourjee excursion parties this year promises to be quite large. As the mfisical festivals in England are prom- inent in the list of attractions for European travelers, Dr. Tourjee’s ranks will contain many musical people. He has made special arrangements in connection with the great Handel Festival at the Crystal Palace, also in connection with the centennial celebration of the foundation of Sunday Schools in Great Britain. A special excursiomhas also been planned to visit Oberammergau, wheve the Passion play. is represented every ten years. Then there are the Belgian fetes, the musical festivals to.take place in England in the fall, and several special art exhibitions to be held in various parts of Europe—all these being in addition to a magnifi- cent round of travel among the great musical, art and edu- cational centers and. the most romantic and picturesque regions of the Old World. In the party of 1879, Cleveland was quite largely and very handsomely represented, and I presume it will be this year, as many, I hear, are already enrolled from the west. The first party will leave New York May a2gth, and others are to follow June 4th, June r2th, June rgth, June 26th and. July 3d.. The early parties will be sure to be especially well patronized by musical people, since they will be in time for the great London festivals. Boston, Mass., April 15, 1880. ATHENIAN. NEW YORK. The Last Symphony Concert—The Mapleson Opera Company—Piano Recitals—Ballad Concerts, etc’ The last’symphony concert of the season was given last evening at Steinway Hall before a large and appreciative audience. Dr. Damrosch provided a liberal bill on this oc- casion—-nothing less than Beethoven’s Choral Symphony, followed by the third act of ‘‘Siegfried,” from Wagner's *“‘Niebelungen.” Whether such a programme did not sug- gest some questions in regard to the limit of human endur- ance may be imagined. An audience can hardly do justice to two works like these, both making as they do so great a draft upon the intellect and the feelings. With music whose province is simply to charm, requiring only a receptive state in the listener, allowing his mind to wander and re- turn at will, the case is quite different. With all Dr. Dam- rosch’s intellectual, artistic and executive ability, it must be admitted, if a little reluctantly, that he does not understand the making up of programmes in the perfect way of Theo- dore Thomas. The soloists at this concert were Italo Campanini, Mrs. Mary L. Swift, Mrs. Helen Norman, and Mr. Remmertz, a very admirable quartet. The chorus comprised the Arion and Oratorio forces, and the orchestra was considerably in- creased. Mrs. Swift, who has lately madea contract with Mr. Mapleson, has a high, clear voice of great strengh and flexibility, and will prove doubtless fully as useful in -oper- atic as in oratorio music. Campanini, whose popularity is now at its height, created much enthusiasm by his splendid singing in ‘‘Seigfried.” Next week he will sing at the con- cert of the Philharmonic, when the third act of the ‘‘Got- terdammerung” will be produced. Miss Amy Sherwin, Mrs. Buxton, and Mr. Remmertz will assist. At this con- cert Bach’s Chromatic Fantasie and Fugue, transcribed for orchestra. by George F. Bristow, will be played for the first time, we believe. On the afternoon of the 17th Her Majesty’s Opera Com- pany gave a performance of the “‘Huguenots,” and then went directly from the Academy of Music to the steamer. Mile. Valeria. had sailed previously, and Campanini remains to sing a few times more here and to take part in the May Festival at Cincinnati. . Next week he gives a concert for the benefit of the Italian schools. Mlle. Marimon appeared last week as Marguerite for the first time, and did not add to her laurels by the performance. The Fazst-on the oc- casion was Lazzarini of Mr. Strakosch’s troupe. Mlle. de Belocca, who appeared as Carmen at Booth’s Theater during the Strakosch season, gave so much satisfaction in the part that she was engaged by Mr. Mapleson, and has since been seen in that part many times at the Academy. The opera season is finished; great promises are made for next year— let us trust they will be fulfilled. At least we should be thankful for a good, well-equipped company, and a repertory of the best operas; for these one would gladly relinquish a “star” or two, on the prestige of whose name flimsy and threadbare works hold ee boards the season through. _ The excellent pianist, Rummell, announces a series of matinee recitals beginning on the 27th. Mr. Rummell was lately tendered a testimonial’ concert by many of the best artists of the city, as an expression of sympathy for the severe accident he met with some time ago. Miss Anna Bock, the young pianist, has lately received a new concerto by Jos. Brambach of Bonn. The work is ded- icated to Miss Bock, who intends to bring it before the public at an early day. Hans von Bulow pronounces it ‘Interesting throughout, intelligent, brilliant, yet appealing to the higher intellectuality; the piano part exceedingly difficult, and displaying a wonderful grace and finish.” Mr. John Lavine (connected with the Steinways) gave his annual concert last week, assisted by Miss Thursby, Master Pinner, Fischer, the cellist, and the Thomas Orchestra. The programmes of Mr. Lavine’s concerts are always re- markably fine; on this occasion there was an overture of Cherubini’s, Hamerick’s Norse Suite, Dvorak’s Sclavonic Rhapsody No. 3, a grand aria from ‘“‘Hamlet,” and some other good things. Mr. Bergner announces his annual concert for the 26th inst. with such artists as S. B. Mills, H. Brandt, Matzka and Schwartz; Theodore Thomas will play the viola, and the five will be heard in a Mozart quintet. Mills and Berg: ner will play a Sonata for ‘cello and piano by Rubinstein ; and W. C. Baird, the admirable baritone, will sing two beautifnl songs by Henselt and Gounod, and Buck’s “‘Cre- ole Lover’s Song.” , a. Mme Saalfields Ballad Concerts which have now continued for two season will probably become a permanent institution, as it is the aim of the manager to model them after the ‘popular concerts” of London. The programmes this win- ter have contaired a large preponderance of Sullivan’s songs. Mrs. Belle Cole, a new soprano, has been. intro- duced at these concerts with gratifying success. At the last, on April roth, Miss Thursby and Brignoli appeared, singing the duet of Arditi’s which they seem fond of singing to- ether, ‘‘A Night in Venice.” Miss Thursby also sang aubert’s Bird Song, and the fashionable London trifle, “Twickenham Ferry,’ by Theodore Marzials. Since pure- ly ballad concerts are pleasing to comparatively few people, these ‘entertainments will hereafter introduce instrumental as well as vocal music, and drop the title of ballad concerts. It is said that the Damrosch orchestra and chorus will go to Philadelphia for the purpose of giving a performance of ‘La Damnation de Faust.” Each member of the chorus taking part in the late performances of this work has been presented as a souvenir with the portraits of Berlioz, Goethe and Damrosch. New York, April 18, 1880. EB. R. — MILWAUKEE. The Arion Club—The Heine Quartet. The Arion Club had the assistance of the Mendelssohn Quintet Club and of Miss Abbie Carrington at its third concert, the programme of which was as follows: PART 1. OSS a cies eds tan Datcie oGeeib kine Gounod Wanderer’s Night Some... oo. 6h ety aS ek ee Lens f Arion Club. 2. Introduction and Allegro from the Sextet, Op. 20, Arranged by the Author for Quintet...... Beethoven Mendelssohn Quintet Club. c 3 Grand Scene and Aria, ‘*Ah fors e lui,” from SRE TMIMR Co vio tk ee eae ibaa eee cereal Verdi Miss Abbie Carrington. 4- Quartet in A minor, Op. 29, Allegro and Alle- ONO eT. os Loew cb keeles nak cee Schubert Mendelssohn Quintet Club. ; ve est, Demrest, Rest. oo 0. fies c Chan cade. F. Kucken *-1 6 The Gay Pilgrims. 00. 05 ee ... Mangold Arion Club, 6. Fantasie for Violoncello, on ‘‘Le DeSir.”........ Servais Frederick Giese. PART II. 1. “Great Jehovah the Lord”—Soprano Solo and i Gee rer ect? ounce eg Lisst Miss Abbie Carrington and Arion Club. 2. Fantasie for Violin, on themes from ‘‘Faust.”. .... ees Ow ee ere ying, Satna: Naar apr Wientawskt Edward Heimendal. 3.. Scene 1V., from “ Frithjofie’.cc2 oa eink: Max Bruch Arion Club. 4. Song-—‘‘The Flower Girl.” .....55..0....0005 Bevignani Miss Abbie Carrington. 5. Larghetto from the Clarinet Quintet, Op. 108, in Pics soghiics 8° 5645.0 5 os eins 5 Weta Me anaes ee Mozart Mendelssohn Quintet Club. 6. Chorus of Pilgrims, from the Opera of “Tann- FROOUMER,.0'bog dd 35.0 ks ena Kew woe emo Nees Wagner: Arion Club. The chamber music and solos were admirably done. Miss Carrington’s performance of all her selections left little or nothing to be desired, in any respect. The work of the Arion Club wss also reasonably satisfactory. I append also the programmes of two chamber music re- citals given by the Heine Quartet, the fourth and fifth of the present season. The attendance at this second series is even larger than atthe first, and the interest in the audi- ences seems to be genuine:
Page 35
/9 : I. String Quartet, Op. 74, NO. te. 200.62 ses eheee cess Haydn Allegro moderato—Andantino Se Allegro—Finale, Vivace. Trio for Piano, Violin and Violoncello, Op. 66..Mendelssohn dante—Scherzo—Allegro appassionato. ‘ Romanza for Violin............. Se Beethoven String: Quartet, Op. 59, No. 33.6.2... cece ce eee Beethoven Introduction—-Andante con moto—Allegro vivace— Andante con moto quasi Allegretto—Menu- etto—Allegro molto. Il. String Quartet,-Oo.'o, Nee 06 i oe TER Onslow Allegro risoluto—Andante religioso—Menuetto presto—Finale, Agitato. Trio for Piano, Violin and Violoncello, Op. 100.... Schubert Andante con moto—Allegro moderato. Duo Concertante for two Violins, Op. 67..........5. Spohr Larghetto—Rondo. Ernest and Lizzie Heine. pee CRONE OO, Ges laa a cee ka teas Schubert Andante—Menuetto, Allegretto—Allegro moderato. oe Scenes from “Golden Legend.” H. E. KREHBIEL. The enormous financial success of the third May Musical Festival held in Cincinnati in 1878 besides demonstrating the ooo of the American people to appreciate the high- est accomplishment in music, furnished the Festival Asso- ciation with means with which to promote the culture so auspiciously inaugurated. A great many projects looking to this end were brought forward and discussed at the time, the immediate outcome of which was the: payment of $15,000 owing on the great Music Hall organ, which there- by became the property of the people, and the rewarding, by a liberal subvention, of the singing societies which had contribuféd so potently to the success of the Festivals. After these meritorious works the Festival Association did not rest. The managers desired to make the Festivals more and more factors: of national development of music, and while this Was measurably done in the providing and encouraging of the forces» which saree el together to produce the great results of the festivals, there® was still left a wish to do something which would not be restricted in its influence to any section, but which would tend toward the development of a national art in the United States. No one‘would be so shortsighted as to imagine that this, Which is the goal that every cultured nation is striving for, is to be reached without .long years, and. possibly generations and centuries of patient, consistent and laborious effort, but it was well to make a good beginning, and this the Associa- tion did by offering a prize of one thousand:dollars; open to all native born composers, for the best composition which should employ chorus and orchestra and occupy at least one half an hour in the performance. This is, in outline, the story of the origin of the ‘Scenes from Longfellow’s Golden Legend.” It was one of twenty-five works sent in to the Festival Board in answer to the invitation. This fact was in itself very significant of the progress which music is making ‘in the United States, for heretofore there has been little i any encouragement, none of a practical and com- pensatory kind, extended to American musicians to devote themselves to anything higher in musical composition than the ballads, piano trifles, and ephemeral pieces for the church, which form the bulk of the. publishers’ catalogues. The compositions covered a large variety of subjects and styles, and several among them were performances credita- ble to their authors ard flattering to the country in the promise which they held out for the future. They were sub- mitted to a board of judges composed of Theodore Thomas, chairman ; Otto Singer, of Cincinnati, Dr. Leopold Dam- rosch, of New York City, Mr. Asger Hamerick, of Balti- more, Md.,.and Mr. Carl Zerrahn, of Boston, Mass... The votes Of a majority of these judges were given in favor of the composition entittled ‘‘Scenes from Longfellow’s Golden Legend, a symphonic cantata for solos, chorus and orches- tra,’ and it was accordingly crowned. It is the work of Mr. Dudley Buck. It is not the purpose of the writer to attempt an analysis of the cantata extending to its every number, but only to call attention to its matter and point out a sufficient number of the characteristic features in the treatment to aid the listener in comprehending the purpose of the composer as it can read in the score. The book which forms the the basis of the composition is made up of excerpts from Mr. Longfellow’s dramatic poem, ‘‘The Golden Legend.” The poem, as all its readers well know, is widely discursive; the single fact of a journey to Salerno which is in itself un- important in the development of the story, is used, very beautifully, by the poet to present an exhaustive picture of social life in the middle ages, embracing a miracle play, a monkish' sermon, scenes from riotous monasteries, and of church festivals as celebrated five hundred years ago. In adapting the book of words for musical composition most of this matter was either omitted or relegared to the orchestra for instrumental treatment, while the vocal numbers were arranged so as to cover the leading events of the story. This delicate task of selecting portions of a long poem and arranging them into a new whole has been accomplished very happily, little violence being done to the poetry while the action has been hurried. In one or two instances small events have been greatly widened in their scope for the sake of musical variety, (an instance in point is the substitution of a long piece for the orchestra, a barcarolle, for a few lines in a monologue by Prince Henry), but on the whole the elements of the story have been kept nicely balanced, and the performance will present a clear and intelligent re- sume of the story. Let us look at this briefly before taking up the music in which it has been clothed. Mr. Longfellow, in his notes to the poem explains that he chose the title of the famous Legend a aurea not because his story is based on it, which it is not, but because the story upon which it is founded seeméd to him to surpass all other legends in beauty and significance. ( amid the corruption of the middle ages, the virtue of dis- interestedness and self-sacrifice, and the power of faith, hope and charity, sufficient for all the exigencies of life and death. by Hartmann von der Aue, a Minnessinger of the twelfth century. The principal characters in the drama are Prince Henry, of Hoheneck, and £7dsze, a peasant’ girl. eral outlines of the story are simple enough. The ?77xce, It exhibited. The story was told and perhaps invented The gen- afflicted by an incurable distemper, seeks everywhere some remedy, but finds it neither among books or men. Lucifer, in the garb of a physician, visits him, and after a long dis- cussion persuades him to drink an elixir novel in those days, and only known by the Arabic name of alcohol, and finally tempts him to use the pescription furnished by one of the doctors of Salerno. Not to be cured, yet not incurable ! The only remedy that remains Is the blood that flows from a maiden’s veins Who of her own free will shall die. The peasant girl, “£dsze agrees to this sacrifice. It is easy to conceive the end from such a beginning. The melancholy prince and maiden begin their journey together across the Alps to Salerno, where the death of the girl must take place. Arrived at Salerno, Z7sze, in spite of the entreaties of the Prince, persists in carrying out her purpose of devoting her life to restore his health. Lczferv is at hand in the garb of a friar to assist her in this act of mistaken self-sacrifice. She bids the Prince farewell in the School of Salerno and enters an inner room with Lucifer. The Prince without, who has hitherto been overwhelmed with the pusillanimous fear of death, is now overwhelmed by the thought of his cowardice. He- bursts open the door with the assistance of the attendants and prevent the sacrifice, The return pil- grimage is then entered upon and the conclusion comes in the conventional style. #/szé marries the Priuce, and an epilogue celebrates the triumph of good over evil. Having gathered his material from the parent poein, the composer arranged it in fourteen scenes, three of which are wholly instrumental; the eleven vocal numbers embrace all the varieties of solo and concerted work. ‘The first scene is the beautiful and very dramatic picture of the prologue in which Lucifer and the spirits of the air try to pull down the cross ‘from the spire of Strassburg Cathedral; the second the monologue of Prince Henry in which he laments his melancholy and sighs for rest; the third is. the meeting be- tween the Prince and Lucifer disguised as a traveling phy- sician in which the fatal elixir is presented and drunk; the fourth is the evening song which 7sze and her brothers and sister sing on lightingythe lanips in their humble home in the Odenwald; the fifth is Aésze’s prayer in which she asks for guidance in the contemplated sacrifice; the sixth is an in- strumental number depicting the pilgrimage of the Prince and £észe over the Alps to Salerno; the seventh is made up of the drinking song of Friar Paul in the gaudiolum of monks in the refectory of the convent of Hirschan in the black forest, (it is an unctious mediaeval drinking song: Ave! color vini clari, Dulcis poltus, non amari, Tua nos niebriari Digneris potentia ! and has been capitally rendered into English for the cantata by Mr. Edmund C. Stedman); the eighth ‘s an instrumental number depicting the bacchanalian carouse of the monks the appearance of the Abbot and his denunciation of the wickedness ; the ninth is a monologue of -7sze’s with chorus refrain, a night scene on the terrace at Genoa; the tenth is the orchestral Barcarolle already referred to; the eleventh a chorus of sailors, enlarged from the speech of /7 Padrone in Longfellow’s scene ‘‘At Sea;” the twelfth the climax of the action in the School of Salerno, a dialogued ensemble ; the thirteenth is the love scene between Prixce Henry and Elsie,on the terrace of the Castle of Vautsberg on the Rhine; and’the fourteenth the epilogue for full chorus and orchestra. This outline of its parts indicates the general design ‘of: the composition and shows it to belong to that modern type which have become popular through the efforts of Berlioz and Liszt. Its form is very elastic and often, as in the present case, combines the essential features of several which once were rigidly separated. Part of the material is operatic and must receive treatment in the opera style though the manner of production shuts out the idea of scenery and action. Another part is plainly of the nature of oratorio and would be conventional enough if separated from the theatrical element already mentioned. To these old elements is added the comparatively new one of the or- chestra as bearer of part ot the action of the piece. Of the three orchestral numbers, two, the Pilgrimage to Sa'erno and the monkish carouse with its interruption, are of this character ; for the barcarolle we can find no satisfactory ex- planation. When Berlioz published his dramatic symphony, ‘Romeo and Juliet,” he defined its purpose and argued the appropriateness of his use of the orchestra as a dramatic factor in a written preface. ‘This was very pertinent in view of the fact that M. Berlioz had used the orchestra for one scene,.especially which would have occurred to every one else as pre-eminently vocal—the love duet between Romeo in the garden and Juliet onthe balcony. Here, said the fanciful Frenchman, the very sublimity of the love which is the theme of the moment, rendered its representation so hazardous for the musician that he had to give his imagina- tion a latitude which the positive sense of the words sung would not have admitted, and to recur to the instrumental language which is richer, more varied, less determinate, and by its vagueness incomparably more effective for the pur- Gregorian tune. pose. In this utterance, but more especially by the illustra- tion of his meaning in that most wondrous of love music, M. Berlioz has proven the right of such a work as his dra- matic symphony to exist. The two approved instrumental numbers in the ‘‘Scenes from the Golden Legend” do not eome within this defense; their purpose is very different but thoroughly justifiable. Both further the action of the story in a manner that is perfectly intelligible, and both treat of incidents which, if given to voices would’ be tediously lon and involved. Besides, and this is the principal point, both are very able exponents of the ethical purpose which the composer has laid at the foundation of the work. We find this purpose exemplified in the manner in which certain characteristic melodies, or rather melodic phrases, are employed. The key lies inthe prologue: Luc7fer try- ing to pull down the cross of the Cathedral spire, and baffled in every attempt by the intangible and yet potent influences that divinity has yet thrown around it for its pro- tection, presents a picture of the contest between the evil and the religious principle. After each vain attempt the bells, inspired with voices—in harmony with a beautiful menizeval sentiment—with the regularity and dignity of a Greek chorus, comment upon each failure in a stately Latin hymn, until finally the spirits sweep away in despair and from within the church comes the sound of the organ and Gregorian chant: ‘‘Nocte surgerites Vigilemus oumes.’ We can not point out all of the material used but take the two principal melodic ideas, the first typical of Lucéfer, or the evil principle, the second characterizing the religious principle and its representation in the poem, the peasant girl, Edste. They are as follows: is oe Sik FOE” “ROSEN RAES Gi. SIE RR Se Din sages _ 9 ______ S. BRAINARD’s Sons, Chicago, move into their elegant and commodious new building, 136 State street, near corner Madison street, May rst, where they will be pleased to see all their friends and customers. ~~ Messrs. S. BRAINARD’s Sons have in: press a new Sab- bath School Singing Book by Jas. R. Murray, which will be ready about June rst. Mr, Murray’s last book ‘“‘Heay enward,” has had one of the largest sales of any book of its kind for years, and we doubt not this new Work will meet with the success it deserves. In preparing material for our new Sunday School Singing Book much time and labor has been spent in selecting from the works of the great masters of the art, such music and melodies as would prove pleasing and attractive to even the youngest, and at the same time serve to perform a much higher use in lifiing the singer up to a more elevated plane of musical intelligence and culture. The arrangements and adaptations are such as make the selections singable in every part and particular without in the least infringing upon the spirit and essential character- istics of the original compositions. We think this valuable feature of the book peculiar to itself, and that it will com- mend itself to all who are desirous of elevating the stand- ard of our Sunday School music. The original’ contribu- tions to the book are.many and varied, consisting of the best things the best living writers of Sunday School ‘music could write for it, and as inall of Mr. Murray’s books, the words of the hymns and songs are pure and elevating.
Page 36
SO COMICAL CADENCES. —A smart thing—A mustard-plaster. —The Patti-cake is dough in San Francisco. —When a soldier is ill he becomes a six-shooter. —Rats are in the grain-carrying trade this winter. —-Piano duets should be well practised be-four-hand. —String quartets do not always consist of strong c(h)ords. —Get a cow with a dreamy eye if you want a good milker. '— Trusting to chants—Expecting to get to heaven by singing. —A firm advertises ‘‘raw silk stockings.” Who wants them cooked? —Knocking a friend down is a sure and quick way of dropping an acvuaintance. —A fond parent hearing his son pounding the piano re- marked, ‘‘There’s music in the heir.” —A railroad man will not allow his daughter to wear her back hair down. it reminds him of a mis-placed switch. A Hamilton woman sneezed her jaw out of place lately, and the married men of the place have been buying snufi ever since. —If many of us knew the extent of the Lord’s information, we would take less trouble to inform him that we are poor miserable sinners, —A child being asked what were the three great feasts of the Jews, promptly, and not unaturally, replied: “Break- fast, dinner and supper.” —The only object a rooster can have in crowing at mid- night is to give the hens away. Everybody has a clock, and everybody knows the hour. —The last rose of summer has no more right to appeal to sentiment than the first oyster can of winter. Most all last roses are covered with bugs. —When a girl is twenty she feels very easy on that score. It’s only when she scores another that she begins to wonder who invented wrinkles. —A York county father who has five grown-up daughter~ has sued the county. He claims that his residence has been used as a court-house for the past two years. —A gay rooster came tripping light. fantastic toes up to the occupant of a quiet nest, and said: ‘“‘Will you dance, Biddy?’ ‘‘Excuse me,” said the hen, ‘I’m engaged for this set.” . —There is a woman in Hamilton who has been married fifty-eight. years and who has never missed building the kitchen fire. Her husband is probably the oldest fire escape on record. : - —An electric light, strong enough to render the walls of houses transparent is now predicted; but, so far as we can see, the only advantage to be ‘erived from it would be to drive lovers on the roofs. . —-A little koy carrying some eggs home from the shop, dropped them. “Did you break any?’ asked the mother, when he told her of it. ‘‘No,” said the little fellow, ‘* but the shells came off some of ’em.” —J can’t, Abijah,” she answered, when he offered to es- cort her to the piano. ‘‘Can’t abide me!” he exclaimed, in- dignantly; ‘‘the d—I you can’t!’ and the next moment his coat-tail vanished through the door. —It is now the fashion in high circles in Chicago to forget names. A lady who has been to Niagara Falls must try and try to remember where it was that she saw water pour- ing down ant an sland with a goat on it. —A compositor, bleeding and bruised, applied for admis- sion-to a Baltimore hospital the other day. It turned out that he had set up ‘“The Democracy have an abundance of pleas” so as to read that they had ‘‘an abundance of fleas,” and theveditor said he’d have his revenge if he went to jail thirty days for it. —-Scene—Country road, with stage coach rollin. leisurely along it. American passenger to driver: “Did you ever see a snail, sir.” Driver: ‘Yes, sir.’ Passenger: ‘‘Where did you meet him?’ Driver: ‘I didn’t meet him.” . Pas- senger: ‘‘Wa’al, you'll excuse me, but I think you did; for I'm sure you never overtook him.” —-Advice to the young lover: Fancy, if you will, that the aureola of amber locks that envelops your idol’s head makes her resemble a saint, but never be rashly betrayed into thinking that she is one. There may come a time when the menacing grip of her lovely hand on the family poker, or the sharp whir of a flying slop bowl will impart a melancholy interest to your self-deception. —There is nothing mean about pianos, they are either ‘‘srand,” ‘‘square” or ‘‘upright.”—-Eachange. Yes, but they frequently get people on the string, and are subject to sharps and flats, full of crochets and quavers, and supported, in the main, bv blacklegs. They are also fishy, owing to chromatic scales, besides treble dealing are frequently base. Again, they often foment discord, and display their pedal extremities; eit _ Wilson in her character of ‘‘Little MMT MMS = | A Se Une yee LM NNN TTT TTT TTT HU rea TCI uvyer's| & VL MeL e ee a a > ey e 7 ——- wn ee ome OA DOT ii DO cto We rere cn ot TT Ud ibe wc cal Ul LO TT OT TMT fl PIQUA Mens ue THO AS OT LOS OO TT Hai j In this department we shall notice only such compositions as we can recommend. Each piece is graded acvoriilag de dificulty. 1 representing the easiest kind of music to 7 theextreme of difficuity. The key in which each piece is written zs also given. We shall give our readers all possible information in regard to such new publications as we notice, which will be,/ound of service to Teachers, Dealers, Amateurs and music buyers generally in makin their selections. Com- plete catalogues of music and books will be sent free, and any piece of music or music book published can be obtained by matt post paid, by remitting the marked price to our publishers. re — SONGS AND BALLADS. Gcod Night, Good Night My Child. Siumber Song. By Witson:G. SmitH. Dp, 5.2.5... spccdeceeeccese 35 cts. A very pleasing Slumber Song and dedicated to Miss Birdie Hale. Words by T. P. Wilson, M. D Two Little Lives. Song. By Ges visv ts vhv on Sew Oe tae Doyen Taken Sunes ease pees 35 cts. This Song will find many friends Still my Heart is Only Thine. Song and Chorus. By Gro. W. PERSLEY. Bh, 3.02... 0205s esse ete e e935 Cts, The words of this piece are by the well known and pop. ular author Thos. P. Westendorf. Saved from the Storm. (Gerettet aus dem Sturm.) Song by ODOARDO BARRI. C, 4....eeeeeeeeeeeeeees 4o cts. English words by Fred. E. Weatherly, M. A. German words by Otto Lob. Far from thy Side, or Dreams thou’st Near Me. Song . and Chorus. By Gro. W. Perstey. Bb, 4.....-+-- 35 cts. This is one of the latest and best published. Sailor Jack. Ballad. By ALFRED READHEAD. Ci. cvtaPan sacs es ie cot ap as os ct ees aa 30 cts. Blue Alsatian Mountains. By SrepHen ApDams. WO $n io ican cnt ee ee ee idsavacaeds < .40 Cts. Rest Dear One. Male Quartet. By Cot.in Cok. ey Foe se wa bae aH TE DORN ae be ae eiesiod SaaeRee a 30 cts. Tis Darkest Just Before the Day. Song and chorus by Oris H. Carver, © Gy 3. 0c ec cene cach eseyessn 40 cts. This is one of the most beautiful and pleasing songs pub- lished this year and is now being sung with immense success by John Rapier of ‘‘Haverly’s famous Mastodon Minstrels.” The melody is unusually ‘‘taking” and the chorus very effec- tive. It promises to rival ‘‘Somebody’s Coming” in popular favor. Elegant lithographic title. He Has Come to His Own. Song and chorus by OTTO Los. Eb, 3....e0--eeeerseee ive baeen cues eebeewests 40 cts. A fine Greeting to General U. S. Grant, embellished with a fine lithograph of the renowned Soldier and Statesman from a photograph taken in San Francisco since his return from abroad. Mother Dear the Angels Call Thee. Song and cho- rus by GEo. W. PERSLEY. Bh, 3....--.+seeeerees - +40 Cts. A beautiful song as sung by Miss Julia Wilson in Denman Thomson’s popular play of ‘‘ Joshua Whitcomb.” The title page is embellished with a fine litho raphic picture of Miss ot.” Down Among the Flowers. Songand dance by Joun MAGNER. Eb, 3....-.seseeeeercrerseeereeeereees +35 cts. _ An excellent new song and dance well arranged and “‘tak- ing. Good Bye. Riccarpo BANFI. G, 4....-+s+e0% 35 cts. A beautiful song for good singers. It will be warmly wel- comed by Sig. Banfi’s many friends. Up ina Mulberry Tree. Song by E. H. WINCHELL. A lively, pleasing song written expressly for and dedicated to Miss Annie Pixley, and sung by her in the popular dra- ma, ‘‘M’liss. Where Can de Ole Man go? Songand Chorus by MAX VERNON, . 00 seeac cn sdceab ngs cbs beeen eeetens 40 cts. One of the best and most pleasing ‘fold man songs” ever published, and destined to become very popular. NEW COMPOSITIONS for FEMALE VOICES. BY OTTO LOB. Stay With Me (Briers ser Mrr). Quartette for Female oices, with English and German words, by OTT9 RAM can ctaduesk vat Reena aatensoen kone benees + +025 CUS. This is No. 1 of a new series of beautiful Quartettes nov being published under the title of Te Ladies’ Caotr, anv which will supply a long-felt demand among Lady Quartette Clubs, which are becoming very popular all over the country. sweet Memory (Ertnnrunc). Waltz-Terzett for Female Chorus, with English and German words, by OTTO BOBS Sei iat oad See oees os sen bob €0eb6 sbtCECSP ores 40 cts. Spring and Love (FRUHLING UND Lise). Terzettino for Female Chorus, with English and German words, by OTTG: Bi ok 55. cue gcs hate edke cee eaee thee 50 cts. Ladies’ Singing Clubs, Societies, Seminaries, etc., will find the above just what they want, They are all issued in most attractive style, By J. L. Mo.toy. — same grade of paar s Id, INSTRUMENTAL. Wild Girl’s Polka. By Oscar MAyo. Ep, - .60 cts. Sparkling and bright and one of the best of this excellent writer's compositions. Marimon Waltz. Cu. WARREN. 4............ 50 cts. A beautiful new waltz with a fine picture of Mlle, Marimon on the title page. Aida. Potpourri on melodies from this grand opera by A charming set of new waltzes. Somebody’s Coming When the Dew-drops Fall, Transcription by KARL MERZ... .5...4¢..0000c eee 50 cts. An elegant piano arrangement of this beautiful melody, pry gee Bs very showy and pleasing fantasia of moderate a ffioulty,. Teufel’s March. (Devil’s March.) FRANz von Supre. BD Bes euke wy ce ieirw noe wad we pan Ue anbenthen de ?...35 cts. The Masked Ball. (Un Ballo in Maschera.) Potpourri By 3S Macs By a oki cde A eoas Sere eens tas 5° From Verdi’s Opera ‘“The Masked Ball,” Love’s Wishes. Mazurkade Salon, HEnr1 von GAEL G, hrccgicpovesccctcssseenahewee ct erso¥p ee caseuee§ 35 cts Angel’s Dream. Reve D’un Ange. By G. Lupovic Boos Aa bois c cin nis s bt.0.0.s.0.0 gee} es anegh eae hans: 4ashe es 35 cts. Paul et Virginia. Valse. By L. StREABBOG. Ciscoe ce tisdoccengedesuscanenve gees sips See Coe 25 cts The Mokes. Danse Negre Oscar Mayo Sh See Pee er Tere eT Soe cegesae’s (aclns es asee 50 cts The Newport. By Gro. W. Perstey. F, 3....35 cts. Drum Schottische. Oscar Mayo. F,5...... 50 cts. La Plus Belle Valses. WattTeNnret. Dp, 4....60 cts Tiny Valse. Cuas. Coorg. DP, 4...-.-..-.+-- 60 cts. Merry Makers Dance. Polka Rustique. Witson G. Siatehy. |: Aig. cen scans ocnn cp neiccaddguae s40ensn tes Pass 35 cts La Coquette Muzarka. W.G. Smitu. A, 5..40 cts Nocturne-Impromptu, by S.G.Prarr. Ep, 5..50 cts. Mazurka-Andante, by S. G. Pratt. C, 4-....50 cts. Mazurka-Minuett, by S. G. Pratt. F,5...... 50 cts. | Mr. Pratt is well known as one of the best Chicago pian- ists, and an earnest musician, and the above compositions for Piano will doubtless meet with a hearty welcome from his many admirers. Knickerbocker. Danse Grotesque. C,5.....-. 50 cts. Summer Night’s Serenade. C, 5...........+- 60 cts. Humming Bird. D, 5. «0 ..se01.cccesccrevecess 50 cts Pwrelva O'GIGCK, Cy Risks sap ieatires cake ee 50 cts ers. inoor Polka” and “‘ Cas- Somebody’s Coming When the Dewdrops Fall. Transcription for piano by Epwarp Hotst. Ey, 4..50 cts. A brilliant and pleasing transcription of this famous song which will be welcomed by pianists. Grant’s Reception March. ByS.G.Wison. Bb, 3. A fine march. Well written and arranged and within the compass of ordinary players. The title-page has a fine pic- ture of General U. S. Grant. Lake Breezes. Valse elegante by Riccarpo BANFt. . Very pleasing and_attractive. Niagara Falls. Mazurkade Concert by Oscar SCHMOLL. es aide Kats eh ees ek GaN sae ca Po mthicd eaaPaiea cts. A very brilliant and showy concert mazurka, about the as “Silvery Waves.” It is dedi- cated to Dr. F. Ziegfeld, of the Chicago College of Music, whose portrait adorns the title page, ;
Page 37
Kimball's Organ Voluntaries; For Pipe or Reed Organ. BY HORACE E. KIMBALL. This collection of beautiful music arranged from the best composers, will be found superior to any work of the kind heretofore published. It contains just such music as is needed for church or parlor use, of moderate difficulty, and should be in the hands of every organist. Price $2.00. Mailed Post Paid. THE SCHOOL and HOME; One of the best books for Schools, Seminaries, classes or the Home Circle ever published. It con- ains Songs, Duets, Trios, Quartets, Hymn tunes, 2tc., and a complete course of elementary instruc- tions, with suitable exercises for practice. It is used in a nnmber of the largest public and private schools in the country, and gives universal satisfaction. Price 50 cts. $5.00 per dozen. The Advaneée 3 By H. S. PERKINS. This new church music book will be found one of the most attractive published in years. Most of the standard writers of the day have contributed to it. Everything in it is new, fresh and sparkling. Price $1.25. $12.00 per dozen. THE SINGING SCHOOL ECHO ; By N. CoE STEWART AND J. M. NorTH. A complete convention and singing school book, also admirably adapted for the use of Seminaries, High Schools, &c. It is without doubt the best book for the purpose ever issued. | Price 75 cents. $7.50 per dozek. THE NORMAL; By J. WILLIAM SUFFERN. For Conventions, Normals, Singing Schools, olasses, &c., this book is unsurpassed. It contains a Very complete elementary department, and the se- lection of music is unusually fine. Price 75 cents, $7.50 per dozen. THE CRYSTAL; By FREDERICK H. PEASE. A new Glee and Chorus book, compiled and ar- ranged by one of the most eminent teachers in the country. It contains Glees, Songs, Quartets, Chor- uses, Hymn tunes, Anthems, Chants, anda complete elementary department. aes Price $1.50. $13.50 per dozen To all Singing People. Do not select a new book for your Singing classes until you have carefully examined KINGDOM OF SONG, the new book by N. Coz Stewart and J. M Nort, the well known authors of “‘Singing School Echo” and ‘‘Crown King. KINGDOM OF SONG Contains a bright and beautiful collection of new music for _ Singing Classes, Schools, Choirs, Conventions, &c., by the dest writers in America and Europe. KINGDOM OF SONG s confidently offered to all Singing people, as the dest book _of its class in every respect, that has yet been published. KINGDOM OF SONG sontains 192 pages, is printed on fine white paper, substan- ijally \ound in boards, and is sold at 75 cents by mail or 57.5¢ per dozen by express. KINGDOM OF SONG sa complete Singing School book. The Elementary de- sartment is plain, practical and comprehensive and far in tdvance of anything yet published. KINGDOM OF SONG s the book you want and we shall be pleased to mail youa| sample copy post paid en receipt of 75 cents. . Sor PP. BLISS) EDITED AND COMPILED BY JAMES R. MURRAY, Author of “PURE DIAMONDS,” “JOYFUL SONGS,” &c. A collection of favorite and popular Sacred and Seculia: Songs, Duets and Quartettes, composed by the famous Gospel Singer, most of which can be obtained in no other Book. Among the gems to be found in this volume are : Hold the Fort, He’s Gone, What Shall the Harvest be, Bessie Lee, If Papa Were Only Ready, Loving Little Lou, Remembered, Lora Vale, Sweetly, Softly, The Temperance Ship, Room for one more, Watcher Gray, Grand Vocal Medly, For You. When Grandmama is Gone, Baby’s Sweet Sleep, and many others, never before published in book form. The Songs of P. P. Bliss also contains a fine portrait of P. P. Briss, and a short biographical sketch from the pen of the editor. It is printed on fine tinted paper, elegantly bound and sold by book and music dealers generally at the following low PRICES: Neatly bound in boards, single copy, 30 cents; $3.00 per dozen, Bound in Cloth, single copy, 50 cents; $5.00 perdozen. Bouud In Cloth, full gilt, 76 cents; $7.60 per dozen, 48 Single copies mailed, post-paid, to any address, on receipt of price, BRAINARD’S Dollar Method for Reed Organ | Piano Treasures Is the latest, cheapest and best Method for this favorite instrument, and superior to most instruction books sold for double the price. BRAINARD’S Dollar Method for Reed Organ Song Treasures Contains full and complete elementary instructiens, with useful hints and explanations to teacher and pupil, and Song Diamonds carefully graded exercises for practice. BRAINARD’S The Best and most Popular Music Books FOR THE Coming Musical Season! — | The New School Song Book by N. Coe Stewart, Superin- tendent of Musicin the Cleve- land Public Schools, will be \V Ses the best work of the \_Jkind published in years, and just the thing for Schools ofall grades. No teacher should fail to examine it. Full of Fresh, Sparkling, New School Songs, Pleasing Exercises, and has a simple, practical and Complete Element- ary department, which has been used with great success in our Public Schools. Price 50 cts. $5.00 per dozen. This popular book by N. Coe Stewart and J. M. North has already reached a very large sale-and 1s daily increasing in popular- ity, For High and Sing- ingSchools, Conven- tions, Classes, &c., it is unequaled. The music is all new, good “and popular. and by some of the best writers in the country. If you wish a Complete Convention or Singing School book, you will be pleased with the SINGING SCHOOL EcHo. It is used wth (C HO great success in the High Schools of Cleveland and other large cities. Price 75 cts, $7.50 per dozen. GOLDEN SERIES OF MUSIC BOOKS. Golden Hours Just published. An entirely new collection of piano-forte music. New instumental music for the Piano by the best writers. An immensely popular collection of piano music, Contains nearly 200 __ beautiful Waltzes, Polkas, Fantasias, &c. Collection of charming songs by the finest writers. New Songs and Rallads by the best English and American composers. Each of the above books contain 224 pages, sheet music size. They are the best collections of music Golden Circle Golden Chord ; lished. Catalogue giving full contents of each sent free Dollar Method for Reed Organ fi of each oak ga'50 ia boards €3.00 in cloth; $4.00 ¥s unequalled as a self-instructor, and pupils who wish to | in full giJs binding. Mailed post-paid. learn to play the Reed Organ without a teacher will find this just the book they need, BRAINARD’S £27Sold by Music Dealers or mailed, post-paid, on receipe of price. Dollar Method for Reed Organ | Standard Sunday School Books. Contains a large amount of choice, new Vocal and Instru mental Music, arranged expressly for the Reed Organ, whith alone is worth ten times its cost. | BRAINARD’S Dollar Method for Reed Organ Should be found on every Reed Organ in the land, whether ou have another book or not. Its useful hints on Organ laying, sparkling Amusements and beautiful new Songs and Organ Pieces render it indispensable to every. or- ganist. <3 &#& Seld by most Music Dealers, or mailed postpaid on yeceipt of one dollar. D=CIDEDLY THE BEST! BRAINARD’S New Method FOR THE PIANO-FORTE, GEO. W. BRAINARD, Is pronounced decidedly the best method of instruction by | instructor. all who have used it. It contains no useless matter, but | full explanations and directions are given. every page is available and useful, and it is the result of | work thirty years practica! experignce in Piano-Forte teaching. No Teacher should fail to examine it. Hundreds of testi- monials as to its superiority. Price $3.00. Mailed post-paid. 4 Liberal terms to teachers and the trade. We would call the attention of Sunday: School workers to’the following popular Sunday School Music Books, whic are unsurpassed by any others in the market. HEAVENWARD, by Murray. JOYFUL SONGS, by Murray. PURE DIAMONDS, by Murray. THE WELCOME, by Kieffer. THE PEARL, by Kieffer. Price 35 cents each by mail. $30 per hundred. ~ KRIMBALI’S New Method BREED Orncan, By HORACE E. KIMBALL. The most complete, thorough, progressive and practical book of the kind ever published. This New Method is far superior to ‘any other reed organ But one thing is taught at a time, and The is carefully fingered throughout, and strictly progressive, leading the student by easy stages upto the study and appreciation of the best organ music. It contains 168 large pages, is.printed-on fine white paper, and substantially bound in boards. Price $2.50. Mailed Post Paid, ~aa
Page 38
IMPORTANT Tc Musical Societies, Singing Classes, Con- ventions, Schools, Etc. BRAINARD’S EDITION —_-O0 F — Selected Choruses. Price 6 Cents each: 60 Cents per Dozen. FIRST SERIES. 1. How Lovely are the Messengers...‘..... +Mendelssohn 2. Sée, the Conquering Hero Comes... ......... 4. Handel The FIOUrE 1S Nears .'...... 6 ckVe ee che awesas |. Mendelssohn 3 ) Star Spangled Banner.......--+.+. siias'p Pans aces Key The Guard on the Rhine........ Ae BARE & Wilhelm Wathondd Blyaahh, . «cs icdets cosy diese Fee Henninges 5. You Stole my Love........6..6. Sf en Macfarren 6. The Water Lily.......... coh t as to tie eeu. WE Gade 7. Thy Goodness Sora: ne BE ee PEF one Backs Beethoven, Se POs cis n a Tks ok bebe Ee SE pee SRS Barnby Of Ste POM ha ws ceccs oe tig Oe Pdi Pipe *, Macfarren to, The Parting Kiss....... etch eee Vewsendes Ciro Pinsuti Bis BVOMINT 0 hs oe ds 50 ee Fe Se AACE CO oe eee Sullivan. vam thfeat, Sweet: Spirit. so. hi 06k ose cape rae ee Smart BSy. SWHEC BIG LOW. ods 0505 6 tack dees EATS FBS Barnby Sig Ate ARIE ao n5:0 bina Coin 4 500.64 4 stn te sees Rossini 15. The Serenade (Male Voices).......seeeeeeeeeees Miller ; Wes Shlemt: Wighhs i gs coc di pee es te ae ery Barnby SECON D SERIES. 4 1. Good Night Good Night Beloved.......... ...Pinsuti 2. Ave Maria (Female Trio)...........ses0. Mendelssohn 3« Flower Greeting (Female Trio)........... Curschmann 4. Oey. AIRE PLU Ls Kad acs caneadoids,, conse ati eslie i, Pe VA SHOTS 6.65 65 cine vie cis wigs noc ceene Mendelssohn 6. Oh, Hush Thee my Babie....... EOE EEF Sullivan 7. One Morning Sweetin May........ Saveie os wakes Leslie 8. Good Night to the day............ SEC t Pe Halley ge Good Bye... i.e... e de elec ecedece cence seeeees Hatton tor Fairy Voiceseisisesis sts sti... os oe ewes inna tuts Halley ri. AL Ehdught Of Theiss: 2 cin.t laisw .t0:00eee oe bebe 28 Banks 12. The Birds that had left Their Song......... Macfarren UE; DMN 05.02. 50 ben scgaN eS poor doce cees tae eae Glover 14, Ye oe fe Birds that Sit and oe eR eee Macfarren Oe Me OE oo ak oy con bh ney sine ene boom es ob och Muller 16. Lift’ Thine Eyes to the Mountains........ Mendelssohn THIRD SERIES. so Ave MAR 56s Sa Fee 3 oe eer eee Franz Abt _2, Parting end Meeting........ me etear ot seine: H. Leslie 3. Then Round about the Starry Throne:......... Handel 4. Land of Beauty ...........-.-seeeeeeeee endelssohn 5. Love me Little, Love me abies Pe eplvGiwarnes «yi Lahee 6. Good Night,. F arewell Us: vininigSbah dion 6 erp tisae’> Geches Garrett 7. Gipsy Chorus....... er seuss \ ds a omens Lge nites '... Balfe . 8. Centennial Chorus.,....... aes hating 90:83 National Airs g. O greatis the Depth........ er Roe “St. Paul” ro. Farewell to the Forest ..... tn aha = 3 Sere-cie Mendelssohn t1. Sea hath its Pearls,........... fiewes epiieess Pinsuti 12, Tell me Flora. :..+...... ikibie ce Goes oerevietee sPInsUtl 13, Oby Rivers. n.20. ec cctntwoncwees Oe Bishop 14. Serenade (Male Voices)... ooesi esses eecoeees - Schubert 15. Evening Song(Male Voices)... ../2.2....++./.. Kuntze 16. Spripe with Fairy. Foot Returning.. SMS Celta + Rossini 2 OURTH SERIES, \, . oa: pc oaee Sa SRS BERS 29 4 Me Ree , .. Benedict PINS SONG. on iss oon ne ie Se Ss ola oS bins cewe Pinsuti > Who Koos what the nig ee ie tac Sates Parker ¢ Stamp? Sucmet Night... ii c-ep fet conansesess Smart é Knight's Farewell: (Male Voices). peed el eS Kinkel g. The Linden Tree...... 20.6.2 eee eee eee Hauptmann 8 Calm Sea (Male Voites)..... 2.0.50... idee irc ase 99 g. I Hail Thee, Gentle’ Flower (Snowdrop). ». Barnby 10. Dance we s0 Gaily,..+,..-.ssseeeeeereeenees chubert 11. Spring’s advancing ...+..+s6+0 oe on. bd “ eanee Smart 12. The Crusaders... es ee 13. Wake then, O Darling (Serenade)... cowees se... Cellier Dge Twilight 6 EQS. wigs bs cnn -.omart 15. Fast the Night is Failing (Remale Trio)... ihe cased ‘ailvan 16. A Hymn of the Home- e402 8 00 848 440%! 4 van 7 FIFTH SERIES. x. Song of the Triton.,.......5.-.++++. seeeeeeess Laylor i, SGC W ary B86 > nck s aot e 18M aS decks .« «-Gollmick 3. Praise ye the Father Sa coe. a .+++-.-Gounod big ER PRRMEPOSO ons oo 5's eet oce id Senate ealp oe ake, t-<9 86 Leslie 5. My Soul to God, my Heart to Thee. . eee sa Leslie 6. Oh Sing again that PRRNING BOGE 6c 5 0 a0 occas tas Garrett z- 1. Ss MRSS Sa beeing yee Pree Smart 8, Oh my Love's like the Red, Red Rose......... Garrett 9. sy ya” Oi eo peer bape eee etary ce Peereneey pr Silas 20, Sho Shall be: Fairest.c .6 cc. o sie oc s ised se te - Mori OE er oe ee ea eer Bishop 12, When Evening’s Twilight..............eesee0- Hatton 13. Come, Dorothy, Come....-......... . Swabian Volkslied r4. ‘Lead’ Kindly -Lightis. .f.... 0000 ek ee Sullivan © EGe See i PING SOE oe a Pin ch ic Sead eee es Barnby 16, Legend of the Rhine... .ecceceteeececeeeeeeeeOMArt SIXTH SERIES. 1. Brin the Fairest Mlowers <..5 seep ssiss sap Rs eae Smart 2... For-heve’sSweet-Sake + .iF2 vice eae coe . Smart 3. The. Day hath Spun its busy Round.......4.... Smart qc Teepe tliabthai: Stan 65.55. Baw. cusccecns eeeyes Smart «. Soldtivmiin Adversis,.. . 5 .c. O02 0% 6a asennad Smart 6. Softly Come! thou Evening Gale............ ‘...omart P 7. By-gone Days.....-....ssseeeeceeeeeeeeeveeet ss mart 8. The Starsin Beauty Beam..........--eeeeeee. Hatton 9. Driving Before the Gale..........e.eseeeeeees Hatton 1o. Sweet Lady Bird, Awake.........seseceeccess Hatton 11. Sweet Evening rete. ss cscixends coe Limpus 12. In this Hour of Softened DOICRGOR. 6 van cansa a3 Pinsuti 13. [nan Arbor Greene: «5.0520. Ne wwuet oot dee ngs & Reay 14. Gently Blows the Western Gale...............: Clarke 15. Lo! the Sun’s Last Rays Declining.............. Searle 6 Hemeand: Friends...) 0555.5 sane ce cieuees ... Macfarren SEVENTH SERIES. 1: Airs of Sumimer.. . ios is 0% iar ae eee Roeckel 2. O}; Hush Thee, My Babie.:..... 0.2 ...Fyuts seve Douglas | 3. Come Live with. Mio iiis) 62 a cccdie Sees Foes st Bennett 4. Hapoy abo Dagnt s.r soa a iecees “Bohemian Girl.” s. O Well I Loye the Spring: .....- 48.0. Scéh 0008 Hatton 6... Old. Mag Morgitg... ¢ oi. sss cee sv sankacpeeess Novello 7. Over Hill, Over Dalle. it o.00:5 die ccc cces canes Hatton 8. Outward Bound..... wrod oat gh white 6 20-0 Se Hatton i. Palssritts Chores <i vin ning sa sneuwsescpees **T Lombardi.” to. The Curfew..... Een bie bey edwy ON oe seems Anderton $Y. TRG BAIN DOW oc rain wc 0 ng aren Fes 6 ve a8 5 ose ae Leslie Ye: Were.I the Nightingale. . 2...5.6. 6.02000 toate mine's Hay 13. Childhood’s Melody........-....+ ba cedeeetu SOO Berger 14. Down in a Flow’ry Vale...........-.-seeeeeeeee Festa 15. How Soft the Shades of Evening Creep.........Smart 16. Cypelle Some is £5 in es 0 be hs oe oe 00d 80 bee Smart The above numbers of our “SELECTED CHORUSES” aré now ready, and each one will be found a GEM. ‘Other numbers will rapidly follow, and the low price at which they are furnished (6 cents each, or 60 cents per dozen) brings them within reach of every Musical Society in the land. CHORAL SELECTIONS. « 1. God in the Temmpest..... o..06 50%. sass es Schubert. 10 cts. 2.- Tramp. Chor tities cis i sicic 0k Misses te eae, Bishop.’ cts. 3. When the Vesper Bell................ Florime. 1 cts. 4. Hark! Apollo Strikes the Lyre......... Bishop. 8 cts. Se 2h RR: CRIA Wigeisis a Wie eign ad vos weed baa Barnby. 8 cts. 6. i tlaby Of Lifes.....:c es Leslie. 8 cts. 7- Daybreak... . 06s... eeceee seer anes Moschelles. 8. cts. 8. Boatman’s Good Night .......,........ Schira. 8 cts. 9. Peasants’ Wedding March.......... oderman. 8 cts. to. With Sheathed Swords.............0...- Costa, 10 cts. 11. When Thou Didst Frown.......... Beethoven. 8 cts. 12. Twine Ye the Garlands ............ Beethoven. ro cts. £3, VOQGERS WAlibe dei coewcssheanBevn vs Karl Merz. 8 cts. 14. Morning Song.......-s.sseses Rotts . Raff. 25 cts. 15. By Babylon’s Wave (Psalm cxxxvii.).. ounod. 1 5 cts. $0, Bae Gak aes sinc kis tcs spin G, Gecpahen conn J. Raff. 20 cts. The above Choral Selections will be found well worthy the attention of Choral Societies. New Selections are con- stantly being added to our list. tek: mention BRAIN- ARD’s EDITION in ordering. The Christian’s Prayer, by Heits Spohr. A Sacred Cantata for soli, duetts and chorus. A mag- nificent thing for choral societies, and one of the best works of this grand author. We have just issued a new edition, neatly bound—in paper, 50 cents, in boards, 60 cents., If you are making arrangements for good and classical music or your chorus, send for Brainard’s edition of “The Christ- ian’s Prayer,” by Spohr. This edition is according to the foreign (original) text, neatly and plainly printed and ar. ranged i in the ordinary, chorus size. Three Beautiful and Popular Songs! Somebody's Coming When the. Dewdrops Fall! gong and Chorus:by JAS. C. MACY. The popular song of the day. Has already reached a sale of over twenty thous- and copies. Brown: Eyes Close to the ‘Window! eee Aid Chon Words by JAS. C. MACY, Music by ROSABEL.. One of the prettiest songs ever written, and ‘becoming immensely popular. He’s Coming Back Again Little ; Girl! Song and Chorus by ROSABEL. Just issued. ful melody and very effective chorus. A beauti- All of the above are being sung nightly by the leading minstrels and other professionalSingers with wonderful suc cess. Orchestral parts can be furnished. Each have aa elegant illustrated title page. ‘PRICE 40 CENTS EACH. Sold by all Music Dealers, or mailed on receipt of price. very funny title page,)40 cents. : TOUCH THE SLEEPING STRINGS, |Choice New Songs. | Tne s Hew S$ ongs ‘BY THE CELEBRATED COMPOSER HENRY C, WORK, Author of “Come Home, Father,”’ “‘Marching Thro’ Georgia,”’ “‘Now Moses,” “Wake Nicodemus,” “Kingdom Coming,” and many other cele- brated and popular songs. el Beautiful and Touching New FORK: and Chorus, which, alt though but -re- PHANTOM FOOTSTEPS) whe, aleugh Sue had animmense sale, It bids fair to equal any of Work’s Songs in popularity. PRICE, 36 Cents. instrels, Similar in: style to the USED UP JOE) ) Sas authors, “Wake Nicodem ” “Kingdom Coming,” etc. PRICE, (with a. Comic Song and Chorus, sung with réat success by Kelley and Leon’s ‘Now Moses Song and Chorus, - put ~ of the best Work: has ever written and already a great favorite. PRICE, 30 Cents. _ Any of the above mailed, post-paid, on icolkes of price Just Out! Keep One Little Thought for Me. Song and Chorus by GEO. W. PERSLEY. A beautiful new song with an exquisite illustrated title page. Price 40 cents. Up in a Mulberry Tree. Song by E. H. WINCHELL. As. sung by Miss Annie Pixley in her popular drama, ‘“M’liss.” Fine illustrated title. Price 4o cents. The Little Spring Beside my Cabin Home, Song and Chorus by GEO. W. PERSLEY. . One of the best songs Persley has ever written. be popular. Price 35 cents. Where Can de Ole Man Go? Song and Chorus by MAX VERNOR. A capital old plantation song. Illustrated title page. Price go cents. Break into Beautiful Blossoms. Song and Chorus by E. H. WINCHELL. * Will certainly become a favorite. Beautiful melody and :frective chorus. . Price 35 cents. ; sa Mailed on receipt of price. th SERIO- COMIC 2 CHARACTER SONGS, 1. Auction Joe, or Going, Going, Gone!.. . Price 30 ats. Sure to 2. Never mina ‘what Pasays...2..5........... 3O cts. 3 Fer p dose Lamps A-Burnin’....... Foy Peer ” ., £30°6ts: Pa SL ee rapt oa TREE 2 CES. 5: Plenty of Good men still. ...8 o.oo ee * “30 Cts, a WW here SRS NOSES EC Wiad sna oendgres tops ‘e . 30 Cts. - Why don’t you mind your Mother.......... a a ees g The Shamrock Volunteers. ...........5...5- Cs 9. Saye Aaron to Dlasese sess ce acnny s cane Ope " 30-cts. The above are all new, bright and pleasing, and any or them will “bring down.the house.” Many professionals are singing them nightly with immense success. Mailed on receipt of price. FOUR HANDS. Turkish Night Patrol. By Tu. MIcHAELIs. Arranged as a Duet by Karl Merz.................. 60 cts.” This famous march makes an excellent Duet and the ar- rangement by Merz is by far the best yet published. ‘TWO PIANOS EIGHT HANDS. Sounds from the Ohio. Grand Waltz, Kart MErz..$1.50 Pearl of the Sea. Grand Waltz by Kart MErz...$1.50 Two of the most brilliant and popular Waltzes ever issued, arranged for Four Performers on Two Pianos. For Con.” certs and Exhibitions, nothing more attractive and pleasing can be found. S. Brainard’s Sons, Publishers, : CLEVELAND @@ CHICAGO,
Page 39
THE J. & C. FISCHER Celebrated Grand Cabinet Upright sSquare Pianos AND PIANINOS. S. Brainard’s Sons, General Agents. Se — ; i | AO, Teehet I&E_-S YOR KK Er ee OTE: THE PIANINO. THE PIANINO, as manufactured by J. & C. Fischer, is the most perfect smal! Upright Piano in the world. Its compass is from F to A, thereby making 6% octaves, and by this arrangement any piece of music—modern or classic—can be easily performed on it; any four-hand piece-is perfectly practicable, and played as readily as on a full size 7% Octave Piano Forte. The case and style of the instrument is fully represented in the cut,and presents a really elegant appearance. Everything in its construction is of the very best, and as great pains. are taken with it, as are devoted on the larger instruments. The very best of ivory, felt, action, woods, etc., only are used. The full iron frame is used on a proportionately heavy back, thereby giving it the strength necessary to withstand the pull of the strings, which are extra heavy, and by so doing, produces the ‘‘standing in tune quality” so much to be desired, particularly in sections of the country where tuners and repairers are few and far between. The Patent French Repeating Action is used, causing that free and elastic touch, which is the great desirability to every good player. The Zone, besides being wonderfully sweet, pure and sympathetic, and of a most exquisite musical quality, has also the solidity and fullness of the Square, and the singing resonance of the Upright. Everything, in fact, is of the best the market affords, or that highly skilled labor can produce, and the manufacturers, in calling it the ‘‘most perfect small Upright, or Pianino, in the world,” feel that they are not in any sense overstating the real qualities of the instrument, but simply assert- ing what has been pronounced by the very large number who have already had them, and the evidence of their continued popularity is the steadily increasing de- mand for them. All Pianos should have a written guarantee, and the guarantee, to be valuable, must be given by a responsible manufacturer. The age and responsibility of this firm, and the high and enviable reputation, both in this country and Europe, which they have so long enjoyed, give to their guarantee much value. The magnitude of their business is so vast, and the facilities and improvements which they have in manufacturing are so many, that they are enabled to do the most superior work in the best manner possible, and at the least possible cost. THE PIANINO is made in a variety of beautiful cases ranging in Price from $200 to $300. Illustrated Catalogues sent free, fully describing the PIANINO and the various styles of the Fischer Upright and Square Pianos | which now rank among the best and most popular Pianos made in America. S. BRAINARD’S SONS, 341 & 343 EUCLID AVENUE, CLEVELAND. | A Perfect Parlor Organ. THE NEW HAVEN ORGAN COMPANY'S Cabinet, Chapel and Parlor Organs. The New Haven Organs are celebrated for NOY wt DURABILITY, FINE FINISH, BEAUTIFUL TONE, VARIETY OF STYLES ELEGANT CASES, AND FIRST-CLASS PERFECT ACTION, WORKMANSHIP. No Reed Organ in the world, takes the lead over the magnificent instruments made by this old and reliable Company. The New Haven Organ Company do not claim to make the only first-class instruments in the United States, but they do claim to turn out the best class of work made in this country, which is shown by the constantly increasing demand for their instruments. This Company have had years of experience and take every pains to produce a substantial, well made Organ, that will stand all kinds of temperature and climate with the nearest imita- tion of the pipe quality of tone that can be effected with reeds. All modern im- provements, that have been found of any value, will be found in the New HAVEN ORGANS. Illustrated Catalogues and Price Lists Sent Free. Having accepted the general agency for these justly celebrated Organs we are prepared to offer liberal terms to agents and supply them wholesale or retail at lowest prices. A large and elegant stock can at all times be found at either of our ware-rooms, which purchasers will do well to examine before deciding on an in- The Best in the World! - CHICKERINS & SONS, - =e ——— —— SS SSS == —=- SS —— SSS oF SS — Sane ne ~# ini as AL MMA i } i ne 4 iit =a sh SSN Were) Hi 4 43) ) “th * f tH ss —— | ee i {hE aS » RN Hie a : ~ car Ei Ht ~ PP i ie hs | 249 \ HU ae \ 4 PR .) } Nit Mi I Md ‘pl ‘¢ { a} ‘ A Pal bi eae 2) | Hi | sr i wil HH th mu “3 xt. Ce od Re oes S Grand Square and Upright Pianos. 5S. BRAINARD’S SONS have just received their spring stock of these unrivaled Pianos and call the attention of purchasers to their large and elegant assortment. Prices low and terms easy. S. BRAINARD’S SONS, CLEVELAND.
Page 40
Norm SINGERS, PLAYERS, AND —___+_________©6ae-——- SNOT THIS . Joun C. Fir —_———————$—$— WHA —______-2ee-— al Course in M At EVANSTON, ILLINOIS, July 14th to August 18th, 1880. (Five weeks.) a | | FACU I &.. W. S. B. Matuews, Principat. The Pianoforte, Musical Interpretation, the Art of Teaching, and Musical History. Wy. B. Cuameerz.ain, A. M., Voice Building, Singing, Song Recitals, Chorus Director. Lmore, A. M, The Pianoforte, Harmony, Counterpoint, and Art of Teaching. Cacvin ©. Capy, The Organ, Pianoforte, Harmony, and the Art of Teaching. Miss Contents and Object of this Course. | The Normal Course in Music (the result of many years’ experience in teaching) undertakes three kinds of work such as experience has shown to be generally desired. (First.) The Art of Teaching. There will be two of these classes, one for | piano teachers, another for voice teachers. ‘To hear the art of teaching intelligently discussed daily during five weeks by teachers of the edu- cation and experience of those in this faculty,and to be able to ask questions on points not clear, are advantages the value of which ought to be imme liately apparent to young teachers and in- Lyoia S. Harris, Piano Recitals, and Teaching. PERSONAL. Chamberlain is a. distinguished graduate o fessor of Voice Building and Chorus work at | Oberlin, and his work speaks for itself. -Prof. lege, Wis., and now at the Milwaukee Female College) was a graduate of Leipsic and a private pupil of Richter in Theory. Prof. C. B. Cady, \(formerly of Oberlin) was also a graduate of | Leipsic. All these gentlemen have special quali- | fications for this kind of work. Mr. Wm. H. Sherwood is to well known as a virtuoso and a telligent students generally. (See classes Nos. VII and VIII.) (Second.) Practical Acquaintance with Artistic Music. This part of the work is perhaps the most im- portant of any since it directly meets the needs of teachers and pupils generally, in the most feasible manner, namely, by bringing together | mto five consecutive weeks a succession of les- sons, analysis, explanatory lectures, and, above all, REPEATED PERFORMANCES OF THE VERY CREAM oF Music. Thus assisted, the student may learn, even in this short time, much of the distinctive merits of each ene of the greatest composers, and begin to recognize the distinctive flavor of their different styles of writing, besides becoming in some slight degree familiar with their greatest masterworks. season) except in a course of exercises definitely co-ordinated for this purpose. This work falls in three departments: /H/ow to Hear Intelli- gently, (see class No. I,) Sketches and Critical remarks upon Contposers, (see Lecture,and No. Il,) and Performances of Masterworks, (see Recital No. Il and Chorus No. VI.) (Third.) Direct Personal Instruc- | tion in Practical Performance (sing- ing or playing) and in Theory. t KuléClasses, (forming part of the Normal Course proper, and included in the fuil course ticket). Harmony, Counterpoint and Composi- Not even in large | .. Cities can this be accomplished (even in an entire further introduction. ky How to Hear Music. ing and analyzing music. directed to the phraseology of it and the form lessons. way of observing the exrternads of music, atten- tion is directed to the Content or meaning of it, | and a series of ten exercises or studies in Classic | and Romantic music follows. These exercises are an improved and systematized arrangement of those under the name of ‘‘ Musical Grammer” previous years. Experience shows this class to be of very great use, as it cultivates certain habits of hearing, without which the master- works embraced in the Recitals and Lectures -uncomprehended. Besides,the illustrations here _employed are in general the same which appear Concerning the individual members of the | i 7 say f. : P ‘ faculty is many be Ween ae cee. that rae embracing a_ splendid selection of the most John C. Fillmore, (for eight years in Ripon Col- | Mme. Seiler’s School in Philadelphia, and pro- | | | 'most careful and artistic interpreter to require | all students of whatever grade. | | usic. IND TEACHERS. YOU NEED? Nirs. Juctia HANFOoRD, Voice Building, and Singing. Miss Mary H. A. How, Song Recitals. tn Wa. H. SHERWOOD, (OF BOSTON, Virtuoso Pianist, In Five Recitals. MISS GRACE E. MATHEWS, SEC. MISS FANNIE FISK, ACCOMPANIST. 4. Song Recitals by Prof. Chamberlain, three in number. 5. Five Recitals by Mr. Wm. H. Sherwood, important and desirable works. (See circulars.) III. Lectures. The lectures will be more numerous than last year and those of the Principal better prepared. Besides his course of ten, there will be several | by Messrs. Chamberlain, Fillmore and Cady. The latter will.deliver a course of five,the topics of which will be given in the circular. IV. Harmony and Counterpoint. . Classes in these subjects will be provided for But special at- tention will be given to Elementary Harmony, _and to the preliminary topics of Intervals and y MEE ‘the key relations of tones, experience having This class consists of twenty exercises in hear- | The attention is first | shown that a majority of those who enter ad- vanced classes in Harmony and Counterpoint, are fatally deficient in these indispensable mat- and the exercises take the character of object- | When the class becomes expert in this | ters. Without the most solid grounding in these fundamental topics no insight into the inner har- | monic structure of compositions is possible, and : so successful in Mr. Mathews’ Normal Work in | iV. } . 4 oge ee _ afterwards in the recitals, thus familiarizing the | | pupils more completely with them. ik, Recitals. There wil! be five series of Recitals this year. 1. Young Pianists recitals, in which a number 'of young players from different parts of the | country will appear under the auspices of their | respective teachers. The programmes of this | series will be excellent and interesting especially | than last. | | |as illustrations of results attained by different | | teachers. Six or eight players are already reg- the mere mechanical following of rules, unless it is productive of such insight, is worse than usel less. All applicants for admission to advanced classes will therefore be carefully examined and advised as to the wisest course to be pursued. They will then be classed with a view to the most rapid and successful progress. Voice Class. This very enjoyable and useful class will pur- | pass over the heads of a majority of the pupils. Sue the same course as last year, giving attention ‘to the right method by forming the tone, the principles‘of phrasing and melodic interpretation, and the true “eclamation of the text. VI, Chorus. Much more is expected of the chorus this year There will be two concerts in which the chorus will take part. The first will be com- posed of selections from Handel’s ‘‘Messiah,”and favorite part songs, glees, etc. The second of Haydn’s ‘‘Creation” entire. VII. The Art of Piano Teaching. This class will combine the experience and ideas of all the piano-teachers in the school, tion (see No. IV), the Voice Class, (No. V), and istered in this course, and several others are though under the more immediate supervision of Chorus (No. VI.) 2. Swall Classes for Individual Drill, (not the various Interpretation classes, (see No, IX.) 3. Private Lessons tn Playing or Singing. | These also are an extra charge. (See No. X.) W.S. | expected. | the Principal. NS Dri. | 2. Piano Recitals by Miss Lydia S. Harris. | included in Full Course tickets.) This includes | The programmes of these will be found in the | the Taste. | circular, sent free on application. 3. Song Recitals by Miss Howe (of Cincin- | nati), four in number. Programmes 1n circular. } | / The chief topics of it are: © 1. Howto Awaken Musical Feeling,and Form 2. How to Develop Technique most Rapidly. 3. What Studies to Use and Why. 4. How to Grade the Course of Study. 5. How to Prepare for Public Playing, (Par- lor, Recital and Concert). VIII, The Art of Teaching Singing. Prof. Chamberlain will conduct a class of this kind, in which he will discuss Elementary Sing- ing-class work, Church Music, Chorus directin and Vocal Training. In some parts of his wor he will be assisted by Messrs. Cady and Fill- more. IX. Interpretation of Classical Music. These classes are the most important advance over our work in former years. There will be ten or twelve of these classes of from three to six pupils each, pursuing definitely arranged selections of pieces, graded according to difh- culty. All the pieces are supposed to have been thoroughly studied and. mastered as to their technique before the gpetiing of the school. At each lesson every pupil will play and be criticized upon from one to three of these pieces; so by be- longing to two or more of these classes a student will be able to receive artistic criticism upon his playing in from fifteen to twenty-five pieces. here will be classes of this kind in Beethoven (3), Schumann (3), Chopin (3), Bach and. Men- delssohn (2), etc. posers the work will be graded-as “‘moderately difficult,” ‘‘difficult” and ‘‘very difficult,” and the lists of pieces and general directions to per- sons contemplating joining one or more of these classes will be sent on application. r Private Lessons. Private Lessons in singing will*be given by Prof. Chamberlain from $1.50 to $3.00 each, ac- cording to duration.. Also by Mrs. Hanford, assistant to Prof. Chamberlain, at $1.50. Piano Lessons by Messrs. . Fillmore, Cady, Miss Harris and the Principal, at from $1.25 to $3.00 each. Organ Lessons by Prof. Cady at $2.coeach. | XI. Terms. Full Course, including any of the classes from I to VIII inclusive $15. Interpretation classes from $5 to $10 for 10 lessons, according to grade. XII. Location. ' Evanston is an extremely beautitul suburban town, twelve miles north of Chicago on the lake shore. to $10.00, according to room and location. ak SEND FOR CIRCULAR Giving much full information, and say you saw this advertisement in BRAINARD’s MusIcAL Wortp. Address: oo [ATHEWS, Evanston, Il. : In each of the leading com. . Board can be had from $4.50 per week oe eS ee a ee eee es ee eee —~_ « he , 7 Ae “4